电影的透明度

Transparencies on Film

奥伯豪森人用“爹地电影”来攻击电影工业近60年的垃圾制作,是因为这种电影具有婴幼儿特征,也符合消费者需要。电影不同于小说,小说描述得越精确,虚构的人物离现实就越远,但电影却必须找到表达直接性的方式。在安东尼奥尼的《夜》等电影中,电影技术理论已有所体现。电影面临的两难困境是能找到一种程序,使其既没有陷入工艺美术之中,也没有滑向纯粹的纪录片模式那里。现在看来只有蒙太奇能担此重任,而像柔焦镜头、叠印、闪回等媚俗技巧则应被弃之不顾。电影作为文化工业,其意识形态是要操控大众,但它就像它意欲控制的那个社会一样也具有了某种对抗性。文化工业的意识形态包含着对其自身谎言的解毒剂。

The Oberhauseners attacked the nearly sixty-year-old trash production of the film industry with the epithet"Daddy's Cinema"because of its infantile character,and because it corresponded to what the consumers wanted.Film is different from novel,whose fictional characters are removed even further from empirical reality due to the very precision of their presentation.Film,however,must search for means of conveying immediacy.Theories of film technique have already been found in the films like Antonioni's La Notte.Film is faced with the dilemma of finding a procedure which neither lapses into arts-and-crafts nor slips into a mere documentary mode.Now,it seems that only montage can undertake this important task,while techniques like soft-focus shot,superimposition and flashback which have the appearance of kitsch should be abandoned.The ideology of film,which belongs to the culture industry,is to manipulate the masses.But film becomes as antagonistic as the very society which it aims to control.The ideology of the culture industry contains the antidote to its own lie.