{"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":"231 / 165","pdf_page":245,"physical_index":245,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"dab0452489c583a2629236cbdf273041af785e47b54a403a70ba99edca95c887"},"chapter":"德勒兹：关键概念 （原书第2版）","content":"作为分析所有以屏幕为基础的声觉和视觉影像的核心文本，德勒兹对电影影像过程的描述引起了共振，尽管在《柏格森主义》(Bergsonism,1966)中，它一开始只是“评论”和发展了亨利·柏格森(Henri Bergson)讨论直觉(intuition)—它是理解时间范式的一种方法论的著作。对德勒兹而言，对柏格森的评论是进人电影形式的通道，尽管他以前的工作——比如在《经验主义和主体性》(Empiricism and Subjectivity，1953)中讨论了组分与其整体之间的相关运动、在《康德的批判哲学》(Kant'sCritical Philosophy，1963)中讨论了审美判断力，在《差异与重复》(Difference and Repetition, 1968)中讨论了重复中体现的分裂性关系—为他分析具体的电影作品的方法提供了背景原则。柏格森认为时间与空间中的延续点(durational point)具有独特性，正是这个论点形成了德勒兹的方法论基础。《电影1》中展示了对柏格森的两次评论：“关于运动的论述”(第一章)(理解运动的形而上学的三种途径)和“运动-影像及其三种变体”(第四章)(讨论影像和运动-影像)。在《电影2》中，德勒兹又展示了对柏格森的两次补充性评论：“从回忆到梦幻”(第三章)(讨论回忆、视觉符号和声觉符号)和“现在尖点与过去时面”(第五章)(讨论时间与记忆)。\n\n电影揭示了通过共存的身体来制造关系的技巧和手段，以及一门共享的地形学(topography)的可能的协作或催化效果，这门地形学属于德勒兹所描述的关于“前语言学影像”（prc-linguisticimages)和“前意指性符号”（pre-signifying images）的“分类学”(taxonomy)(C1：xiv)。其结果展示出了一种判断标准，用来理解在运动和影像之间的转移中、在识别或回忆影像之间的转移中丧失了什么，以及理解影像在时间中的迁移与合并。\n\n13电影\n\n231\n\n165","previous_page":244,"next_page":246}