“发条影像”与媒介的中性化:电影的单子论  

"clockwork Image"and the Neutralization of Medium:Monad Theory of Film

作　　者：林梓豪 LIN Zihao

机构地区：[1]东北大学,沈阳110819

出　　处：《上海视觉》2025年第1期149-155,共7页Shanghai Vision

摘　　要：莱布尼茨将单子设定为无广延并表象宇宙的实体形式,这提供了一种关于自动影像的“宇宙电影”视角,并表现在有机性与机器性相统一的“发条影像”机制中。而胡塞尔与德勒兹的现代单子论将“单子影像”变为了可视化的主体间性与“脱节”的时间,二者在现象学意义上将影像媒介还原为介于观念与实在之间的“中性化”平面。由此,电影的单子论在有限的主体与其表象的无限宇宙之间保持了连续性,提取出了技术影像的本体论依据。Leibniz conceived monads as non-extended substantial forms that represent the universe,providing a"cosmic cinema"perspective on autonomous images,manifested in the"clockwork imagery"mechanism where organic and mechanical qualities unite.Modern monadology,as developed by Husserl and Deleuze,transforms"monadic images"into visualized intersubjectivity and"disjointed"time,both phenomenologically reducing image media to a neutralized"plane between the ideal and the real.Thus,cinematic monadology maintains continuity between the finite subject and its representation of an infinite universe,extracting the ontological basis for technological images.

关 键 词：单子论 媒介 影像 现象学 中性 

分 类 号：J90[艺术—电影电视艺术]