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July 2022 Blog Posts (303)
繳蕊 譯 I雅克•朗西埃〈電影的距離〉（1）
雅克•朗西埃：“電影對我來說不是哲學或批評的對象。我和它的關係就是在這三個回憶片斷環繞下的一場相遇與距離的遊戲。它們事實上概括了三種我試圖在電影中討論的距離：電影與藝術的距離，電影與政治的距離，電影與理論的距離。”
本文選自法國哲學家論電影續編《要麽去愛，要麽孤獨》，本書從各種文獻中精選出法國哲學家的電影文獻25篇，包括米歇爾·福柯、羅蘭·巴特、莫里斯·梅洛龐蒂、讓·鮑德里亞、埃德加·莫蘭、吉爾·德勒茲、雅克·德里達、讓-弗朗索瓦·利奧塔、雅克·朗西埃、阿蘭·巴迪歐、喬治·迪迪於貝爾曼、貝爾納·斯蒂格勒等，這些文章、短評、訪談是二十世紀後期興起的電影哲學的重要文獻。（譯者繳蕊註）
一天，我得到了一個獎。打我中學畢業那時候算起，這還是頭一次。而且，是在意大利，我的書《電影寓言》（La Fable…
Added by 思潮 庫 on July 1, 2022 at 12:00pm — No Comments
電影的政治詩學——雅克·朗西埃電影美學評述（5）
朗西埃在“作者論”中灌注的歷史意識，還體現在宏大藝術視野下關照電影作為現代藝術的歷史發生。《無聲的偽君子》這篇文章分析了茂瑙的默片《偽君子》（Herr Tartüff, 1925），該片改編自莫里哀的同名戲劇。朗西埃把茂瑙對電影語言的處理放置在文學、戲劇與電影的交界處進行分析，他不關心影片對戲劇改編的成敗，而是茂瑙如何運用電影語言完成戲劇的轉換。他從茂瑙的場面調度細節出發，提出電影在再現戲劇的同時，必須為實現自身的視覺意圖，對再現語言進行修正。如歐爾米的裙子不僅反映某種歷史真實，更為了表現她發現丈夫不再愛她時走下樓梯的沈重腳步。朗西埃把這種從戲劇到電影的轉換稱為“虛構轉移”（déplacement fictionel）。朗西埃認為這顯現了電影與戲劇的差別，以及兩種藝術的歷史關係。…
ContinueAdded by 字詞過度 on July 1, 2022 at 12:00pm — No Comments
朱幼棣《後望書》母親河累了
降水時空分佈：長江黃河上遊互補性的缺失
被稱為“西北都江堰”的引大(通河)入秦(王川)工程建成後，黃河水穿越祁連山，跨流域調入了甘肅蘭州市以北60公里永登境內的秦王川地區。2006年6月，新華社的《瞭望》發表了《西北調水工程緣何屢成包袱》的文章，披露了這一工程存在問題。其實，這也是南水北調西線工程無法回避的難題。
在大通河的上遊，海拔近…
ContinueAdded by Virunga on July 1, 2022 at 9:30am — No Comments
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