摘要
1964年到1968年是克里斯蒂安·麦茨电影符号学思想形成的早期阶段。这一时期他的理论呈现为现象学与结构主义之间的对话,这既是巴赞时代到麦茨时代的过渡,也构成写实主义主导的象似性理论到语言学主导的“理据性”符号理论的过渡。麦茨首次明确提出电影与语言的类比,解决了长期困扰电影研究的现象学问题。他开创了一种实证性的经验主义方法,既依赖于模型又根据具体情境和历史限定对模型进行修订和更新,比如“大组合段”理论。尽管后理论和德勒兹主义对电影研究提出了新的挑战,麦茨的理论框架仍具有启示意义。
From 1964 to 1968, Christian Metz's early phase of film semiotic thought emerged. During this period, his theoretical progress highlighted a dialogue between phenomenology and structuralism, marking a transition from the Bazin Era to the Metz Era and from realism-dominated iconic theory to linguistics-dominated “motivated” semiotic theory. Metz first explicitly drew an analogy between film and language, addressing long-standing phenomenological issues in film studies. He employed an empirical method, revising models based on specific contexts and historical developments, such as the“grande syntagmatique” theory. Despite the challenges posed by post-theory and Deleuzianism to film studies, Metz's theoretical framework continues to offer significant insights.
