侍女与骑士:阿甘本的姿势电影

Maid and Knight: Giorgio Agamben’s Gestural Cinema

阿甘本认为,电影的要素并非影像而是姿势。源始的姿势是可展示性或纯粹的手段,而电影的姿势是影像进入运动的方式。从瓦尔堡的图谱中,阿甘本辨认出蒙太奇式的电影姿势,其本质是对历史时间的操作。通过对蒙太奇的两个先验条件--重复和停止的分析,阿甘本揭示了电影时间和弥赛亚时间的一致性。在景观化的时代,姿势电影还提出了伦理的问题。对此,基尔兰达约的侍女和奥逊·威尔斯的骑士分别表明了生命该如何在影像中生存并真正地爱上影像。

According to Agamben, the element of cinema is gesture and not image. For him, the ideal cinema should be gestural cinema. Originally, gesture is the visibility or the pure means, and in cinema, gesture is the way images move. On Warburg’s atlas, Agamben recognizes a montage gesture, whose essence is the operation of historical time. By analyzing two transcendental conditions of montage, repetition and stoppage, Agamben reveals the correspondence between cinematic time and Messianic time. In the times of spectacle, the gestural cinema also raises the question of ethics. Ghirlandaio’s maid and Orson Welles’ s knight have shown how the life should live in the image and finally love the image.