English

上海大学学报(社会科学版) ›› 2019, Vol. 36 ›› Issue (4): 52-60.

• 影视理论研究 • 上一篇    下一篇

离散与叠加——德里达关于电影的哲学修辞

  

  1. 中国人民大学 哲学院
  • 出版日期:2019-07-15 发布日期:2019-07-15
  • 基金资助:
     北京市社会科学基金项目(17YTA004) 

Discretization and Superimposition: Derrida's Rhetoric on Cinema

  • Online:2019-07-15 Published:2019-07-15

摘要： 尽管德里达并不是一位典型的电影理论家，但是他在分析电影经验的过程中提出的概念和他在其他领域中的概念相互呼应，反而使得其电影理念具有了很强的延展力：电影中相信和无信的叠加，作为幽灵的过去和当下影像的叠加，作为看见和看见看见本身的叠加，以及电影中影像和声音的叠加，而在这里的每一重叠加中又包含了不同方式的离散，为超越主体性打开了不同路径。德里达的电影理论恰恰在这一点上体现了他的思考风格，即以解构的方式进行建构，以此保持电影思考本身的鲜活性。
关键词： 

关键词:  , 德里达, 无信之信, 幽灵的返回, 看见看见本身, 回波造影

Abstract:  Though Derrida is not a typical film theorist, his thoughts on film experience echo his concepts in philosophy, literature and painting, which brings certain space to conceptualize the former: the superimpositions between belief and nonbelief, between the ghost of the past and the image of the present, between seeing and seeing seeing itself, and between the image and the voice in the cinema. In each layer of superimpositions, there remains a special kind of discretization, which leads different paths to overcoming subjectivity. Derrida's film theory embodies his style of thinking at this point, that is, constructing in a deconstructive way to maintain the fresh activity of film thinking itself.

Key words:
Derrida, belief without believing, the return of ghost, see seeing itself, echography