{"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":238,"pdf_page":252,"physical_index":252,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"dc92b78454e0713a4310787541550fed5664976497d21886151a618a9de14cdd"},"chapter":"德勒兹：关键概念 （原书第2版）","content":"导演为了叙述故事而采用的分镜手段通常是设置一个物理场所(physical site)的影像。这个影像浸润着一种空间逻辑，该逻辑作为一种观念场所(conceptual site)而产生振动并且使空间与范围成为可能，以便诱发观众自己的感觉。例如，在大卫·林奇(DavidLynch)不怎么有名的电视连续剧《双峰》(Tuin Peaks,1990—1991)中，人们可以说物理场所是劳拉·帕尔默(Laura Palmer)那被塑料包裹的身体。在丹尼斯·塔诺维奇(Danis Tanovic)表现战争蠢行的电影《无主之地》(No Man's Land,2000)中，物理场所则是那躺在触发式炸弹上的活人的身体。在这两个脚本中，影像就是一个场所，作为一个观念空间而被唤起，我们观众则追求那个空间，那个(已死的/将死的)身体；那个可怕的思想。场所变成影像，影像变成思想。在《妖夜慌踪》(Lost Iighuay，林奇导演，1997)中，作为一个物理场所的高速公路，它的影像统一了对回忆的黑色(noir)叙述。在《迷失东京》中，叙述的分镜手段是年轻女人的身体，老男人的身体和城市。这些都是一般性的影像，它们为无数的电影提供了分镜手段、观念追求和空间话语。科波拉的电影运用了两个身体(女人的身体、城市的身体)的物理布局，作为支持和/或强化这些影像的想象内容的记忆的地形学(remembered topography)。科波拉把这些影像展示为意义的聚集，而非无穷的，或无限的虚拟场所。女人身体的限度和城市的限度通过电影的情感声音表现了出来，这是一种淡淡的甜蜜，表现出一个优雅的人对这种身体的想象。电影活动中的差异来自关系的影像(relational imagc)，它改变并重新装配了范式、符号甚至图像的一维性(unidimensionality)，正如让-吕克·戈达尔（Jean-LucGodard）所注意到的，“描绘(describe)就是要观察诸般变化”(引自Deleuze,C2：19)。\n\n238\n\n德勒兹：关键概念(原书第2版)\n\n170","previous_page":null,"next_page":null}