我手指所知道的一切:电影美觉主体,或肉身的视觉

What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh

本文为电影现象学的综述性论文,维维安·索布切克从梅洛-庞蒂的《知觉现象学》中的肉身感知前提出发,沿着一条身体经验的线索对新千年之前由索布切克、琳达·威廉姆斯和劳拉·马克斯等人所引领的北美现象学电影研究进行了全景式扫描。通过质疑视觉对其他感觉的特权,将看电影的经验推广到各种不同的身体感官,本文提出了基于感官综合的电影美觉主体概念,并思考了联觉与共觉、身体与再现、字面与隐喻等具身体验方面的理论问题。

This paper is an overview essay on the phenomenology of film experience, in which Vivian Sobchack follows a thread of bodily experience to provide a panoramic scan of North American phenomenological film studies before 2000. By questioning the privileging of vision over other senses, this paper proposes a concept of cinesthetic subject based on sensory synthesis and considers theoretical issues in the context of embodied experience such as association and synaesthesia, body and representation, literal and metaphorical, etc.