Cinema 1 pdf epub mobi txt 電子書 下載2025
吉爾·德勒茲，法國後現代主義哲學傢，生於巴黎，曾任教於索邦大學及梵森大學。思想影響後世甚廣，範圍包括哲學、政治、心理分析及哲學等。著有《差異與重復》、《什麼是哲學》和《韆重颱》等書。
- deleuze
- 電影理論
- 電影
- 法國
- Deleuze
- Cinema
- 哲學
- 德勒茲
First published in France in 1983, this is at once a revolutionary work in philosophy and a book about cinema. For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts-or images-of film. Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.
Drawing upon Henri Bergson's thesis on perception and C. S. Peirce's classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.
"The appearance of [this book] is an exciting event for film study and one that well deserves serious attention and commentary." —Film Quarterly
具體描述
讀後感
面对如此巨著，何敢惶称书评？在此存档。 德勒兹用《运动影像》和《时间影像》阐述了电影与哲学、时间与概念的关系。他认为“哲学理论本身以及他的对象是一种实践，是一种概念的实践。”他还认为“电影理论不涉及电影，而是涉及电影引发的概念，而且这些概念本身同其他时间的相...
評分一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一...
評分之前短评已述，发现120页之前的译文与英译本有数多龃龉之处。但都没有120页来的集中和严重（因此页为德辽兹运动观的核心之一） 事實上，我們已經談到了影像=運動的世界展現，……(黄译本,p119) We find ourselves in fact faced with the exposition of a world where IMAGE=M...
評分一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一一...
評分面对如此巨著，何敢惶称书评？在此存档。 德勒兹用《运动影像》和《时间影像》阐述了电影与哲学、时间与概念的关系。他认为“哲学理论本身以及他的对象是一种实践，是一种概念的实践。”他还认为“电影理论不涉及电影，而是涉及电影引发的概念，而且这些概念本身同其他时间的相...
用戶評價
這本書真的很難懂，但是又是當地電影理論的必讀之作
评分Deleuze的書，讀完不敢說自己讀過，盡管原則性的哲學都是那套（恐怕在difference and repetition,尼采與哲學中就已經闡明瞭），對這套理論的實踐則是多樣以緻無窮的
评分fuck yeah
评分[Movement-Image] 讀過的最好的電影理論書（它帶來的電影研究哲學turn直到今天沒有turn到其他地方去），總是說到我的心坎裏，這幾天對這本書真的是愛不釋手手不釋捲～從某種角度來說是和吉迪翁的《時間、空間與建築》一個偉大法：有全景有細節有條理，但不至於super organized的壓迫感，所有內容都是fresh observation和自己的總結，把廣闊的材料內化到自己的世界再娓娓道來，從容不迫字字珠璣還很幽默。而且以我現在的電影觀影量和閱讀量的儲備正是剛好跟得上Deleuze的節奏，嗯。
评分現在纔看懂
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