齐泽克的唯物主义电影理论研究

发布时间：2018-05-24 01:06

本文选题：齐泽克 + 辩证唯物主义　；参考：《山西师范大学》2017年硕士论文

【摘要】：本文试图以唯物主义理论来概括齐泽克的电影思想。当然,齐泽克的唯物主义与马克思的唯物主义有着本质的区别,它是经过解构后的黑格尔辩证法与拉康精神分析的综合。齐泽克所说的“物”是一个精神分析学概念,可以理解为康德的“物自体”。它居于实在界之中,指的是人类被禁止的原欲或性驱力,即对母亲的乱伦欲望,但这种欲望是不可能得到满足的,而只能通过象征的方式表象出来。但是对实在界的象征化总会遭到失败,它产生一些剩余。而这些剩余就是“物”自身。正是这些剩余维持了主体的欲望,故“物”也被拉康称为“对象a”。“物”利用主体生产欲望而返回死亡之实在界。实在界是一个界域,而“物”只是其冰山一角。但主体却只能通过“物”去了解实在界。不过,齐泽克的唯物主义是辩证的。但这个辩证不是强调“正题-反题-合题”的正统黑格尔辩证法,而是强调否定与具体的辩证法。齐泽克认为,辩证过程就是直接从个别性向普遍性飞跃,而无须经过中间的特殊性。在辩证法的每个阶段,电影线性叙事的普遍性总会被某个元素(例外)所玷污,从而使普遍性成为这个例外的一部分。因而,齐泽克的唯物主义,也可以称为辩证唯物主义,它是一种强调电影线性叙事的普遍性及其例外(物)的悖论性地结合在一起的理论。其悖论性在于,这个例外既是对叙事普遍性的颠覆,也是叙事普遍性得以可能的基础。因而,所谓唯物主义就是围绕物之实在界为核心,在辩证过程中展现物的创伤性与颠覆性的分析理论。齐泽克认为,电影是一种幻象屏幕,它使现实所不允许的创伤性实在界得以安全呈现出来。故物作为一种原初压抑,在电影虚构的伪装下悄然回归。虽然它给主人公带来致命的创伤,但对观众来说却毫发无伤。围绕“物”之实在界,本文通过影片分析阐释了它的定义,性质、显现及其与主体的遭遇。因为实在界的创伤性,经典侦探电影成为主体避免与之遭遇的重要电影类型。在视觉领域与听觉领域,物分别显现为凝视与幻听语音。凝视意味着主体在观看过程中被画面上的污点诱发了欲望,但这个污点抵抗一切符号化而把主体贬低为客体,使主体原本客观的观看距离被打破,从而被电影画面所囊括在内。幻听语音是没有载体的声音,观众找不到它的声源,无法确定声音究竟是由谁发出来的,它像幽灵一样自由漂浮着。作为一种惰性存在,它打乱了主体内在的平衡,撕裂了主体符号身份的一致性。但作为一种无意义的自动重复,幻听语音自身也浸满了极权主义意识形态的快感。物在性别主题上显现为大写的女人,而电影中的蛇蝎美人与贵夫人形象是其最重要的两种化身。这两种形象都是经验女性暂时占据了物的位置而被崇高化,故她们都是无性的冷漠的非人性化女性。如果男性过于接近这种幻象女性,那就面临着死亡的诱惑。因为在她们身上不存在男性所要的小客体。她们只是暂时填补了大他者的裂隙,而非快感客体。相对蛇蝎美人的致命性,贵夫人就高雅多了。但作为乱伦客体,她也是不可能的欲望对象。故典雅爱情也是不存在的。这意味着性关系是不可能的。因为在两性关系中存在着实在界这个创伤性内核,它顽固地阻止着完美的性关系的发生,故主体必须通过幻象来屏蔽它。但幻象的身份是含糊的,一旦与它靠得太近,那将陷入致命的快感漩涡。而电影中四种不同性场景的呈现正说明了幻象与快感实在界之间的微妙关系。齐泽克认为,标准的缝合理论是不可能的,所以他通过三种电影叙事的唯物主义逻辑:普遍性及其例外,缝合与界面,主观与客观之间的短路来阐释线性叙事中的例外,并用这一不可能被缝合的例外来颠覆标准的好莱坞缝合理论。本文最后试图围绕基耶斯洛夫斯基的电影文本来呈现齐泽克的唯物主义电影理论的具体应用。而这种分析理论就是以实在界为核心,来展现例外在辩证分析过程中的颠覆性与否定性。
[Abstract]:This article tries to sum up the film thought of Zi Zi with materialist theory. Of course, Qi Zeke's materialism has an essential distinction from Marx's materialism. It is the synthesis of the analysis of Hagel's dialectics and Lacan's spirit after deconstruction. It is in the real world. It refers to the forbidden desire or sexual drive of the human being, that is, the incest desire of the mother, but this desire can not be satisfied, but can only be represented in a symbolic way. But the symbolization of the reality will always be defeated, and it produces some surplus. And these remainder are " "Things" themselves. It is these remainder that maintains the desire of the subject, so the "thing" is also called "object a" by Lacan. "Thing" returns to the reality of death by using the desire of the main body to return to the reality of death. The reality is a boundary, and the "thing" is only the corner of its iceberg. But the subject can only understand the reality through the "thing". It is dialectic. But this dialectic does not emphasize the orthodox Hagel dialectics of "the question of the question and the question", but emphasizes the negation and the specific dialectics. The universality is defiled by a certain element (exceptions), which makes universality a part of this exception. Thus, the materialism of chic can also be called dialectical materialism. It is a theory that emphasizes the paradox of the universality and exceptions of the linear narrative of the film. It is the subversion of narrative universality and the basis for the possibility of narrative universality. Therefore, the so-called materialism is the analytical theory of the traumatic