图像的关系本体论及其批判——彼得·桑迪的电影影像理论研究

The Onthology of Image and Its Criticism:A Research on the Film Theory of Peter Szendy

彼得·桑迪的"图像经济"(iconomie)延续德勒兹的电影哲学,在西方思想史中建立了图像与经济之间内在的依存关系,并在蒙赞等学者的研究基础上提出了图像的关系本体论。图像内在固有的债务属性让图像获得了超出自身、超出作品,并与其他图像建立关系的动能,图像的可交换性和异时性让图像的本质不在于生产者(导演)与自身(图像学),而在于与其他图像的既有的和未来的关系,进一步摧毁了"原作"的概念,同时批判了数字时代的图像影子经济。

Following Deleuze’s philosophy of cinema,Peter Szendy tries to establish the inherent dependence between image and economy from the European intellectual history,and proposes a relational ontology of image based on the research of Marie-JoséMondzain and others.The immanent debt property of the image gives image the dynamic energy to go beyond itself,beyond the art work,to establish relationships with other images.The exchange ability and heterochrony of image leads the essence of image not in the producer(film director),itself(iconography,semiotics),but in the existing or prospective relationship between other images,which further destroys the concept of“original”image,while criticizing the“shadow iconomy”in the digital age.