{"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":247,"pdf_page":261,"physical_index":261,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"4413dfc202f01ec29d169b573a10fb7d0979ca21fbca644dcd252ea4028537cc"},"chapter":"德勒兹：关键概念 （原书第2版）","content":"对于德勒兹而言，当电影的概念表现了(存在的、生活的)意义符号时—这些符号通过它们与整体之间的纠葛，处于永远移动的过程中：这个过程是微妙的、不连贯的，也是不完整的—存在的方式(how)及处所(where)已经在他称之为现代电影的“任意空间”(any-space-whatevers)中被确定了(C1：111)。电影这个场所创造了可能的“存在方式”(C1：114)，“无限的背景”(C1：59)，“无法定位的[时间]关系”(C2：279)。在这个空间内部，我们发现了时间-影像的事件和现代电影的身体。\n\n结论\n\n生活方式激发了思考方式；思考方式创造了生存方式。\n\n(PI: 66)\n\n这些关于电影著作的累积起来的论点，依靠的是对电影瞬间及声音的发现，或者是关于它们的互不连接的意识—德勒兹将把这些称之为电影的“唯一观念”(just the one idea)(N：38-9)-在这里，形式的和/或情感的变化产生了。一个位置被移动了。零度(degree zero)被凸现出来；你在节奏、距离中的位置被标注出来，被暂停下来；你被置于时间的延续之中。这个时刻不必然是一个实体性的配置，尽管电影总是注重其形式，以便让实体性的形态学关系模式能够产生。在1950年，加斯通·巴什拉（GastonBachelard)会把这种时间停顿说成是“时间的心理学现象”(2000\n\n13 电影\n\n247","previous_page":null,"next_page":248}