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希区柯克电影世界的中心是主体与法律的关系。本文以《被冤枉的人》的失败为反面例子,探讨希区柯克电影世界的寓言维度,这一寓言维度正是希区柯克电影的意识形态批判潜能所在。希区柯克的电影折返了观众的凝视,使他/她意识到自己的凝视总是已经被“病态”的欲望打上烙印;通过满足观众的欲望,使他/她看到自己的欲望的矛盾、分裂本质。这种欲望被体验为对违反法律的欲望。最深刻的意识形态认同来自对法律的阴暗面,即对违反法律、悬搁法律的快感模式的认同,而希区柯克的电影所中止的正是这种认同。
Hitchcock movie world center is the relationship between subject and law. This article takes the failure of “Wronged” as a negative example to discuss the fable dimension of Hitchcock movie world. This parable dimension is precisely the ideological critical potential of Hitchcock film. Hitchcock’s movie turns back the viewer’s gaze, causing him / her to realize that their gaze has always been stigmatized by the “sick” desires; enabling him / her to see his desires by satisfying the viewer’s desires The contradiction, split essence. This desire is experienced as a desire to violate the law. The deepest ideological endorsement comes from the dark side of the law, the approval of patterns of pleasure that violate the law and overhang the law, exactly what Hitchcock’s movie stopped.