电影《非常嫌疑犯》中视觉空间下凝视关系的转向

The Turning of Gaze Relationship in Visuospace in the Movie The Usual Suspects

“凝视”在单纯的生理机能——视觉“看”的基础上被赋予社会、心理、文化等意义,不再只是感官维度上的观看行为,而更多强调的是受多重关系影响下所建构出来的“反凝视”行为。其理论核心由主体朝向客体的单一向度发展为主客体间的循环转向,凝视主客体不再单一、固定。凝视理论不断外延深化,为绘画鉴赏、建筑构建等方面的解读带来崭新的视角。凝视载体也由生理视觉器官——眼睛转向具有视觉功能的其他介质,如摄像机、监控器、医院、监狱等。本文将主要基于拉康与福柯的凝视理论,以电影《非常嫌疑犯》为文本,分析医院、审讯室作为视觉空间所表现出来的“权力凝视”以及凝视主体与凝视他者之间凝视关系的转向。

“Gaze” is endowed with social, psychological, cultural and other meanings on the basis of the simple physiological function—visual “seeing”. It is no longer just a viewing behavior in the sensory dimension, but more emphasis is placed on the “anti-gaze” behavior constructed under the influence of multiple relations. The core of his theory develops from the single direction of the subject towards the object to the circular turn between the subject and object, and gaze at the subject and object is no longer single and fixed. The continuous extension and deepening of gaze theory bring a new perspective to the interpretation of painting appreciation and architectural construction. The gaze carrier also turns from the physiological visual organ—the eye to other media with visual functions, such as cameras, monitors, hospitals, prisons and so on. Based on the gaze theory of Lacan and Foucault, this paper will analyze the “power gaze” in the visual space of the hospital and the interrogation room and the turning of the gaze relationship between the gazing subject and the gaze other with the text of the movie The Usual Suspects.