事件—影像与电影的政治哲学——从《底特律》和《黑色党徒》看电影的政治叙事

Event-image and Political Philosophy in Cinema: Reading Political Narratives from Detroit and BlacKkKlansman

电影可以用一种全新的方式来讲述政治哲学,这个方式就是事件—影像的概念。在吸收了德勒兹的运动—影像和时间—影像概念之后,提出了既抽出了连贯性底片,同时能够生成主体的事件—影像。本文以《底特律》和《黑色党徒》两部影片为例,分析了在影片中,如何产生具有自动机制,同时能对主体产生政治效应的事件—影像。

For cinema, there may be a new way to deal with political philosophy, that is, concept of event—image. After absorbing Deleuze’s concepts of movement—image and time—image, we can draw a new concept: event—image, which is distance from the continuous cliché, at the same time, let a new subject becoming from it. Based on the cases of two new films(Detroit and Blac Kk Klansman), we analyze the fact how a film produce an autonomous machine and an event—image which bring out a political impact on subjects.