电影情感的微分理论

IF 0.3 4区 哲学 0 PHILOSOPHY
Lisa Åkervall
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引用次数: 0

摘要

本文对20世纪90年代以来流行于人文学科的影响理论进行了批判性的反驳。在电影和媒体研究中,情感理论表现出对20世纪70年代和80年代的“屏幕”和装置理论的反对,据称这些理论将观众的身体和情感边缘化,并将认知置于情感之上。然而,电影和媒体研究转向情感也带来了自己的一系列问题:在强调情感而不是电影体验的认知方面时,情感转向理论颠倒并再现了他们试图反驳的二分法(例如身体/心灵,情感/思想)。批判性地重新思考情感的转向及其在电影和媒体研究中的地位,本文挑战了情感理论与吉尔·德勒兹情感概念的关系,强调了这些理论未能解释德勒兹对伊曼努尔·康德美学和他的官能理论的负债。这篇文章提出了一种超越身体和心灵、情感和思想二分法的电影情感概念,而是展示了电影体验如何在观众中同时引发情感和认知的转变。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
A Differential Theory of Cinematic Affect
This essay offers a critical rejoinder to affect theories prevalent in the humanities since the 1990s. In film and media studies, affect theories display an opposition to ‘screen’ and apparatus theory of the 1970s and 1980s alleged to have marginalised the spectator's body and affects and privileged cognition over affection. Yet film and media studies’ turn to affect came with its own set of problems: in emphasising the affective over the cognitive aspects of cinematic experience, theories of the affective turn invert and reproduce the dichotomies (e.g. body/mind, affect/thought) they seek to contest. Critically reconsidering the turn to affect and its place within film and media studies, this article challenges the relation of affect theories to Gilles Deleuze's concept of affect, highlighting these theories’ failure to account for Deleuze's indebtedness to Immanuel Kant's aesthetics and his theory of the faculties. Suggesting a conception of cinematic affect beyond dichotomies of body and mind, affect and thought, this essay instead shows how cinematic experience instigates transformations in spectators that are simultaneously affective and cognitive.
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来源期刊
CiteScore
0.60
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发文量
38
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