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上海大学学报(社会科学版) ›› 2025, Vol. 42 ›› Issue (4): 43-53.

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德勒兹视域中的动画与数字技术

  

  1. 华东师范大学 传播学院
  • 出版日期:2025-07-15 发布日期:2025-07-21
  • 作者简介:聂欣如，华东师范大学传播学院教授。
  • 基金资助:
    教育部人文社会科学青年项目（19YJC760154）

Animation and Digital Technology Within Deleuze’s Theoretical Framework

  1. School of Communication, East China Normal University
  • Online:2025-07-15 Published:2025-07-21

摘要： 德勒兹在自己的电影理论中涉及了动画片，他从内涵和外延两个方面对动画的范畴和本质进行了讨论，将其区别于一般电影的影像和运动，尽管他的说法与众不同，但在原则上与对动画的传统理解并不相悖。动画作为一种特殊的影像形式，没有被德勒兹展开讨论，而只是被他用来比较或比喻电影影像中某些特殊情境。数字技术在德勒兹的“褶子”理论中只能是一种“方法”，并不能成为事物的本质。

关键词: 德勒兹, 影像, 动画, 数字技术

Abstract:  In his film theory, Gilles Deleuze delved into animation and examined its category and essence in terms of both connotations and extensions, differentiating it from the imagery and motion found in typical films. Despite his distinctive language, his fundamental ideas have not deviated from traditional interpretations of animation. Although animation is a unique form of imagery, Deleuze did not discuss it in detail; instead, he used it metaphorically to illustrate specific situations in film imagery. In Deleuze’s theory of the “fold,” digital technology can serve only as a “method,” rather than as the essence of things.


Key words: Deleuze, image, animation, digital technology

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