看非/即所看:电影的自动机制与消相的感性学

What is not seen/ what is seen : The automatic mechanism of movies and the sensibility of disappearance

电影与现实世界之间的关系存在三种观看方式的解读,一种是传统的现实本体,主张电影模仿现实;第二种是相对立的电影本体论,卡维尔将电影视为世界自动投射,暗示了电影并非简单地模仿现实,这开启了一种基于自动机制的电影本体论探讨方法;第三种是介于两种本体论之间,维利里奥的竞速学提供了这一特殊观看视角。卡维尔无疑也具有第三种理论潜能;将卡维尔自动机制观与维利里奥的光媒介感性学相结合,可以看到,电影塑造出新的感性系统,借此发现世界的某种真实结构,这一真实结构既是现实所是,同时亦非现实所是。电影中的真实可能只是一种变换相貌的世界景观,媒介的自动作用为光媒介下的新感知系统树立了典型情境,电影的自动机制将新旧感知对象全部放在光媒介之上,使旧面相以新方式呈现,而各种面相在相互比对中形成消隐与浮现的动态关联,这是一种特殊的消相感性学。

The relationship between movies and the real world can be viewed in three ways.The first is the traditional reality itself,which advocates that movies imitate reality.Carville's view of film as an automatic projection of the world implies that film is not simply imitating reality.This opens up a method for exploring film ontology based on automatic mechanisms.The third type is between the two ontologies,and Villio's racing theory provides this special perspective.Cavell undoubtedly possesses a third theoretical potential.By combining Carville's automata with Villio's light medium sensibility,it can be seen that movies shape new perceptual systems,thereby discovering a certain real structure of the world that is both real and non real.The reality in a movie may only be a world landscape that transforms its appearance,and the automatic action of the medium establishes a typical context for the new perception system.The automatic mechanism of the movie places all the new and old perception objects on top of the light medium,presenting the old faces in a new way,and the various faces form a dynamic correlation of disappearance and emergence through mutual comparison.This is a special form of deconstructive perception.