作　　者： (李洋）;

机构地区： 北京大学艺术学院,北京100871

出　　处： 《上海大学学报（社会科学版）》 2017年第5期13-19,共7页

摘　　要： 法国当代哲学家贝尔纳·斯蒂格勒的电影思想从胡塞尔关于意识的两种记忆形式出发,即第一记忆(感觉)和第二记忆(回想),提出了"第三记忆"理论。斯蒂格勒认为,在电影中,视听记录技术创造了"意识的容器",成为一种如同记忆只能在时间中才能自我展开的"时间客体",成为随时可以把过去带到当下的意识副本。依靠外部物质存储的人的"第三记忆"正被迅速工业化,这带来了两个后果:一是电影与人的意识高度同化,摧毁了欲望经济;二是改造了人的一般性审美体验,可以被精细化的数字技术所调节,导致人类丧失了原始的自恋能力以及图像的盲视式毁灭,斯蒂格勒称之为"符号的贫困"。 The paper analyzes Bernard Stiegler＇ s philosophy on cinema. Stiegler proposed the concept of ＂tertiary retention＂ based on Husserl＇ s two forms of memory ： primary retention （perception） and second： ary retention （recollection）. Stiegler holds that audiovisual recording technologies create in a film ＂a container of consciousness＂ which becomes a memory-like ＂time object＂, which can unfold itself only in time, or in other words, a copy of consciousness that can bring the past into the present as needed. ＂Tertiary retention＂, depending on external material storage, however, is being industrialized rapidly, which has resulted in two consequences. Firstly, cinema and human consciousness are highly assimilated, leading to the col- lapse of the economy of desire ; Secondly, man＇ s general aesthetic experiences have been transformed, and modulated by refined digital technologies, causing the loss of man＇ s primitive capability of self-love and image destruction due to blindness, a phenomenon called ＂symbolic misery＂ by Stiegler.

关 键 词： 第三记忆 记忆技术 记忆的工业化 物化意识 电影作为意识