重思大脑电影:从德勒兹到马拉布

Rethinking Brain Cinema:From Deleuze to Malabou

本文首先试图从德勒兹在《什么是哲学?》中的大脑理论中提炼出思维、主体和间隙这三个要点,再由此导向对《电影2:时间-影像》中的大脑电影概念的深刻解析,并由此最终归结为死亡与记忆、否定性与肯定性这一对根本的矛盾。德勒兹偏爱肯定性,由此错失了死亡作为绝对否定性这个要点,而马拉布以可塑性这个核心展开的大脑哲学却恰好得以将否定性带向极致。最后,我们将以安东尼奥尼的颜色手法为例,展示以可塑性之强力来根治灵活性之脑病的未来可能。

This paper first attempts to learn from Deleuze’s theory of brain in What is Philosophy?by focusing on three main points:thinking,subject and interval.Then we’ll move on to a comprehensive analysis of the concept of brain cinema in Cinema 2,and finally get to deal with the fundamental contradiction between death and memory,negation and certainty.Deleuze’s preference for positivity misses the point that death is absolutely negative,while Malabou’s philosophy of the brain,which evolves around the kernel of"plasticity",is just able to bring the negative to the extreme.Finally,we will take Antonioni’s color technique as an example to show the possibility of radical treatment of the brain disease of"flexibility"with the power of"plasticity"in the near future.