摘要
斯蒂格勒借助电影这一新媒介做了哲学思考,创新性地提出了“新”批判理论。该批判理论首先将矛头指向以电影为代表的文化工业带来的“精神灾难”,其次在批判的方式上使用了“意识犹如电影”,以说明电影为代表的数字化蒙太奇手段,对人类意识结构、知性与理性能力的同化和异化过程。最后,就批判的成因机制,他提出以电影为代表的新技术的“可复制性与超工业化”特质使得数字化的幻象将替代人的真实意志成为统治。未来的技术发展有望在“药理学”智慧的启迪下,开辟出一条既规避异化风险又彰显人文关怀的发展道路。
Stiegler engages in philosophical reflection through the new medium of film and innovatively proposes a new critical theory.Firstly,this critique targets the spiritual disaster brought by the cultural industry,with film as its representative.Secondly,in terms of the critical approach,he employs the metaphor—consciousness is like a movie—to illustrate how digital montage techniques,represented by film,lead to the assimilation and alienation of human consciousness structure,intellectuality,and rational abilities.Finally,regarding the causative mechanism of criticism,he proposes that the replicability and ultra-industrialization characteristics of new technologies,with film as an example,result in digital illusions replacing human authentic will and becoming dominant.Future technological developments are expected to open up a path that both avoids the risks of alienation and demonstrates humanistic concern,inspired by the wisdom of pharmacological thinking.
作者
臧敏
ZANG Min(School of Marxism,Capital Normal University,Beijing,100089)
出处
《自然辩证法通讯》
北大核心
2025年第3期8-15,共8页
Journal of Dialectics of Nature
关键词
电影
意识
可复制性
辩证法
Film
Consciousness
Replicability
Dialectics
