《阿诺拉》, 即兴, 《电影1：运动-影像》, 否定性, 衰退, 反实现

The popular acclaim of the film Anora has renewed academic interest in independent cinema, bringing the corresponding feature of improvisation—a key characteristic of such films—into focus. Cinematic improvisation inherently embodies a dual nature of affirmation and negation. From an affirmative perspective, it represents a spontaneous, natural, and free creation of life. From a negative perspective, however, it manifests as a traumatic experience on the precipice of nothingness and destruction. The complex entanglement of these two facets invites a rereading and rethinking of Gilles Deleuze’s Cinema 1: The Movement-Image. In this work, improvisation emerges as a crucial turning point from the movement-image to the time-image, presenting three distinct paths: affirmative wandering, degeneration (a transformation from negation to affirmation), and counter-actualization which carries a sense of absolute negativity. From the novel standpoint of improvisation, we not only can reinterpret Deleuze’s philosophy of cinema but also gain a deeper understanding of the ontology of film and the essence of reality itself.

Anora, improvisation, Cinema 1：The Movement-Image, negativity, degeneration, counter-actualization