如何以影行事

文艺理论研究 ›› 2023, Vol. 43 ›› Issue (5): 144-152.

如何以影行事

刘金平, 顾佳绮

出版日期:2023-09-25 发布日期:2023-11-15
作者简介:刘金平,厦门大学电影学院助理教授,主要从事电影理论与香港动作电影研究。电子邮箱:xmuljp@outlook.com。顾佳绮,华东师范大学哲学系在读博士生,主要从事西方哲学与艺术理论研究。电子邮箱:filmgjq@outlook.com。通讯地址:福建省厦门市思明区厦门大学海韵园行政楼C415,361005。

How to Do Things with Image: From the Paradigm of Representation to the Paradigm of Performance

Online:2023-09-25 Published:2023-11-15
About author:Liu Jinping is an Assistant Professor at the School of Film, Xiamen University. His research interests include film theory and Hong Kong action cinema. Email: xmuljp@outlook.com. Gu Jiaqi is a Ph.D. candidate at the Department of Philosophy, East China Normal University. Her research interests include western philosophy and art theory. Email: filmgjq@outlook.com. Address: C415, Administrative Building, Haiyun Campus, Xiamen University, Siming District, Xiamen, Fujian.

摘要/Abstract

摘要： 本文以数字时代里电影理论围绕影像索引性和现实主义的争论为开端,阐明从再现范式走向展演范式下的影像观念的必要性、理论脉络与方法。在展演视观下,影像被理解为一种行动着的事件,是创制而非再现世界的生成性力量。由此,视觉经济学邀请我们关注影像在行动者网络中的复杂流通,及其在与观者多元异质的遭遇中如何落实自身的潜能。情动理论则要求我们不仅注意到影像的展演效力首要地来自其对情动的触发,也注意到情动的通感性、自由联结和涨落起伏。作为情动展演的影像不仅提醒我们保持对情感显微流动和变化的动情学的亢奋意识,更向我们许诺了一种更为积极和开阔的影像互动即修复式阅读的可能。

关键词: 影像, 再现, 展演, 情动

Abstract: Starting from the controversy about the indexicality and realism of image in current film theory in the digital age, this article aims to clarify the necessities, contexts, and methods of the theoretical turn from the paradigm of representation to the paradigm of performance. From the perspective of performance theory, image is primarily viewed as an action, an event, or a generative force that creates rather than represents the world. Therefore, visual economy invites us to pay attention to image's complicated circulation in the actor-network and how it actualizes its potential in the diverse and heterogeneous encounters with the audience. The affect theory requires us to note image's ability to trigger affects and feelings. and its qualities of synaesthesia, free connection and fluctuation. Image as an affective performance not only reminds us of keeping a hyperconsciousness of the affective minimum and the microscopic fragment of emotion, but also promises a more positive and open interaction with image, namely, the reparative reading.

Key words: image, representation, performance, affect

刘金平, 顾佳绮. 如何以影行事[J]. 文艺理论研究, 2023, 43(5): 144-152.

