凝视的理论嬗变及其与电影叙事的抵牾——以齐泽克电影批评为核心

The Theoretical Evolution of Gaze and Its Contradiction with Film Narration——Focus on Zizek′s Film Criticism

早期拉康的凝视理论受到萨特的启发,发生了内在化、心理化的转向;晚期拉康引入实在界维度,使之成为一个具有特殊内涵的概念。齐泽克等将拉康这一理论运用于电影批评,并且遵循着其理论逻辑,在电影中寻找来自原质的凝视的案例。值得注意的是,与拉康借助绘画不同,齐泽克注重电影媒介。然而,电影的观看方式、意义表达与绘画存在明显的差异。拍摄、剪辑控制了镜头画面与接收者的视觉运动;观看电影时观众很难自由地选择观看视点,并不存在可供“斜视”的理想主体的位置。更重要的是,电影叙事是以日常的生活经验为核心,构成了一个相对独立、封闭的想象性领域;观看电影,兼容了现实/理性/认知/叙事功能、想象/非理性/情感/体验功能两种活动。电影几近天然地抵制纯粹预设的理论概念的介入。

Inspired by Sartre,Lacan′s early gaze theory turned inward and psychological,and later Lacan introduced the Real to make it a concept with special connotation.Zizek and others applied Lacan′s theory to film criticism,and followed its theoretical logic,looking for cases of gaze from the Thing in the film.It is worth noting that unlike Lacan,Zizek paid attention to the film media.However,there are obvious differences between film and painting such as the way of watching,and the expression of meaning.Shooting and editing control the visual motion of the shot and the receiver;when watching a movie,it is difficult for the audience to choose the viewing point freely,and there is no ideal subject position for"squint".What′s more,movie narration is based on daily life experiences,which constitutes a relatively independent and closed imaginative field;watching movies is compatible with two activities:reality/rationality/cognition/narrative function,and imagination/irrationality/emotion/experience function.It almost naturally resists the intervention of the purely presupposed theoretical concept.