索绪尔的幽灵:德勒兹运动-影像的模式建构与叙事

Saussure’s Ghost:Modeling and Narration of Delueze’s Movement-Image

德勒兹的运动—影像理论排斥叙事,让许多人感到难以理解,德勒兹的电影理论系统也成了电影理论著名的难点。其实,德勒兹是使用了一个“调性变化”的概念替代了一般所谓的叙事,德勒兹的运动—影像理论从本质上并不排斥叙事,而是使用了一种三维建构的立体模型替代了索绪尔平面化的“两个轴”的线性叙事模型;他的叙事建构不在平面,而是在空间中发生。德勒兹的影像系统除了“聚合”之外,依然会有“组合”“因果”这样的传统叙事,只不过因为变换了系统,使人们感到陌生。索绪尔的模式是对人类叙事本质的描述,德勒兹的影像系统尽管改变了传统电影叙事理论的外在形态,但却无法规避其叙事的本质。

It is said that Delueze’s movement-image theory rejects narrative,which has confused many people.Delueze’s film theory has become one of the most difficult ones in the film study realm.In effect,Delueze’s movement-image theory does not reject narrative.Rather,Delueze replaced the general idea of narrative with the concept of“modulation”and replaced Saussure’s twodimentsional narrative model of“two axes”with a three-dimensional model.His narrative construction did not happen in two dimensions,but in spaces.Apart from“paradigm”,Delueze’s image system also includes traditional narratives such as“syntagm”and“cause and effect”.It is simply the the switch of systems that has aroused the feeling of strangeness.Saussure’s model depicts the essence of human narrative.Though Delueze’s image system changes the external shape of traditional film narrative theories,it can never truly avoid the nature of narrative.