{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"1cd40951-874b-4d06-9eea-f6afadf57c08","title":"德勒兹关键概念","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787568912952","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"1cd40951-874b-4d06-9eea-f6afadf57c08","id":"1cd40951-874b-4d06-9eea-f6afadf57c08","uuid":"1cd40951-874b-4d06-9eea-f6afadf57c08","title":"德勒兹关键概念","normalized_title":"德勒兹关键概念","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787568912952","isbns":["9787568912952","9781844652884"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":409,"navigation_url":"https://workshop.closeclaw.top/ai/book/1cd40951-874b-4d06-9eea-f6afadf57c08","title_url":"https://workshop.closeclaw.top/ai/title/%E5%BE%B7%E5%8B%92%E5%85%B9%E5%85%B3%E9%94%AE%E6%A6%82%E5%BF%B5","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/1cd40951-874b-4d06-9eea-f6afadf57c08/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/1cd40951-874b-4d06-9eea-f6afadf57c08/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/1cd40951-874b-4d06-9eea-f6afadf57c08","page_url":"https://workshop.closeclaw.top/api/ai/books/1cd40951-874b-4d06-9eea-f6afadf57c08/page","search_url":"https://workshop.closeclaw.top/api/ai/books/1cd40951-874b-4d06-9eea-f6afadf57c08/search"},"page":{"printed_page":163,"pdf_page":243,"physical_index":243,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"16b0f7d487b0cfe420603a9fcdf84a1eec6f0bcd7c1948942c129d809936345b"},"chapter":"德勒兹：关键概念 （原书第2版）","content":"电 影\n\n⊙弗利西蒂·小.科尔曼\n\n他就说了这么多吗？他所说的好像不止于此吧。\n\n鲍勃(比尔·默瑞饰)对翻译说'，\n\n《迷失东京》(Lost in Translation,S. 科波拉导演,200)3)\n\n讨论德勒兹的电影著作—《电影1:运动-影像》(Cinema1:The Movement-Image)和《电影2:时间-影像》(Cinema 2：The Time-Image)—的标准可以用非常简单的方式来概括：我们如何以及在何处看到、听到并且感受到对存在的感觉？在识别有关生活的叙述、概念和结构的过程中与此同时在电影中产生了意义的影像学到了、失去了、耗费了、发明了什么？在电影中，相互关联着产生的思维-感觉(thought-perception)活动是如何发生的？义当如何来分析？\n\n如果观众从任何一部电影中选择出最喜欢的色彩、人物、对话、瞬间、运动、声音或姿态，那么，那个层面(aspcct)，那个人物或那件事就在它们自身与观众的语境性感觉空间（contextualperceptual space)、美学偏好、历史瞬间的并置(juxtaposition)中产生了自己的特点和/或风姿。这一大堆可能性的联结与配合提供了感觉力(perceptual power)的脉冲通道，并在实体之间生成了感觉。据德勒兹所言，电影提供了这类思想通道，把自己展示为一个深厚的，有时又很严密的，覆盖了可见世界的表面。\n\n13\n\n163","previous_page":162,"next_page":164}