电影注意是观众与电影相遇之后所形成的意识聚焦。在观影活动中,电影被观众意向性地建构起来,因而电影是它在观众意识的显现,可称之为“观众电影”。电影注意试图运用现象学原理来还原电影的意识结构,恢复观众的主体地位,从而揭示电影的本质,即观众与电影的意向性连接。电影注意先于其他意识,先有电影注意,然后才有观影的其他意识活动;电影注意内在于电影感知,具有意识活动的基本结构,是综合性的感知形式,反映着观众与电影的交互关系。总之,电影注意试图为电影向观众意识的显现提供整体的、原理性的诠释,从观影意识活动的维度为电影本体和发生学问题带来新的认知路径。
Abstract
Cinematic attention refers to the audience's conscious focusing after engaging with a film. This engagement results in the audience's intentional construction of the film, giving the film an appearance within the viewer's consciousness, hence referred to as “audience-cinema.” This study leverages phenomenological principles to dissect the consciousness structure within cinema, aiming to elevate the audience's role in film interpretation and uncover the fundamental nature of cinema as an intentional bond between viewer and film. Cinematic attention, a precursor to other forms of viewing consciousness, is inherent in the act of film perception. It embodies the core structures of conscious activity, serving as an integrative form of perception, that encapsulates the dynamic exchange between film and viewer. Ultimately, this examination of cinematic attention offers a comprehensive, principle-based exploration of how films manifest within audience consciousness, proposing new insights into film ontology and the genesis of filmic understanding from the perspective of viewing consciousness.
关键词
电影注意 /
意识聚焦 /
意向性连接 /
意识显现 /
电影现象学
{{custom_keyword}} /
Key words
cinematic attention /
conscious focusing /
intentional connection /
appearance in consciousness /
film phenomenology
{{custom_keyword}} /
{{custom_sec.title}}
{{custom_sec.title}}
{{custom_sec.content}}
参考文献
鲁道夫·爱因汉姆:《电影作为艺术》,杨跃译。北京:中国电影出版社,1981年。
[Arnheim, Rudolf. Film as Art. Trans. Yang Yue. Beijing: China Film Press, 1981.]
——:《视觉思维》,滕守尧译。北京:光明日报出版社,1987年。
[-—. Visual Thinking. Trans. Teng Shouyao. Beijing: Guangming Daily Publishing House, 1987.]
贝拉·巴拉兹:《电影美学》,何力译。北京:中国电影出版社,1978年。
[Balzs, Béla. Theory of the Film. Trans. He Li. Beijing: China Film Press, 1978.]
安德烈·巴赞:《电影是什么？》,崔君衍译。北京:文化艺术出版社,2008年。
[Bazin, André. What Is Cinema?. Trans. Cui Junyan. Beijing: Culture and Art Publishing House, 2008.]
约翰·伯格:《观看之道》,戴行钺译。桂林:广西师范大学出版社,2005年。
[Berger, John. Ways of Seeing. Trans. Dai Xingyue. Guilin: Guangxi Normal University Press, 2005.]
Canudo, Ricciotto. “The Birth of the Sixth Art (1911).” Framework: The Journal of Cinema and Media 13(1980):37.
Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture. Cambridge, MA: MIT Press, 2001.
吉尔·德勒兹:《脑即银幕——吉尔·德勒兹关于“时间影像”的访谈》,廖鸿飞译,《北大艺术评论(第2辑)》,王一川主编。北京:商务印书馆,2018年。158—165。
[Deleuze, Gilles. “The Brain Is the Screen: Interview with Gilles Deleuze on The Time-Image.” Trans. Liao Hongfei. Peking University Arts Review. Ed. Wang Yichuan. Beijing: The Commercial Press, 2018.158165.]
Eisenstein, Sergei. “The Montage of Film Attractions.” S.M. Eisenstein Selected Works. Volume 1: Writings, 192234. Ed. Richard Taylor. London: BFI Publishing, 1988.3958.
恩斯特·汉斯·约瑟夫·贡布里希:《秩序感》,范景中译。南宁:广西美术出版社,2014年。
[Gombrich, Ernst Hans Josef. The Sense of Order: A Study in the Psychology of Decorative Art. Trans. Fan Jingzhong. Nanning: Guangxi Fine Arts Publishing House, 2014.]
Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-garde.” Theater and Film: A Comparative Anthology. Ed. Robert Knopf. New Haven and London: Yale University Press, 2005.3745.
埃德蒙德·胡塞尔:《纯粹现象学通论:纯粹现象学和现象学哲学的观念(第1卷)》,卡尔·舒曼编,李幼蒸译。北京:商务印书馆,1992年。
[Husserl, Edmund. Ideas Pertaining to a Pure Phenome-nology and to a Phenomenological Philosophy. Ed. Karl Schumann. Trans. Li Youzheng. Beijing: The Comme-rcial Press, 1992.]
-—. Wahrnehmung und Aufmerksamkeit: Texte aus dem Nachlass (18931912). Hua XXXVIII. Eds. Thomas Vongehr and Regula Giuliani. Dordrecht: Springer-Verlag, 2004.
