德勒兹论‘现代电影’的特质与.doc

德勒茲論「現代電影」的特質與對小津電影的理解與侷限 摘 要 德勒茲於《運動－影像》與《時間－影像》二書說明「現代電影」的誕生與特質頗具特色。此即「視覺與聽覺情境」與「感覺運動情境」（optical and sound situation in contrast to sensory–motor situations）之別。其中也涉及他在《運動－影像》最末章對「動作－影像」之流於如「俗套剪影」（Cliché）危機進行反省。緊接著於《時間－影像》第一章「超越運動－影像」還另闢一節專門討論小津，對小津居於他所謂「現代電影」先驅者（the inventor of pure optical and sound images）的貢獻給予高度評價。因此本文須先介紹德勒茲對「現代電影」的基本看法，隨後才能就他對小津電影中常見的「日常瑣事」（everyday banality）、「空框鏡頭」、「空的空間」（empty spaces）、「靜物」（still lifes）與「時間作為不變形式」（time as unchanging form）與所謂之「超越觀」等美學與「時間」意涵進行分析，並願意指出德勒茲對小津研究之限度就出在對小津家庭世界的精神內容與神聖存有未能有更相應的理解，其中特從瑞奇Ozu一書結論所提出之Transcendence of mundane（此即精神事物只能在普通的事物中彰顯）為其電影美學與這種特有的超越觀進行一種道德之理想導源與追溯。最後則試圖折返於小津這位始終一門深入於家庭世界之電影志業的內心生命自體之德，提出初步的詮釋。 關鍵語：德勒茲，小津安二郎，瑞奇，錢穆 Deleuze on the Characteristics of Modern Cinema and the Understanding to Ozu’s films and his Limitations In Movement-image and Time-imge, Deleuze who explains the birth of modern Cinema gives a very characteristics account, in other words, the distinction between the optical and sound situation in contrast to sensory–motor situations, and also with the reflection of the crisis of the ideology of Cliché. Then in first chapter（Beyond the Movement-Image）in Time-Image（believed the best introduction to his books）with a beautiful insight also poses his reflection to Ozu’s films, and give high praise to his contribution to modern cinema which he calls inventor of pure optical and sound images. Therefore, this paper tries to introduce his views about modern cinema, then focuses on the reflection about everyday banality, empty spaces, still lifes and time as unchanging form, and the concept of transcendence, and also indicates the limitations which lies in the less understanding in spiritual content and holy being of Ozu’s films. In another word, Deleuze cannot grasp the highest point of virtuous action of Ozu’s films. And through the conclusion of R. Richie’s Ozu, we also want to indicate the Transcendence of mundane.( i.e. ordinary can have any spiritual nature at all, since it is only th