{"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":228,"pdf_page":233,"physical_index":233,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"10fed6a20f14a4850dbfbfd00d3f6bacb039c29f2c648d69082e9456993ce7b9"},"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":"资本主义：概念、理念、图像\n\n行动剧场的领土以某种方式印刻在沃尔特、杰西以及背叛者莉迪亚的脸和身体上——沃尔特之后用蓖麻毒杀了她；而这毒药与金钱和假眼一样，也作为沃尔特的化学产物之一在叙事中循环（图 6）。这种摄影和场景调度暗示了拉康电影分析中“缝合”（suture）概念在运用上的一种可能转向。传统上，“缝合”用于指涉观众的凝视是如何被“缝合”进电影叙事中作为一个（替代性的）主体——即被安置在一个作为叙事内对话者而事实上不可能的位置，那是由摄影机所占据的位置，以制造主体认同的幻觉。但在《绝命毒师》关于金融化与洗钱的叙事中，这种主体幻觉被彻底转化。在这里，观众被邀请——或被缝合为替代者——去占据那个不可能且虚幻的位置：即那件被赋予拜物教性质、如今成为“主体”的“物”，它直面并支配着已变成物的主体。这便是沃尔特最终被“货币的回流”噎住的戏剧。<sup>19</sup>\n\n233\n\n228","previous_page":227,"next_page":null}