尚塔尔·阿克曼电影中的消失

Moving Image Review and Art Journal Pub Date : 2019-09-01 DOI:10.1386/miraj_00008_1

Janet Bergstrom

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引用次数: 0

摘要

在这篇文章中，尚塔尔·阿克曼电影中的“失踪”意味着从一个特定的人身上消失。消失的人的属性对留下的人，即受消失影响的人来说具有特殊的意义。这并不是说有人曾经在场，现在却不在场，而是一个人不再为另一个人而存在。一个二元体参与其中，但它的存在是从二元体的一半的角度来感受的。当巴特的《情人的话语》序言恰如其分时，今天的话语是一种极度孤独的话语。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Disappearance in the films of Chantal Akerman

‘Disappearance’ in Chantal Akerman’s films means, in this essay, disappearance from a specific person. The attributes of the one who disappears are charged with special meaning for the one left behind, the one affected by the disappearance. It is not that someone used to be present and now they are not, but that one person is no longer there for another person. A dyad is involved, but its presence is felt from the perspective of half of that dyad. Whence the aptness of Barthes’s prologue to The Lover’s Discourse, that today that discourse is one of extreme loneliness.

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来源期刊

Moving Image Review and Art Journal Arts and Humanities-Visual Arts and Performing Arts

CiteScore

0.10

自引率

0.00%

发文量