克里斯托弗·诺兰的《敦刻尔克》中的拓扑和折叠时间

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
K. Hunt
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引用次数: 0

摘要

本文以《敦刻尔克》(2017)为例,从电影研究的角度讨论了米歇尔·塞雷斯的拓扑思维及其对空间和时间的处理方法,特别是塞雷斯哲学与克里斯托弗·诺兰作品之间的联系。这篇文章选择性地概述了塞雷斯的拓扑思维,它反对对空间和时间的几何方法,并指出了塞雷斯思想与电影研究之间更广泛的联系。塞雷斯经常使用依赖于动作的视觉隐喻,这意味着讨论塞雷斯与电影有关的哲学可以有目的地理解他对空间化时间的拓扑思维。塞拉斯哲学可以为电影研究带来新的思路,而从电影研究的角度来探讨塞拉斯的思想,有助于将他的一些哲学思想形象化。这篇文章考虑了与吉勒·德勒兹对电影时间的理解的相似之处和区别,后者是以亨利·柏格森的作品为蓝本的。一个本质的区别是,Serres将拓扑时间与空间联系起来,而Deleuze只通过非空间化时间图像的虚拟质量来考虑时间的拓扑方面。这篇文章的主要目的是通过应用与《敦刻尔克》相关的塞拉西亚思想,为电影研究做出贡献,并为诺兰作品中反复出现的空间和时间主题提供一种新的方法。主要目标是将塞拉斯拓扑思维作为电影研究中空间和时间的一种替代方法,其中包括潜在地补充或增强德勒兹和柏格森发展的思想的能力。为了与塞拉西亚哲学保持一致,本文在探索新的领域和综合思想的基础上,而不是试图提出一个普遍的论点,对电影中的折叠时间进行了新的思考。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Michel Serres, Topology and Folded Time in Christopher Nolan's Dunkirk
This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that rely upon motion, which means discussing Serres's philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres's thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze's understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan's work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film, based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument.
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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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