Allen, Richard. “There Is Not One Realism, but Several Realisms: A Review of Opening Bazin.” October 148(2014):6378.
Austin, John Langshaw. How to Do Things with Words. Oxford: Oxford University Press, 1962.
Barthes, Roland. Image-Music-Text. Trans. Stephen Heath. London: Fontana Press, 1977.
---. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill and Wang, 1981.
安德烈·巴赞:《电影是什么？》,崔君衍译。北京:中国电影出版社,1987年。
[Bazin, André. What Is Cinema? Trans. Cui Junyan. Beijing: China Film Press, 1987.]
Benjamin, Walter. Walter Benjamin: Selected Writings. Vol.3. Trans. Howard Eiland. Ed. Michael Jennings. Cambridge, MA: Harvard University Press, 2006.
Bordwell, David. On the History of Film Style. Cambridge, MA: Harvard University Press, 1997.
Brown, Elspeth H., and Thy Phu. “Introduction.” Feeling Photography. Eds. Elspeth H. Brown and Thy Phu. Durham: Duke University Press, 2014.128.
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1999.
Carlson, Marvin. Theatre: A Very Short Introduction. Oxford: Oxford University Press, 2014.
Cartwright, Lisa, and Elizabeth Wolfson. “Introduction: Affect at the Limits of Photography.” Journal of Visual Studies 17.2(2018):14151.
Casetti, Francesco. “Back to the Motherland: The Film Theatre in the Postmedia Age.” Screen 52.1(2011):112.
Daly, Kristen. “Cinema 3.0: The Interactive-Image.” Cinema Journal 50.1(2010):8198.
Edwards, Elizabeth. “Objects of Affect: Photography Beyond the Image.” Annual Review of Anthropology 41(2012):221234.
Gamble, Christopher N., Joshua S. Hanan, and Thomas Nail. “What Is New Materialism?” Angelaki 24.6(2019):111134.
Gaudreault, Andre, and Philippe Marion. The End of Cinema?: A Medium in Crisis in the Digital Age. New York: Columbia University Press, 2015.
Hevia, James. “The Photography Complex: Exposing Boxer-Era China (19001901), Making Civilization.” Photographies East: The Camera and Its Histories in East and Southeast Asia. Ed. Rosalind Morris. Durham: Duke University Press, 2009.7999.
Huhtamo, Erkki, and Jussi Parikka. “Introduction: An Archaeology of Media Archaeology.” Media Archaeology. Eds. Erkki Huhtamo and Jussi Parikka. Berkeley, LA: University of California Press, 2011.124.
Keane, Webb. “Signs Are Not the Garb of Meaning: On the Social Analysis of Material Things.” Materiality. Ed. Daniel Miller. Durham: Duke University Press, 2005.182205.
Lazzarato, Maurizio. “Struggle, Event, Media.” Trans. Aileen Derieg. Transversal Texts. May 2003.02 April 2022. <https://transversal.at/transversal/1003/lazzarato/en>.
Miller, Daniel. “Why Some Things Matter.” Material Cultures: Why Some Things Matter. Ed. Daniel Miller. London: UCL Press, 1998.321.
Mitchell, W.J.T. “There Are No Visual Media.” Journal of Visual Culture 4.2(2005):257266.
Morgan, Daniel. “Rethinking Bazin: Ontology and Realist Aesthetics.” Critical Inquiry 32.3(2006):443481.
Poole, Deborah. Vision, Race, and Modernity: A Visual Economy of the Andean World. Princeton: Princeton University Press, 1997.
Rodowick, David Norman. The Virtual Life of Film. Cambridge, MA and London: Harvard University Press, 2007.
Rorty, Richard. Philosophy and the Mirror of Nature. Princeton: Princeton University Press, 1979.
伊芙·塞吉维克:《情感与酷儿操演》,金宜蓁、涂懿美译,何春蕤校,《性／别研究》3—4(1998):90—108。
[Sedgwick, Eve. “Affect and Queer Performativity.” Trans. Jin Yizhen and Tu Yimei. Ed. He Chunrui. The Studies of Sexualities 34(1998):90108.]
---. Touching Feeling: Affect, Pedagogy, Performativity. Durham: Duke University Press, 2003.
Seigworth, Gregory, and Melissa Gregg. “An Inventory of Shimmers.” Affect Theory Reader. Eds. Gregory J. Seigworth and Melissa Gregg. Durham: Duke University Press, 2010.125.
Wollen, Peter. Signs and Meaning in the Cinema. London: BFI Publishing, 1998.
徐立虹:《数字媒体时代的巴赞电影理论》,《北京电影学院学报》3(2019):5—11。
[Xu, Lihong. “Bazin's Film Theory in the Age of Digital Media.” Journal of Beijing Film Academy 3(2019):511.]
严芳芳:《“触感视觉”:一种重新认识电影的理论路径》,《文艺理论与批评》3(2020):113—120。
[Yan, Fangfang. “‘Haptic Visuality’: An Approach to Re-know Cinema.” Theory and Criticism of Literature and Art 3(2020):113120.]
赵毅衡:《符号学原理与推演》。南京:南京大学出版社,2011年。
[Zhao, Yiheng. The Rationales and Deductions of Semiotics. Nanjing: Nanjing University Press, 2011.]
郑国庆:《试论塞吉维克的情动理论》,《广州大学学报》4(2019):6—11。
[Zheng, Guoqing. “A Brief Introduction to Sedgwick's Affect Theory.” Journal of Guangzhou University (Social Sciences Edition) 4(2019):611.]

[1]	程赟. “揭示原形”的迹象艺术 [J]. 文艺理论研究, 2023, 43(5): 114-123.
[2]	赵轩. 电影的叙述距离：从形式到价值的考察 [J]. 文艺理论研究, 2023, 43(2): 118-128.
[3]	聂欣如. 德勒兹“影像自身”的真实性策略 [J]. 文艺理论研究, 2023, 43(1): 88-96.
[4]	盖琪, 林贵海. 情动理论视角下的电影暴力美学 [J]. 文艺理论研究, 2022, 42(4): 32-42.
[5]	张乃午. 鲁迅影像及其视觉表征 [J]. 文艺理论研究, 2021, 41(6): 43-54.
[6]	葛跃. 德勒兹的情动理论与生成文学 [J]. 文艺理论研究, 2021, 41(4): 109-116.
[7]	张英进. 三读早期电影理论：器件转向、情动机制、动作喜剧 [J]. 文艺理论研究, 2021, 41(2): 90-96.
[8]	彭佳. 指示性重临：从影像的“曾在”到数字的“此在” [J]. 文艺理论研究, 2020, 40(6): 136-148.
[9]	张志全. 叙事功能与生命秩序：目连赛戏的展演形态解构 [J]. 文艺理论研究, 2019, 39(6): 23-32.
[10]	何卫华. 创伤叙事的可能、建构性和功用 [J]. 文艺理论研究, 2019, 39(2): 170-178.
[11]	陈历明. 音乐化：徐志摩的诗歌美学 [J]. 文艺理论研究, 2018, 38(6): 56-68.
[12]	刘芊玥. “情动”理论的谱系 [J]. 文艺理论研究, 2018, 38(6): 203-211.
[13]	段炼. 莫里斯的符用学与南宋山水画的范式之变 [J]. 文艺理论研究, 2017, 37(1): 189-199.
[14]	冯伟. 文化挪用视角下的跨文化戏剧 [J]. 文艺理论研究, 2016, 36(5): 201-209.
[15]	胡新宇. 德勒兹与巴迪欧电影理论比较研究——以文德斯《虚假的运动》为例 [J]. 文艺理论研究, 2015, 35(6): 201-207.