摘要
电影哲学在20世纪90年代的兴起,对应着电影理论遭遇的三个危机,而且与当时早期电影史和媒介考古学的出现相呼应。文章概括了电影哲学中的英美学派和大陆学派的区别,从影像哲学入手,通过对客体图像与主体电影的区分,提出了"内在的电影"概念,认为电影哲学本质上是一种主体哲学。通过电影影像对现实再现的"多"与"少",分析了电影哲学的两个核心内容和四个主要领域,文章最后分析了电影哲学论争从认识论批判到现代性批判的转化。
The rise of film-philosophy in the 1990 s corresponded to the three crises encountered by film theory, echoing the emergence of early film history studies and media archaeology. The article outlines the distinction between the Anglo-American and Continental film-philosophy, starting with the philosophy of the image, and proposes the concept of " inner cinema" through the distinction between the image of object and the cinema of subject. The essay argues that film-philosophy is essentially a philosophy of the subject. Through the "more" and "less" of the cinematic image’s reproduction of reality, two central concerns and four principal realms of film philosophy are analysed, and the essay concludes with an analysis of the transformation of the film-philosophy debate from an epistemological critique to a critique of modernity.
出处
《电影艺术》
CSSCI
北大核心
2021年第1期11-18,共8页
Film Art
基金
北京市社会科学基金项目“西方电影哲学研究”(编号:17YTA004)
国家社科基金重大项目“后现代主义哲学发展路径与新进展研究”(编号:18ZDA017)阶段性成果。
关键词
电影哲学
影像哲学
内在的电影
屏幕理论
实在论
认识论
film philosophy
philosophy of image
inner cinema
screen theory
realism
epistemology
