Cinepoetics - Center for Advanced Film Studies

电影图像塑造了感知的时空参数和图式，从而创造了认知和符号过程的新框架。这篇论文是KFG S理论工作的核心。它的目标是从电影理论的早期阶段到当代关于电影的哲学辩论一直伴随着电影的一个理论话题：电影图像展示了新的思维形式，一种‘图像思维’。这暗示了一个与现代媒体理论的中心范式有关的概念：媒体本身就是信息的论点。根据这篇论文，媒体不仅仅被认为是传达特定事实和问题的工具。相反，它们必须被视为人类感知的技术延伸，改变了理解、判断和想象的先验条件。这一论点几乎无人争辩。在文化研究中--越来越多地在社会科学中--提到中庸被认为是必须的。因此，KFG提出的问题是，如何将这一论点落实到对电影图像及其形成的话语的具体分析中。关于这样的分析，上面所述的媒介理论主题仍然与对电影的大部分分析研究形成对比。当电影被分析为历史、文化或政治话语的媒介时，通常只考虑到事实和问题的再现。但是，如果电影图像不被认为是表现形式，如果它们被构思为基本知觉形式的技术调制，那么分析电影图像的理论和方法基础是什么？那么，这些图像所产生的话语是什么？在我们看来，这些问题不能通过主要关注电影制作的过程来回答，而是通过理解电影观看的过程--作为一种生产本身，一种真正的生成行为--来回答。KFG的目标是。)将思考电影的主题阐述为一种电影观看和b.开发相应的分析电影话语的方法，使我们能够c。)将运动图像的历史重建为在可变时空图式中产生不同思维逻辑的历史，即：电影图像中思维的诗学。

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.