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理论工作的核心。它的目的是一个理论的主题，伴随着电影从电影理论的早期阶段到当代哲学辩论关于电影：电影图像显示新的形式的思维，“思维的图像”。这意味着一个涉及现代媒体理论中心范式的概念：媒体本身就是信息的命题。根据这一论点，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，改变了理解、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强制性的。因此，KFG更想问的是，如何将这一理论应用于对电影图像及其形成的话语的具体分析中。关于这种分析，上述的媒体理论主题仍然与大部分关于电影的分析研究形成对比。当电影作为历史、文化或政治话语的媒介被分析时，通常只考虑事实和问题的再现。但是，如果电影图像不被视为表征，而是被视为感知基本形式的技术调制，那么分析电影图像的理论和方法论基础又是什么呢？那么，这些图像产生的话语是什么？从我们的观点来看，这些问题不能主要通过观察电影生产过程来回答，而是通过将电影观看过程理解为一种自身的生产，一种真正的生成行为。KFG的目标是a.）将"思考电影"的主题阐述为电影观看的起源理论，以及B.）发展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的时空图式中产生不同的思维逻辑的历史，即：电影图像中的诗意思维。

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.