从影像体验时间——从柏格森的电影放映机制到德勒兹的电影美学

Experiencing Time from Image: From Bergson's Cinematographical Mechanism to Deleuze's Cinema Aesthetics

自亚里士多德将时间和运动联系在一起开始,时间就被束缚在运动的模式下,并隶属于运动的框架。柏格森则通过绵延概念展现出时间自身,重新审视了时间和空间的关系,并首次引入了电影作为思维的一种机制。德勒兹又将电影与时间联系起来,认为时间的本质可以从影像中的时间晶体中体现出来,并且发现了直接呈现时间的时间符号,即时间—影像。德勒兹通过对电影的论述说明了时间如何从运动的隶属转变为将自身直接呈现的认识。

After Aristotle connects time to movement, time has been bound as the mode of movement, or, subordinated to the frame of movement. Time itself became visible through the concept of duration by Henry Bergson, who rediscovered the relation between time and space and regarded cinema as the mechanism of ordinary knowledge. Deleuze reveals the time-image as the swnbol to directly present time itself.