影像的魅惑力:揭开巴特的“面具”

The Allure of Moving Images: Unmasking Roland Barthes

罗兰·巴特公开表示过对电影的抵触,但实际上他对电影的态度却是口是心非。本文试图从巴特的两篇电影批评《嘉宝的脸》与《走出电影院》入手,探讨巴特对电影的魅惑力这一话题所进行的复杂思考,并借助两篇短文中"面具"与"中性"思想在巴特后期批评思想中的嬗变,及其与60年代后"返魅"思潮的脉络关系,对巴特的电影批评进行重新思考和审视,从而阐释隐藏在巴特"抵触"电影这一态度背后对电影艺术的欲罢不能之爱,进而揭示出巴特对电影及艺术魅惑力的哲思。

Roland Barthes was notorious for his self-proclaimed'resistance'to the cinema.It strikes as a paradox to that claim because Barthes undeniably left a rich seam of writing on the subject.This paper examines Barthes’s complex thought on the allure of cinema by reading his two essays on it-'Garbo’s Face'and'Leaving the Movie Theater'-along with Barthes’s later train of thought and other post-structural ideas of the reenchantment.It proposes that Barthes’s'resistance'to moving images should be reconsidered as a neutral strategy to mask his fascination with the allure of cinema.