乔治·迪迪-于贝尔曼图集——蒙太奇的思想脉络

Georges Didi-Huberman's Theoretical Path of the Atlas-Montage

乔治·迪迪-于贝尔曼质疑知识的先验条件并致力于一种探索性的“图像知识”。一方面,他批判了安德烈·马尔罗主观且风格趋同的摄影图册理念,同时吸收了以“错时”“反图像志”和“横向知识”为代表的瓦尔堡的图像图集理论。另一方面,他借鉴本雅明的辩证图像和巴塔耶的形式辩证法思想,为图集理论加入蒙太奇式辩证的成分,并且引入了电影实践(爱森斯坦、戈达尔、法罗基)和“再蒙太奇”理论,最终形成自己的“图集—蒙太奇”理论。

Georges Didi-Huberman questioned a priori conditions of knowledge and dedicated himself to an exploratory"image knowledge".On the one hand,he criticized Andre Malraux's subjective and stylistically homogeneous conception of the photographic album,while assimilating Warburg's image atlas theory represented by"anachronism","anti-iconography"and"transversal knowledge".On the other hand,he borrowed Benjamin's dialectical image and Bataille's ideas of formal dialectics to add elements of montage-style dialectics to the atlas theory.He introduced cinematic practices(Eisenstein,Godard,Harun Farocki)and re-montage theory and eventually formed his theory of"atlas-montage".