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作为情境主义国际代表人物居伊·德波(Guy Debord)于1967年出版了著名的《景观社会》,这本书至今仍然是一部关于现代社会、发达资本主义以及媒体批判的重要理论著作,几年后,他创作了同名电影《景观社会》。德波身后共留下七部影像作品,死后才得以与公众见面。德波怎样把自己的思想纳入到影像创作当中去是本论文讨论的重点所在,我们应该从怎样的层面去理解这些被争论不休或不被理解的作品,通过按年代顺序梳理这些作品来探讨他的创作历程和思想演变,通过对德波作品中表面的影像手法和影像之下的文化社会分析来带出他对于这个世界的真正状况的思考,发现其作品内部的裂隙以及作品与现实之间的裂隙,并通过与让-吕克·戈达尔的比较,从另外一个角度去衡量德波的作品,以获得一些新的启发。
As an international representative of situationalism Guy Debord published the famous “Landscape Society” in 1967, which is still an important theoretical work on modern society, developed capitalism and media criticism. A few years later, he created the eponymous “Landscape Society.” Debuts left a total of seven video works behind, only to meet with the public after the death. Debao how to put his thoughts into the image creation is the focus of this discussion of the paper, we should understand from what level these debates endlessly or not understand the work, by chronological combing these works to explore his His creative process and thoughts evolved through his analysis of the surface images and the cultural and social analysis of Debord’s works to bring out his thoughts on the true state of the world and to find the gaps within his works and between works and reality And compared with Jean-Luc Godard to measure Debord’s works from another angle to get some new inspiration.