and subversive analysis of things in the dialectical process of the core of the reality of things, and the film is an illusion screen, which makes it possible for the traumatic reality that is not allowed by reality. Security is presented. As a kind of original repression, it comes back quietly under the fictional disguise of the film. Although it brings a fatal trauma to the protagonist, it has no injury to the audience. Around the reality of "things", this article explains its definition, nature, appearance and the encounter with the subject through the film analysis. The classic detective film becomes the main type of film that the subject avoids with it. In the visual field and the auditory field, the object shows the stare and the auditory speech respectively. The stare means that the body induces the desire in the viewing process by the stain on the screen, but this stain resists all the symbolization to degrade the subject as the object. The original objective viewing distance is broken, which is included in the film. The phonetic sound is a sound without carrier. The audience can't find its sound source. It is unable to determine who has come out of the sound. It floats freely like a ghost. As a kind of inertia, it disrupts the internal balance of the subject and tearing the main character. As a meaningless automatic repetition, but as a meaningless automatic repetition, the auditory hallucination itself is also filled with the express of the totalitarian ideology. Things appear on the gender theme as the upper case, and the snake and scorpion beauty and the image of the lady are the two most important incarnations in the film. These two images are both experienced women temporarily occupied. The position is sublime, so they are all indifferent and indifferent women of indifference. If men are too close to this illusion woman, they face the temptation of death. Because they do not have the small objects that men want. They only temporarily fill the big other's fissures, not the pleasure objects. Relative to the deadly beauty of the snake. As an object of incest, she is much more elegant. But as an object of incest, she is an impossible object of desire. So elegant love does not exist. It means that sexual relations are impossible. Because there is a traumatic core in the relationship between the sexes, it stubbornly prevents the occurrence of a perfect sexual relationship, so the subject must pass the illusion. Masking it. But the identity of the illusion is ambiguous, and once it gets too close to it, it will fall into a deadly swirl of pleasure. And the presentation of the four different scenes in the film is a subtle relationship between the illusion and the pleasure reality. Logic: universality and its exceptions, suture and interface, subjective and objective short circuits to explain the exceptions in linear narration, and subvert the standard Hollywood suture theory with the exceptions that may not be sutured. This article finally attempts to present the materialist film theory of Kieslowski around the film text of the paper. The application of this theory is to show the subversive and negativity of exceptions in the process of dialectical analysis.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J90

【参考文献】