以电影反抗景观——居伊·德波走出景观迷境的革命策略

The Film as a Means against the Spectacle: Guy Debord’s Revolutionary Strategy of Walking out of the Maze of Spectacle

景观以其强烈的渗透性和隐蔽性,让电影影像也不可避免地沦为景观统治日常生活的工具。为了将电影从景观的迷境中拯救出来,居伊·德波将电影作为武器,通过追问电影本质,向景观的单向度炫示展开论战。在景观的统治下,德波认为电影的本质不是艺术,而是首先表现为影像的自反性。德波在电影创作中通过反对影像来反对电影,其目的是反对景观的视觉统治。德波认为电影是重现历史的有效载体,他试图利用虚假的连续性来表现整体的历史,使历史在电影中重新焕发活力,进而让大众整体地感知世界。德波认为电影是挣脱景观的利器,他曾多次宣称电影艺术已死,但并非宣告电影艺术真正的消亡,而是为了重新建构电影艺术,召唤电影摆脱景观的控制,最后完美地回归其艺术地位,这是德波围绕电影本质采取的走出景观迷境的革命策略。

The spectacle,with its strong permeability and concealment,inevitably turns film images into tools to dominate the daily life.In order to save the film from the maze of the spectacle,Guy Debord employs the film as a“weapon”and launches a debate on the unidirectional display of the spectacle by questioning the essence of the film.Firstly,Debord believes that the essence of the film is not art,but rather the reflexivity of images under the rule of spectacle.Secondly,Debord opposes the film by opposing images in his film creation with the aim of opposing the visual domination of the spectacle.Thirdly,Debord holds that the film is an effective carrier for representing history as he attempts to use the false continuity to represent the whole history and to revitalize history in films which allows people to perceive the world holistically.Finally,Debord thinks that the film is still a powerful tool to break free from the spectacle.Though he has repeatedly claimed that film art is dead,which does not declare its true demise,but to reconstruct the film art and expect it to break free from the control of the spectacle,and eventually perfectly regain its artistic status.This is a revolutionary strategy adopted by Debord to break free from the maze of the spectacle concerning the essence of the film.