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文艺理论研究

文艺理论研究 ›› 2021, Vol. 41 ›› Issue (2): 90-96.

• 西方文论 • 上一篇    下一篇

三读早期电影理论：器件转向、情动机制、动作喜剧

张英进   

  1. 上海交通大学人文学院
  • 出版日期:2021-03-25 发布日期:2021-03-23
  • 作者简介:张英进，文学博士，上海交通大学人文学院访问讲席教授，美国加州大学圣地亚哥分校文学系系主任、比较文学特聘教授，研究范围包括文学、电影、都市文化、文化史。

Third Reading of Early Film Theory: The Turn to Dispositif, Affect, and Action Comedy

Zhang Yingjin   

  1. School of Humanities, Shanghai Jiao Tong University, China
  • Online:2021-03-25 Published:2021-03-23
  • About author:Zhang Yingjin, Ph.D., is a visiting chair professor at the School of Humanities, Shanghai Jiao Tong University, China, and distinguished professor of Comparative Literature, Chair of the Department of Literature at University of California. His research covers literature, film, urban culture, and cultural history.

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摘要： 早期电影研究从1990年代初开始风行，已经成为欧美电影研究领域的一个热点，让科技创新、视觉文化与都市现代性并行进入电影史的视域，丰富了原先以文本细读为主流的电影学界的学术成果。本文继续笔者对早期电影研究的追踪，重点在探索近年研究中强调的“媒介考古学”的方法论问题。笔者的《阅读早期电影理论：集体感官机制与白话现代主义》（2005）聚焦汉森的电影理论与张真的上海电影文化史重构，后续的《再读早期电影理论：追寻都市现代性的感官体验》（2008）回溯克拉考尔和本雅明等人的现代性文化理论和现代都市文化的视觉转向。12年之后，笔者三读早期电影理论，追踪作为早期电影研究最新发展的媒介考古学的“器件”转向，一方面以包卫红等人的新作为例，思考器件转向与情动在中国早期电影研究的呈现，另一方面以默片时代的卓别林的动作喜剧《城市之光》为例证，探求电影的情动特性。

关键词: 早期电影, 感官, 情动, 器件, 动作喜剧, 卓别林

Abstract: Early film studies has spread rapidly since the 1990s and become a mainstay in film studies in Euro-American academia, bringing technological innovation, visual culture, and urban modernity into film historiography and thus enriching scholarship in a field previously dominated by close textual reading. This article continues my tracking of early film studies but concentrates on methodological issues of the recent focus on “media archaeology.” My “Reading Early Film Theory: Collective Sensorium and Vernacular Modernism” (2005) introduces Miriam Hansen’s theory and Zhen Zhang’s book on reconstructing a cultural history of Shanghai film. My follow-up “Rereading Early Film Theory: In Pursuit of Sensorial Experiences in Urban Modernity” (2008) revisits cultural theories of modernity by Krakauer and Benjamin and the visual turn in modern urban culture. Twelve years later, my third reading of early film theory examines the turn to dispositif in the media archaeology of early cinema. On the one hand, I reference scholars like Weihong Bao in delineating the emergence of dispositif and affect in early Chinese cinema; on the other hand, I tease out instances of filmic affect in Chaplin's action comedy, City Lights.

Key words: early film, senses, affect, dispositif, film comedy, Charlie Chaplin