摘要
巴赞对奥逊·威尔斯电影的景深单镜头的颂扬影响深远,但巴赞的相关论述其实也有它的"景深"或暧昧。威尔斯同时也是一位华丽运用蒙太奇的电影作者,本文从澄清这样一个基本事实出发,通过梳理德勒兹在《电影2》第六章对威尔斯电影中的"视觉建筑"的简短论述,勾勒出相关问题的理论脉络,阐述作为"屋顶"或莱布尼茨式的"圆锥"顶点的"辩护士"的威尔斯电影的美学风貌。
It is widely known that AndréBazin admired Orson Wells for his use of sequence shot and deep-focus shot,especially in Citizen Kane and The Magnificent Ambersons.But Bazin’s texts remain slightly ambiguous.By inquiring into Deleuze’s discussion about the"visual architecture"in Welles’films,this essay particularly examines the meaning of Welles’obsessive representations of ceiling,and argues that,if Leibniz was the"God’s attorney",then Welles can be seen as an attorney of the apex of the CONE from which his obsession with ceilings results.
