今天,电影和当代艺术一样,界定愈发模糊,却似乎又有无限定义的可能。当然,这里谈论的电影,不是狭义上的影像工业化生产,而是和艺术一样,本身是可讨论的作为文化政治或意识形态的组成部分。重提电影,在于着重强调电影作为一种组织机制,以及一整套的聚集方法。在当代艺术中,艺术家在展厅里搞政治,通过艺术事件/装置来聚集临时的共同体。本质上来讲,这项工作能够进行,还是要倚仗业已形成的艺术制度赋予艺术家在展厅的权力。这就是为什么艺术家一旦走出展厅,就会发现这种动员技术在田野中的软弱无力,强度远不如社会活动本身。相比之下,电影这种新兴的视觉媒介,几乎 Today’s movies, like contemporary art, are increasingly ambiguous but appear to have the potential to be infinitely defined. Of course, the films discussed here are not, in the narrow sense, industrialized image production, but, like art, can be discussed in their own right as part of cultural politics or ideology. To revisit the film, the film emphasizes the film as a mechanism and a set of aggregation methods. In contemporary art, artists engage in politics in exhibition halls, gathering temporary communities through artistic events / installations. In essence, this work can be carried out, or rely on the established art system to give artists the power of the exhibition hall. This is why once the artist walks out of the halls, he finds this kind of mobilization technology weak and weak in the field far less powerful than social activity itself. In contrast, movies such emerging visual medium, almost