{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"c377f608-9f8d-4e82-acf0-78a48f7daa88","title":"技术与时间：2.迷失方向：人文与社会译丛","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787544711999","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"c377f608-9f8d-4e82-acf0-78a48f7daa88","id":"c377f608-9f8d-4e82-acf0-78a48f7daa88","uuid":"c377f608-9f8d-4e82-acf0-78a48f7daa88","title":"技术与时间：2.迷失方向：人文与社会译丛","normalized_title":"技术与时间2迷失方向人文与社会译丛","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787544711999","isbns":["9787544711999"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":306,"navigation_url":"https://workshop.closeclaw.top/ai/book/c377f608-9f8d-4e82-acf0-78a48f7daa88","title_url":"https://workshop.closeclaw.top/ai/title/%E6%8A%80%E6%9C%AF%E4%B8%8E%E6%97%B6%E9%97%B4%EF%BC%9A2.%E8%BF%B7%E5%A4%B1%E6%96%B9%E5%90%91%EF%BC%9A%E4%BA%BA%E6%96%87%E4%B8%8E%E7%A4%BE%E4%BC%9A%E8%AF%91%E4%B8%9B","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/c377f608-9f8d-4e82-acf0-78a48f7daa88/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/c377f608-9f8d-4e82-acf0-78a48f7daa88/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/c377f608-9f8d-4e82-acf0-78a48f7daa88","page_url":"https://workshop.closeclaw.top/api/ai/books/c377f608-9f8d-4e82-acf0-78a48f7daa88/page","search_url":"https://workshop.closeclaw.top/api/ai/books/c377f608-9f8d-4e82-acf0-78a48f7daa88/search"},"page":{"printed_page":28,"pdf_page":37,"physical_index":37,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"94f65e1de6690b7652087a3a5e41f8d20324c8f612eb9bd5ddcc439871d6c3c8"},"chapter":"第一章拼写文字的时代","content":"是电影而已。\n\n伍迪·艾伦执导的《开罗的紫玫瑰》也把剧中人/演员/观众之间类似的关系表现在银幕上，影片中又放映了一部片名为《开罗的紫玫瑰》的电影。它把剧中人及其扮演者置于整个影院的观众面前，置于与观众的关系中：剧中人及其扮演者从银幕中跃然而出，观众则投身而入。这一切发生在看《开罗的紫玫瑰》的我们面前，我们全神贯注地置身其中，就像光线照在电影胶片银盐上的效果投射到电影院中一样。如今的电影是极度自爱的电影，它反映的恰恰是我们这个时代所固有的自爱。幻像、反射、混杂及电视等技术则是这种自爱的成因。\n\n10.厄科与那喀索斯①——不属于任何人的无人称属性\n\n演员与其形象的分离以及由此而来的无人称属性和可传递性是\n\n电影演员时时刻刻都意识到的事实。在摄影机前，他明白他的表演最终要面向观众。在此交易中，他出卖的不仅是他的劳动力，而且也是他的皮肤、头发和肺腑。当他为自己拍完某一片断时，他并不比任何工厂制造的产品更具个性②。\n\n技术与时间\n\n① 源自希腊神话:那喀索斯(Narcisse)是个美少年,因爱上自己的水中之影而耗尽生命,死后变成水仙花。此词也指自恋、自我陶醉;厄科(Echo)被天后赫拉(Hera)剥夺了讲话的能力，只能重复别人的话。厄科爱上了自恋的那喀索斯，这段执着的单相思使她痛苦不堪而隐居山洞中，最后衰弱到形体消失，只剩下她重复别人说话的声音。这也是回声(écho)一词的来源。——译注\n\n②《杂文·第二卷》,第107—108页。\n\n028","previous_page":27,"next_page":29}