从卡维尔到德勒兹:电影自动机制的美学

From Cavell to Deleuze:The Aesthetics of Cinematic Automatism

晚近的电影理论重拾本体论议题,将自动机制置于电影本体论的核心。卡维尔批驳巴赞的实证工具主义,提出电影展现一个世界,世界是不断变化和富有创造性的,最终回应怀疑论问题。电影自动机制通过既让人观看又将人排除的方式,指向人对世界的理解和承认,进而转变自身。德勒兹则论述了不同类型的自动机制,包括运动-影像中连续的数学单位、爱森斯坦式的辩证自动装置和阿尔托式的精神自动装置。精神自动装置通过影像和思想间的相互拆解,迫使思想走向外部、遭遇事件。从卡维尔到德勒兹,电影自动机制始终作为一种激发变化和生成的艺术形式,但卡维尔站在人文主义的立场,侧重人与世界的关系,德勒兹则站在后人文主义的立场,强调世界自身的生成。

In recent years,film theory has regained the topic of ontology and put automatism at the core of cinematic ontology.Cavell criticizes Bazin’s positive instrumentalism and points out that the film shows a world,which is constantly changing and creative,and finally responds to the question of skepticism.Cinematic automatism points to people’s understanding,recognition and change through the way of letting people see and excluding them at the same time.Deleuze discusses different types of automatisms,including the continuous mathematical units in the movement-image, Eisenstein’s dialecticalautomaton and Artaud’s spiritual automaton. Through the mutual disassemblybetween image and thought, the spiritual automaton forces thought to go outside and to encounter events. From Cavell to Deleuze, cinematic automatismhas always been an art form to stimulate change and becoming. However,Cavell stands on the position of humanism, focusing on the relationship between human and the world, while Deleuze stands on the position of the posthumanism, emphasizing the becoming of the world itself.