摘要
斯坦利·卡维尔发展了电影的“自动机制”概念,重铸电影本体论和重建艺术本体论。卡维尔认为,电影的自动机制并不仅仅指电影媒介的物质性,即电影器械的机械性和自动性,而且还指电影作为世界的投影本体论事实和电影放映的现象学事实,涉及媒介和观看主体的双重存在。同样,艺术媒介的实质乃一种自动机制,不仅指向其媒介的物质性,而且还指向其存在于世界之中的一整套约定性事实。艺术本体论的任务是承认艺术媒介自身的力量,即塑造媒介的所有可能性。通过把媒介视为自动机制,承认媒介在每一刻历史进程发挥的力量,现代主义才得以从既定的艺术终结逻辑中拯救出来。
Stanley Cavell developed the concept of film automatism to recast the film ontology,and reconstruct the art ontology.Cavell argues that the automatism of film is not only the material nature of the film medium,that is,the mechanical and automatic nature of the film apparatus,but also the ontological fact that film is the projection of the world and the phenomenological fact of film projection, therefore, it involves the dual existence of themedia and the viewing subject. Similarly, the essence of the art medium is automatism, pointing not only to the materiality of its medium, but also to a setof conventional facts that exist in the world. The task of art ontology is to acknowledge the power of art media itself, in other words, to shape all the possibilities of media. By treating the media as automatism and acknowledging thepower that the medium exerts at every moment of the historical process, modernism is saved from the established logic of the end of art.
出处
《文化研究》
2021年第4期151-173,共23页
Cultural Studies
基金
教育部青年基金项目“戴维森与当代文论的分析哲学向度研究”(项目编号:18YJC 751065)
2019年华南师范大学青年教师科研培育基金项目“后分析文论谱系研究”(项目编号:19sk16)的阶段性成果。
作者简介
张巧,华南师范大学文学院讲师,研究方向为后期维特根斯坦美学、分析文论、分析美学、艺术理论。
