影像之位所:现代性中的电影投射与尺度(下)--精神分析与1960年代旁若电影

The Location ofthe Image:Cinematic Projection and Scale in Modernity Psychoanalysis and 1960’s Paracinema

安迪·沃霍尔与安东尼·麦考等前卫艺术家受到1920年代前卫艺术的影响,重新展现出对于投射与光的痴迷。文章以《雀西女郎》《绘线成锥》《环境光长片》等二十世纪六七十年代的“扩延电影”与“旁若电影”为研究对象,论述“投射”概念的历史由来,并结合精神分析理论与媒介考古学,辨析了现代性涌现之际,由投射所引发的位所错乱、身体异化乃至主体迷失等症候。

Deeply influenced by the historical avant-garde movement in the 1920’s,a number of avant-garde artists,represented by Andy Warhol and Anthony McCall,resuscitated an obsession with projection and with light as mediumin 1960’s.This article surveys the theoretical and historical concept of“projection”,and with the object of Expand Cinema and Paracinema in the the sixties and seventies,represented by Chelsea Girls,Line Describing a Cone and Long Film for Ambient Light,makes an investigation and analyse of the loss of the location,the alienation of the body and the disorientation of the subject in modernity basing on psychoanalysis and media archeology.