Cinepoetics - Center for Advanced Film Studies

电影影像塑造了感知的时空参数和图式，从而创造了认知和符号学过程的新框架。这篇论文是KFG理论工作的核心。它的目标是一个理论主题，从电影理论的早期阶段一直伴随着电影到当代关于电影的哲学辩论：电影图像显示出新的思维形式，一种“图像思维”。这暗示了一个与现代媒介理论的核心范式有关的概念：媒介本身就是信息的论点。根据这篇论文，媒体不被认为仅仅是传播给定事实和问题的手段。相反，它们必须被认为是人类感知的技术延伸，改变理解、判断和想象的先验条件。这一论点几乎没有争议。在文化研究中，以及越来越多的社会科学中，提及媒介性被认为是必须的。因此，KFG更想问的是，如何在对电影图像及其形成的话语的具体分析中实施这一论文。在这类分析中，上述媒介理论主题与大部分电影分析研究形成了对比。每当电影被分析为历史、文化或政治话语的媒介时，通常会考虑到事实和问题的纯粹表现。但是，如果电影图像不被视为表征，而是被视为基本感知形式的技术调整，那么分析电影图像的理论和方法基础是什么呢？那么这些图像所产生的话语是什么呢？从我们的观点来看，这些问题不能通过主要观察电影制作的过程来回答，而是通过将观看电影的过程理解为一种自身的生产，一种真正的生成行为。KFG旨在a.)将“思考电影”的主题作为一种观影理论加以阐述；b.)发展一种相应的电影话语分析方法，使我们能够c.)将运动影像的历史重构为在可变时空图式中产生不同思维逻辑的历史，即：电影影像的思维诗学。

Cinematic images shape the spatio-temporal parameters and schemata of perception, thus creating new framings of cognitive and semiotic processes. This thesis is central to the KFG´s theoretical work. It aims at a theoretical topos that has accompanied cinema from the early stages of film theory to contemporary philosophical debates regarding film: that cinematic images display new forms of thinking, a 'thinking of images'. This implies a conception that concerns the central paradigm of modern media theory: the thesis of the medium itself being the message. According to this thesis, media are not considered mere means of communicating given facts and issues. Instead they have to be thought of as technical extensions of human perception, altering the a priori conditions of comprehension, judgement and imagination. This thesis is hardly contested. Within cultural studies - and increasingly within the social sciences as well - referring to mediality is considered obligatory. Hence, the KFG rather asks how this thesis can be implemented in the concrete analysis of cinematic images and the discourses they form. Regarding such analyses, the media theoretical topos stated above remains in contrast to the larger part of analytical research on film. Whenever films are being analyzed as media of historical, cultural or political discourses, usually the mere representation of facts and issues is taken into consideration. But what are the theoretical and methodological bases of analyzing cinematic images, if they are not considered representations, if they are conceived of as technical modulations of basic forms of perception instead? What then is the discourse these images generate? From our point of view, these questions cannot be answered by primarily looking at the process of film production, but rather by an understanding of the process of film-viewing as a production of its own, a genuine act of generation. The KFG aims at a.) elaborating the topos of ¿thinking films¿ as a theory of the poiesis of film-viewing and b.) developing a corresponding methodology of analyzing cinematic discourses, that enables us to c.) reconstruct the history of the moving image as a history of the generation of varying logics of thinking in variable spatio-temporal schemata, i.e.: a poetology of thinking in cinematic images.