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齐泽克—波德维尔之争再考察

A Reexamination of the Controversy Between Slavoj Žižek and David Bordwell
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摘要 齐泽克和波德维尔的学术论争,常被归为“中等层面”与“宏大理论”的范式之争。两人确有分歧,但都反对相对主义,尤其是文化研究中的相对主义。对于波德维尔和“后理论”来说,相对主义拒绝真实的确定性,强调主体认同的多元性。齐泽克则质疑文化研究的反本质主义,悬置真与假的基本判断。齐泽克当年的质疑发展出“后电影”版本,如对连续剪辑、叙事功能的再讨论。“后电影”不是前述理论论争的消弭,而是其新挑战和再发展。 The academic debate between SlavojŽižek and David Bordwell is often regarded as the paradigm debate between“middle-level”and“grand theory”.There are differences between the two scholars,but both oppose relativism,especially in cultural studies.For Bordwell and the“post theory”,relativism rejects the truth.Žižek questioned the anti-essentialism of cultural studies,which suspended the basic judgment of truth and falsehood.Žižek’s doubts developed a“post-cinema”version,such as the function of continuous editing and narration.“post cinema”is not the elimination of the above theoretical debates,but its new challenge and re-development.
作者 刘昕亭 Liu Xinting
出处 《电影艺术》 北大核心 2024年第3期41-48,共8页 Film Art
基金 国家社科基金一般项目“主体介入与现实主义发展新阶段研究”(批准号:20BZW007)阶段性成果。
关键词 波德维尔 齐泽克 后理论 后电影 认知主义 SlavojŽižek David Bordwell post-theory post-cinema cognitivism
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二级参考文献18

  • 1《后理论.重建电影研究》[M].中国社会科学出版社,2000年版.第710页.
  • 2The Fright of Real Tears:Krzys of Kieslowski between Theory and Post-Theory, London: BFI,2001.
  • 3Post-Theory : Reconstructing Film Studies (Madi-son: University of Wisconsin Press, 1996).
  • 4Colin MacCabe, “Days of Hope-A Response toColin McArthur,” Screen 17, 1 (Spring 1976), 103.maikebi.
  • 5Ben Brewster, Stephen Heath, and Colin Mac-Cabe, “Comment,” Screenl6, 2(Summer 1975),87.
  • 6Post.Theory: Recon-structing Film Studies (Madison : University ofWisconsin Press, 1996).
  • 7《故事片中的叙事inthe Fiction Film )(麦迪逊,1985, 110 113).
  • 8Ben Brewster and Lea Jacobs, Theatre to Cin-ema :Stage Pictorialism and the Early FeatureFilm (Oxford: Oxford University Press, 1998).
  • 9See the many discussions of 1917 releases in thebook, as well as the analysis of (1919),133-136.
  • 10See also Ben Brewster, “The Circle: Lubitsch andthe Theatrical Farce Tradition, Film History 13,4 (2001),372-389.

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