摘要
关于电影和哲学大致有两种针锋相对的立场。一种是温和立场,仅将电影作为哲学思辨的拓展、补充乃至例示。与之相反的强版本立场则更强调"电影作为哲学"这一基本出发点,坚持认为电影本身就是思考,并且是一种与哲学思辨截然不同的思考。强版本的电影哲学大致经历了三个主要的发展阶段,分别是爱泼斯坦的非思、德勒兹的脑电影以及埃尔塞瑟的心游戏。心游戏电影不仅试图挣脱好莱坞谜电影日益僵化的叙事圈套,更意在敞开思想实验的别样可能。
Recently, there have been two opposing positions on the relationship between film and philosophy. One is a moderate stance, which only regards film as an extension, supplement or example of philosophical speculation. On the contrary, the “bold” version of the position emphasizes the fundamental position of “film as philosophy”, insisting that film itself is thinking, and is a thinking completely different from philosophical speculation. The bold version has roughly experienced three major stages of development, which are Epstein’s unthought, Deleuze’s brain cinema, and Elsaesser’s mind game. Mind game films not only try to break free of the increasingly rigid narrative trap of Hollywood puzzle films, but also open up the possibilities of thought experiment.
出处
《电影艺术》
CSSCI
北大核心
2022年第1期3-11,共9页
Film Art
基金
2018年度国家社科基金艺术学重大项目“中国电影学派理论体系构建研究”(批准号:18ZD14)的阶段性成果。
关键词
电影作为哲学
强版本立场
非思
脑电影
心游戏
思想实验
film as philosophy
bold version
unthought
brain cinema
mind game
thought experiment
