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• 西方文论与文化研究 • 上一篇    下一篇

影像的魅惑力：揭开巴特的“面具”

沈安妮   

  1. 厦门大学外文学院
  • 出版日期:2019-01-25 发布日期:2019-04-29
  • 作者简介:沈安妮，文学博士，厦门大学外文学院助理教授，主要从事当代英国小说研究和文学与电影的关系研究。
  • 基金资助:
    中央高校基本科研业务费专项资金资助

The Allure of Moving Images: Unmasking Roland Barthes

Shen Anni   

  1. the School of Foreign Languages and Cultures, Xiamen University
  • Online:2019-01-25 Published:2019-04-29
  • About author:Ph. D., is an assistant professor of English at the School of Foreign Languages and Cultures, Xiamen University. Her main research interests are contemporary British novels and the relationship between literature and film.
  • Supported by:
    the Fundamental Research Funds for the Central Universities（20720191001) 

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摘要： 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。

关键词: 魅惑力, 罗兰·巴特, 电影, 《走出电影院》, 《嘉宝的脸》

Abstract: Roland Barthes was notorious for his self-proclaimed "resistance" to 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' 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.

Key words: allure, Roland Barthes, cinema, "Leaving the Movie Theater", "Garbo's Face"