摘要
首先提出情动概念的是17世纪的斯宾诺莎,他区分了人类认知过程的“广延样态”和“思维样态”,即未被意识到的情感和已被意识到的观念。德勒兹将这一观念用于电影,提出了“情动—影像”的概念,并将其囿于电影镜头中“面容”的表达。面容又被分为张力的面容和反射的面容,对应着斯宾诺莎两种不同的“样态”。从电影的角度,德勒兹把情动—影像分成三个不同的层次:类型电影附加了“物”的特写;一般剧情电影对应人的面容;高度艺术化和实验性的作品则变成了“任意空间”的碎片。三个层次的两个端点便是面容的两分。今天,情动理论在电影研究中的使用,主要是对类型电影的分析,也有人综合德勒兹的“无器官身体”“生成”等理论,将其用作一般剧情电影的分析工具。
The concept of affection was first proposed by Baruch de Spinoza in the 17th century,who distinguished between the“extensive modality”and the“intellectual modality”of the human cognitive processes,namely,emotions that are not con-sciously perceived and ideas that are consciously perceived.Gilles Deleuze applied this concept to film,introduced the concept of affection-image and confined it to the expression of“face”in film shots.Besides,the face is divided into the face of tension and the face of reflection,corresponding to Spinoza’s two different“modality”.From the perspective of film,Deleuze divides affection-image into three different levels:genre films attach the close-up of“things”;general plot films correspond to human faces;highly artistic and experimental works become fragments of“any space”.The two ends of the three levels are the di-chotomy of face.Today,the application of affection theory in films is mainly in the analysis of genre films,while some have inte-grated Deleuze’s“Body without Organs”and“Becoming”theories as an analytical tool for general drama films.
出处
《上海师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2024年第3期77-86,共10页
Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)
关键词
情动
斯宾诺莎
德勒兹
类型电影
affection
Baruch de Spinoza
Gilles Deleuze
genre film
