大型并列:戈达尔的纯粹影像实践问题

Great Parataxis:On Godard’s Pure Image Practice

戈达尔始终关注影像作为人类独立精神根基的可能。其以“大型并列”手法不断探索影像的潜能,在大尺度的并列混合中触及思维最本源的机制,创造一种迥异于人类话语思维的精神运动模式。朗西埃以“图像句子”来比喻这一奇异的美学效应。以比附的方式来看,绘画性陈述与戏剧性陈述是图像句子的两种特殊句式。在不同的影像句法组合中,戈达尔灌注了其对艺术体制、美学惯性等的思考。但在此过程中排斥语言之于影像本然的作用,是其实践失于偏颇的一面。

Godard has always been concerned with the possibility of image as the root of independent human spirit.His“great parataxis”constantly explores the potential of images,and in the large scale juxtaposition and mixing,he reaches the most fundamental triggering mechanism of thinking,creating a mental movement mode that is very different from human discourse thinking.Rancière uses the term“sentence-image”as a metaphor for this singular aesthetic effect.Analogically,pictorial statements and dramatic statements are two special syntax of sentence-image.In the different combinations of image syntaxes,Godard reflects profoundly on art regime,aesthetic inertia.As rejecting language’s effect on image absolutely,Godard’s Practice contains its limitations.