{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"f37142a0-40fb-4cc4-a610-9ea25997b974","title":"资本主义概念、理念、图像论当代马克思《资本论》的若干面向","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"f37142a0-40fb-4cc4-a610-9ea25997b974","id":"f37142a0-40fb-4cc4-a610-9ea25997b974","uuid":"f37142a0-40fb-4cc4-a610-9ea25997b974","title":"资本主义概念、理念、图像论当代马克思《资本论》的若干面向","normalized_title":"资本主义概念理念图像论当代马克思资本论的若干面向","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":271,"navigation_url":"https://workshop.closeclaw.top/ai/book/f37142a0-40fb-4cc4-a610-9ea25997b974","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B5%84%E6%9C%AC%E4%B8%BB%E4%B9%89%E6%A6%82%E5%BF%B5%E3%80%81%E7%90%86%E5%BF%B5%E3%80%81%E5%9B%BE%E5%83%8F%E8%AE%BA%E5%BD%93%E4%BB%A3%E9%A9%AC%E5%85%8B%E6%80%9D%E3%80%8A%E8%B5%84%E6%9C%AC%E8%AE%BA%E3%80%8B%E7%9A%84%E8%8B%A5%E5%B9%B2%E9%9D%A2%E5%90%91","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/f37142a0-40fb-4cc4-a610-9ea25997b974/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/f37142a0-40fb-4cc4-a610-9ea25997b974/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/f37142a0-40fb-4cc4-a610-9ea25997b974","page_url":"https://workshop.closeclaw.top/api/ai/books/f37142a0-40fb-4cc4-a610-9ea25997b974/page","search_url":"https://workshop.closeclaw.top/api/ai/books/f37142a0-40fb-4cc4-a610-9ea25997b974/search"},"page":{"printed_page":226,"pdf_page":231,"physical_index":231,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7f3c1826111d6432eb08451f52ed1d466a42de8020148c81fed6728d84fe561a"},"chapter":"资本主义：概念、理念、图像论当代马克思《资本论》的若干面向","content":"这种“物性”的显现尤其体现在电影摄影的层面上：主观镜头（主体对客体）有时会被突然反转，或完全被剥夺主体性；角色——尤其是沃尔特——被从物的视角观看，而此时，《绝命毒师》的叙事本身似乎也由这些物组织并聚焦。例如，观众常常从沃尔特装钱的包内看到他的画面，而那笔钱，因为拒绝流动性（liquidity），在剧集最后几季中成为他背负的重担，这一视角暗示着货币在影片文本中扮演着某种准超验的（quasi-transcendental）第三人称叙述者的角色，仿佛是整部作品的无形组织者。<sup>17</sup>类似的还有从弗林冰毒工厂储罐内拍摄的镜头，我们看到沃尔特与杰西往其中倒入蓝色化学混合液的场景。<sup>18</sup>\n\n资本主义：概念、理念、图像\n\n<sup>17</sup> 关于叙事的“编排”（orchestration），参见 Mikhail M. Bakhtin, The Dialogical Imagination: Four Essays, trans. Caryl Emerson and Michael Holquist, Austin TX and London: University of Texas Press, 1981.\n\n226","previous_page":225,"next_page":227}