摘要
通过阐释德勒兹论述戈达尔的具体文本,也将德勒兹电影理论与论文电影的研究相连,本文希望一方面展现戈达尔的蒙太奇手法及其历史在德勒兹理论谱系中的位置,并试图将德勒兹论电影与论绘画的相关概念进行类比,另一方面也进一步深入理解论文电影的创作特征与发展方向,并在此启发下寻找一种在绘画与电影、图像与影像间跨越门类与学科的研究可能。
Based on Deleuze’s specific texts on Godard,and by connecting Deleuze’s film theory with the study of“thesis film”,this paper aims to examine the importance of Godard’s montage technique and its historical position in Deleuze’s film theories,and tries to compare Deleuze’s concepts on film and painting.On the other hand,the paper makes a further study on the creative features and trend of“thesis film”,looking for another research possibility that transcends categories and disciplines set between painting and film and their images.
出处
《上海文化》
CSSCI
2022年第12期90-101,共12页
Shanghai Culture
基金
国家社科基金一般项目“德勒兹与加塔利生命诗学研究”(项目号:21BWW012)的阶段性研究成果。
