影像作为“想象的能指”——克里斯蒂安·麦茨影像本体理论释读

Image as "Imaginary Signifier" : Understanding of Christian Matz's Image Noumenon

麦茨将电影影像定义为"想象的能指",认为电影影像符号的所指在于剧本故事的立意,但电影故事的意义并不能完全涵盖电影影像的全部本质,因此电影影像的本体意义应该从拉康的"符号界"通过能指回溯到"想象界"。这一"想象界"的存在有赖于观众在影院的"二次"性自我认同,这一认同类似于拉康的镜像理论,人们把银幕上的对象作为自身欲望的他者来进行认同。而这一认同的心理机制则是"庄周梦蝶"式的物我两忘,拉康称其为"凝视"。麦茨对影像的研究在某种意义上脱离了影像本体,转向了观影心理对于符号能指的建构,进入了精神分析和哲学的领域。

Matz defines film image as an imaginary signifier, and states that what it signifies lies in the conception of the story itself. However, the story could not wholly cover the essence of film image. Therefore, the noumenon signifi- cance of film image should be traced back from Laean＇s world of sign to the world of imagination, which is bound up with the second self- identification of audiences while they are watching film. Such identification is similar to Lacan~ s mirror - image theory. People identify roles on screen as the other of their own desire. The psychological principle of such identification is Zhuang Zhou~ ＂ forgeting＂ , and also is Lacan＇s ＂ gazing＂. Matz＇s research of image to some ex- tent breaks away from the image noumenon, and yet turns to the impact of theatre - going psychology upon semiotic signifier, and enters into the filed of psyehanalysis and philosophy.