威廉·詹姆斯:《心理学原理(上)》,方双虎等译。北京:北京师范大学出版社,2017年。
[James, William. The Principles of Psychology. Vol.1. Trans. Fang Shuanghu, et al. Beijing: Beijing Normal University Press, 2017.]
姜宇辉:《消失的影像:重思数字电影的数字性》,《上海大学学报(社会科学版)》6(2023):15—26。
[Jiang, Yuhui. “The Disappearance of Images: Rethinking the Digital Nature of Digital Films.” Journal of Shanghai University (Social Sciences Edition) 6(2023):1526.]
Koffka, Kurt. “Perception: An Introduction to the Gestalt-theorie.” Psychological Bulletin 10(1922):531585.
-—. Principles of Gestalt Psychology. London: Kegan Paul, Trench, Trubner & Co., Ltd, 1936.
陆梓超:《兴趣·特殊意指·自我朝向:胡塞尔注意力论题域的发展》,《中国现象学与哲学评论》1(2015):315—342。
[Lu, Zichao. “Interest·Specific Intentionality·Self-Orientation: The Development of Husserl's Thematic Field of Attention.” Chinese Phenomenology & Philosophy Review in China 1(2015):315342.]
Marks, Laura, and Dana Polan. The Skin of the Film. Durham & London: Duke University Press, 2000.
莫里斯·梅洛庞蒂:《知觉现象学》,姜志辉译。北京:商务印书馆,2001年。
[Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Jiang Zhihui. Beijing: The Commercial Press, 2001.]
——:《电影与新心理学》,方尔平译。北京:商务印书馆,2018年。
[-—. The Cinema and the New Psychology. Trans. Fang Erping. Beijing: The Commercial Press, 2018.]
Meunier, Jean-Pierre. The Structures of the Film Experience. Trans. Daniel Fairfax. Amsterdam: Amsterdam University Press, 2019.
让·米特里:《电影美学与心理学》,崔君衍译。南京:江苏文艺出版社,2012年。
[Mitry, Jean. The Aesthetics and Psychology of the Cinema. Trans. Cui Junyan. Nanjing: Jiangsu Literature and Art Publishing House, 2012.]
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16(1975):618.
Munsterberg, Hugo. Hugo Munsterberg on Film: The Photoplay: a Psychological Study and Other Writings. Ed. Allan Langdale. New York & London: Routledge, 2002.
让吕克·南希:《电影的明证》,谭笑晗译,《宽忍的灰色黎明:法国哲学家论电影》,李洋选编。郑州:河南大学出版社,2014年。153—198。
[Nancy, Jean-Luc. “The Evidence of Film.” Trans. Tan Xiaohan. The Gray Mornings of Tolerance: the French Philosophers on Cinema. Ed. Li Yang. Zhengzhou: Henan University Press, 2014.153198.]
欧文·潘诺夫斯基:《电影中的风格和媒介》,李恒基译,《电影理论读本》,杨远婴主编。北京:世界图书出版社,2012年。49—64。
[Panofsky, Erwin. “Style and Medium in the Motion Pictures.” Trans. Li Hengji. Film Theory Readings. Ed. Yang Yuanying. Beijing: World Publishing House, 2012.4964.]
雅克·朗西埃:《被解放的观众》,张春艳译,《当代艺术与投资》2(2011):82—87。
[Rancière, Jacques. “The Emancipated Spectator.” Trans. Zhang Chunyan. Contemporary Art & Investment 2(2011):8287.]
Sobchack, Vivian. “Toward a Phenomenology of Nonfictional Film Experience.” Collecting Visible Evidence (Volume 6). Eds. Jane Gaines and Michael Renov. Minneapolis: University of Minnesota Press, 1999.241254.
贝尔纳·斯蒂格勒:《技术与时间:3.电影的时间与存在之痛的问题》,方尔平译。南京:译林出版社,2012年。
[Stiegler, Bernard. Technics and Time: Cinematic Time and the Question of Malaise. Trans. Fang Erping. Nanjing: Yilin Press, 2012.]
Wollen, Peter. “Godard and Counter Cinema: Vent d'Est.” Afterimage 4(1972):617.
威廉·冯特:《心理学概述》,谭越译。武汉:湖北科学技术出版社,2016年。
[Wundt, Wilhelm. Outline of Psychology. Trans. Tan Yue. Wuhan: Hubei Science & Technology Press, 2016.]
——:《人类与动物心理学论稿》,李维沈、烈敏译。杭州:浙江教育出版社,1997年。
[-—. Lectures on Human and Animal Psychology. Trans. Li Weishen and Lie Min. Hangzhou: Zhejiang Education Publishing House, 1997.]
{{custom_fnGroup.title_cn}}
脚注
{{custom_fn.content}}
基金
中国博士后科学基金第72批面上资助项目“现象学视域下的电影知觉研究”[项目编号:2022M721294]阶段性成果。
{{custom_fund}}
PDF(1086 KB)
({{custom_author.role_cn}}), {{javascript:window.custom_author_cn_index++;}}
