影像即物质——论德勒兹的影像本体论  

Image as matter:on Deleuze’s ontology of images

作　　者：杨悦 Yang Yue(School of Liberal Arts,Renmin University of China,Beijing 100872,China)

机构地区：[1]中国人民大学文学院,北京100872

出　　处：《辽宁师范大学学报(社会科学版)》2025年第2期39-46,共8页Journal of Liaoning Normal University(Social Science Edition)

基　　金：国家社会科学基金后期资助项目“书写与追问:法国后现代主义论争”(2019010203)。

摘　　要：德勒兹在两卷本《电影》中提出了一种完全不同于古典哲学的影像本体论,即一种作为元电影的世界。其影像概念的构建是基于柏格森的运动观和影像观,并融合了德勒兹早期哲学中提出的拟像概念的内涵。一方面,影像不为再现他者而存在,其自身就是物质性的独立实在,弥合了古典哲学中影像与运动、意识与事物之间不可跨越的鸿沟;另一方面,影像建立在差异的基础之上,具有绵延特性,影像以其脱根据性和生成性摆脱了同一性思想的宰制,成为反转柏拉图主义的力量。总之,德勒兹的影像观是其差异与重复思想在特定艺术领域的延续和升华,完成了对传统形而上学的创造性颠覆。In Cinema 1:The Movement-Image and Cinema 2:The Time-Image,Deleuze proposed an ontology of images that diverges significantly from classical philosophy,which envisions the universe as meta-cinema.Deleuze’s perspectives on the image are rooted in Bergson’s view of movement and image,and also incorporate the connotation of simulacra from Deleuze’s early philosophical work.On the one hand,Deleuze remarks that images do not represent others any more and they exist in themselves,bridging the gap between image and movement,between consciousness and things especially in classical philosophy.On the other hand,according to Deleuze,images constructed on disparity exist within duration and possess the characteristics of becoming and detachment from foundations,granting them a great power to escape the dominance of the One and reverse Platonic monism.Overall,Deleuze’s notions of the image are an exemplification and continuation of his thoughts on difference and repetition within a distinct artistic realm,while accomplishing creatively a subversion of traditional metaphysics.

关 键 词：电影影像 元电影 绵延 拟像 差异 

分 类 号：I06[文学—文学理论]