电影艺术模式与消失中的工厂(英文)

Cinematic Regimes and the Disappearing Factory in China

世界各国努力地发展创意经济之时,电影艺术如何面对传统工业的消失？本文采用法国哲学家雅克·朗西埃关于艺术模式的理论来探讨电影艺术如何处理当代中国正在消失的工厂这一主题。文章分析了三种电影艺术模式：伦理模式的电影把工厂当成一个转型社区日常生活的一部分,或者是传统工业消失的挑战,或者是向后工业式的生产转变;再现模式的电影对工厂的解读把工人同时当成群体与个体来看待,工人被再现为是顺从的,遵守纪律的,被重新培训以适应全球经济的劳动分工;美学模式的电影则把工厂作为一种美学经历来处理,在这种经历中,时间与理智的平等变得可以理解。通过对这三种电影艺术模式的探讨,本文最终的目的是认识并反思中国创意经济中的电影艺术与美学。

With the growth of creative economies in many countries worldwide, how does cinematic art address the disappearance of the factory--the symbol of an industrial economy？ In this paper, the categorisation of three artistic regimes （ethical, representational and aesthetic） by the French philosopher Jacques Ranciere are used to investigate the engagement of cinematic art with the gradual disappearance of factories in modern China. Ethical cinema deals with the factory as part of the everyday activities of a community reconfigured by the decline of traditional industries or a shift to post-industrial production. Representational cinema focuses on factory workers both as a collective and as individuals. In this model, workers are disciplined and docile, and may even be re-trained to suit new divisions of labour in the global economy. In aesthetic cinema, the factory .is a mode of experience that elucidates temporal and intellectual equalities. Examining these three cinematic regimes offers critical insights into cinematic art and aesthetics in the context of China＇s creative economy.