{"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":233,"pdf_page":247,"physical_index":247,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"91ac98d150161f2f38599488bb925bdcac4b274a4264a8580d8d5efdb0991b91"},"chapter":"德勒兹：关键概念 （原书第2版）","content":"运 动\n\n上午4:20，东京柏悦酒店，鲍勃醒来了，看了看闹钟。\n\n—《迷失东京》\n\n“运动就是空间中的转移”，德勒兹强调(C1：8)。对德勒兹而言，电影中的运动和符号技巧、习惯、创意以及有成效的创造不可分割地联系在一起。他问道：电影是如何传递抽象特质（比如思想、知觉、认识、时间和空间）的运动，而又无需假设观众拥有一张用来进行翻译的抽象美学的词汇表？为了对碎片进行装配与拆卸，为了创造并描述整个经验与知识的领域，电影占据了一个双曲空间和“电影网络”(C2：237)。电影中的运动是诸多复杂的认识过程的互动性转移，这是一次活跃的行程，它可以成为联想机器(associationmacines），其目的就是力、欲望之流和后天认识过程的断裂。“空间中的运动”，正如德勒兹所描述的那样，“表现了一个变化的整体，恰如鸟类的迁徙表现了季节的变迁”(C2:237)。\n\n电影需要观众，这个观众带给电影屏幕的不光是她的眼睛或耳朵，还有她的具体化的感觉，记忆，审美的、意识形态的以及伦理的偏好。德勒兹关于电影观众的概念是指这么一个人，他通过表面的情感和屏幕事件中的情感而被附加在电影影像上。这个旁观者的在场以有机的方式重新组织了事件，她的实体性附属物(corporealappendage)提供了一种被扩展的意识、被放大的屏幕。运动的发生，依靠的是观众理解电影中的视觉和听觉影像时未被决定的主体性(non-determined subjectivity)，运动也在这种主体性中生存。\n\n13 电影\n\n233","previous_page":232,"next_page":234}