ABSTRACT

The essay film is defined by its capability to embody an audiovisual thinking process. Chris Marker’s Sans soleil/Sunless (1983) is undoubtedly one of the highest expressions of this filmic form, which reflects on postmodernity through the nature of images. This article aims to analyse the thinking in act of the film, using Jacques Rancière’s concept of sentence-image, and applying Gilles Deleuze’s theory of the time-image and the crystal-image. The cinematic thinking process forces the spectator to constantly transform the actual image/virtual image relationship of the film until it reaches a time-image and crystal-image of postmodernity. It is possible thanks to the shifts among the different subjectivities created by Marker and the interstices they generate. This shift also reaches a crystal-image as a materialisation of the postmodern concept of alterity as analysed by Paul Ricœur and Zygmunt Bauman. The reflection is constructed by means of an itinerary through four types of images and their screens – film image, television image, electronic image and video game image – in order to develop the image-memory-history axis and to generate an audiovisual reflection on postmodernity in total consonance with Jean Baudrillard’s theory of the image, Marc Augé’s of non-places and Fredric Jameson’s of the postmodern historicism.

摘要

散文电影以其体现视听思维过程的能力而著称。Chris Marker 的Sans soleil/Sunless（1983）无疑是这种电影形式的最高表现之一，它通过图像的本质反映了后现代性。本文旨在运用雅克·朗西埃的句子-意象概念，运用吉尔·德勒兹的时间-意象理论和水晶-意象理论，分析电影的行为思维。电影的思维过程迫使观者不断地转换电影的实像/虚像关系，直至达到一种后现代性的时间影像和水晶影像。这要归功于 Marker 创造的不同主观性之间的转变以及它们产生的空隙。这种转变也达到了一个水晶形象，作为保罗·里科尔和齐格蒙特·鲍曼分析的后现代异性概念的具体化。