本雅明电影话语的辩证意象及其视觉隐喻

The Dialectical Images and its Visual Metaphors in Benjamin’s Film Discourse

在现代电影理论中,阐释电影本质大致从两个方面论证,一是将电影体验描述为一种幻想体验;二是通过摄影与电影的因果关系,揭示出本体论意义上的想象性转换。 因为电影本质上是通过摄影与蒙太奇的技术对外在客体进行一种无中介的呈现,从而电影在现代性的感知经验结构中往往被描述成一个“想象的能指”~①。 本雅明从文化哲学的维度,不仅阐释了电影的革命性功能,还以电影的蒙太奇语言分析了视觉文化的逻辑结构与无意识的审美再现。

In modern film theory, the essence of film can broadly be interpreted from two aspects. One is to depict the cinematic experience as a fantasy experience and the other is to reveal the imaginative transformation in the ontological sense through the causal relationship between photography and cinema. Because film is essentially an unmediated representation of an external object through the techniques of photography and montage, which is often described as an “imaginary signifier” in the perceptual experience of modernity. From the dimension of cultural philosophy, Benjamin not only interpreted the revolutionary function of film, but also analyzed the logical structure of visual culture and the aesthetic representation of the unconsciousness with the montage language in the films.