直面镜头:艺术越界、政治实践与视觉触摸

Facing the Camera:Transgressive Art,Political Action,and Visual Touch

电影中让角色直接面向观众的“直面镜头”,在拍摄实践和理论话语中经历了复杂的发展,对应不同时期“看”的方式与权力的变化。从“可看”到“不可看”,对应叙事电影规则的逐步建立和好莱坞语法对世界电影的统摄;从“不可看”到“可看”,体现出电影实践对拍摄陈规和社会现实的政治性反叛,突出电影媒介性的同时将观众视作能动的主体;从“可看”到艺术和技术地“看”,以目光触摸和邀约观众,变观看者为行动者。

“Facing the camera”,a cinematic technique that places the characters directly in front of their audience,has undergone complex transformations in terms of filmmaking practice and theoretical interpretation.These changes are also symptomatic of how the ways and power relationships of“viewing”evolve through time.The movement from the“viewable”to the“unviewable”reflects the progressive making of narrative film principles and Hollywood film grammar's dominant influence over the world cinema;the shift from the“unviewable”to the“viewable”reveals filmmakers'political rebellion against industrial conventions and social realities,highlighting film's mediality and rendering the audience as a subject with latent autonomy;while the transformation from the“viewable”to“viewing”in an artistic and technical sense attempts to touch and invite the audience through its cinematic gaze,turning the distanced observers into active agents.