{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","title":"导读德勒兹","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562482765","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","uuid":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","title":"导读德勒兹","normalized_title":"导读德勒兹","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562482765","isbns":["9787562482765"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":241,"navigation_url":"https://workshop.closeclaw.top/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1","title_url":"https://workshop.closeclaw.top/ai/title/%E5%AF%BC%E8%AF%BB%E5%BE%B7%E5%8B%92%E5%85%B9","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/aad4d586-86fc-4d21-a20d-fd3da08aedc1","page_url":"https://workshop.closeclaw.top/api/ai/books/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page","search_url":"https://workshop.closeclaw.top/api/ai/books/aad4d586-86fc-4d21-a20d-fd3da08aedc1/search"},"page":{"printed_page":38,"pdf_page":56,"physical_index":56,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"790b787733abfa121b76064e396235cbddfade49a9f5a83a576e5c2e71535fa9"},"chapter":"导读德勒兹","content":"电影就像日常知觉那样，将不同的影像之流连接成一个有序的整体。然而有那么一个时刻，电影将这种进程拓展以将我们从现实化的对象和整体中抽离出来，让我们置身于影像之流中。与将这些影像连接或综合成有意义的东西所不同的是，电影能以其“纯粹视觉”(purely optical)(Deleuze1989:2)来呈现影像。例如，在斯蒂文·索德伯格(Steven Soderbergh) 2001年的电影《交通》(Traffic)中，故事在美国中产阶级那清晰的和现实化的段落与墨西哥那红褐色调的影像之间摇摆不定。淡黄色的墨西哥“故事”使我们不能将整个叙事看作是一个独立的和连贯的叙述。似乎在这里，“墨西哥人”或“他者”的故事清楚地表现为影像、观点和美国电影想象的投影。电影本身，电影的素材——它的黄色不是那些我们通过把握现实所看到的东西，我们看到的只是“观看”本身。对于德勒兹来说，电影有能力使我们从将影像组织化为一个共享的外部世界的倾向之中解放出来。我们看到影像化自身。或者更准确地说，电影中并不存在组织化的和预设的“我们”，只有“影像化”的呈现。\n\n38\n\n导读德勒兹\n\n32","previous_page":37,"next_page":39}