摘要
毕赣是雕刻时光的诗人,他以对“时间”的探索进行触及心灵与在地情感的先验性艺术表达,在故乡凯里的氤氲幻梦中交织着实在与潜在、想象与回忆。“时间”影像是其“作品序列”中“某种近乎不变的深层结构”,他将古老佛经《金刚经》中“过去心不可得,现在心不可得,未来心不可得”的时间观念注入他的电影作品,创造出并置过去、现在和未来的“荡麦乌托邦”,构建出德勒兹所言的“时间-影像”(time-image)。蕴藏在日常时刻中的沉寂时间、沉沦于时间之网的游荡者和现实与潜在无限循环的时间晶体共同构成毕赣电影文本内在的时间结构。
Bi Gan is a poet who tends to ponder over time.He expresses his soul and emotion in the earth transcendental art through the exploration of"time",and interweaved reality and potentiality,imagination and memory in his dreams in Kaili.The image of"time"is a kind of deep structure in the sequence of his works,which is almost unchangeable.In Vajra Sutra,an ancient Buddhist scripture,"Past thought cannot be obtained;future thought cannot be obtained;present thought cannot be obtained."The concept of time is infused into his film,creating a"Dangmai Utopia"to set the past,present and future,and constructing Deleuze's"time-image".The silent time contained in the daily moments,the loitering in the net of time and the actual and potential infinite cycle of time crystals constitute the internal time structure of Bi Gan's film text.
出处
《民族艺林》
2021年第3期61-68,共8页
Journal of Ethnic Art
关键词
毕赣
时间
游荡叙事诗
Bi Gan
time
wandering narrative poetry
