书籍介绍
这不像一本关于电影的理论书，而像一份对现代人心灵的病理报告。克拉考尔最锐利的地方，在于他让"表面"自己说话：好莱坞的愚蠢幻想、百货公司的走廊、旅馆大堂的闲逛者，这些被知识界看轻的琐碎，恰恰是社会隐秘机制泄露的窗口。他提出一个近乎挑衅的判断——大众越是错误地呈现表象，就越正确地映照出社会的真实结构；电影里的白日梦，正是整个社会被压抑愿望的显形。读者反复提及的"玛丽的劳斯莱斯梦""去圣莫里茨是为了压抑自己并非人"等段落，正暴露了他冷峻的洞察：我们消费娱乐，实则在被娱乐反向定义。它适合那些不愿停留在道德谴责、而想理解大众文化如何悄悄塑造"我们为何如此"的读者。
作者简介
Siegfried Kracauer (1889–1966) was the author of Theory of Film, From Caligari to Hitler, and many other works on historical, sociological, and cultural topics.
Thomas Y. Levin is Associate Professor of German at Princeton University.
AI导读
核心看点
- 剖析魏玛时期大众娱乐与几何化身体
- 揭示现代性中个体异化与群体无意识
- 探讨摄影、电影等媒介的镜像功能
读者共识
- 文笔优美但理论深度难懂
- 对现代大众文化洞察深刻
- 与本雅明思想有紧密关联
精彩摘录
- "the more incorrectly they present the surface of things, the more correct they become the more clearly they mirror the secret mechanism of society. In reality it may not often happen that a scullery maid marries the owner of a Rolls Royce. But doesn't every Rolls Royce owner dream that scullery maid"
- "Short circuit people. Whether one comes upon them in this camp or another (and one encounters them wherever there seems to be a ready solution in matters of faith), what they all have in common is a tendency to flee headlong from the dreariness and the world outside in order to slip quickly into a s"
- "There are many people who sacrifice themselves noblemindedly because they are too lazy to rebel; many tears are shed which flow only because crying is sometimes easier than contemplation."
- "Each engagement is linked with the continuous use of one's own car. I have traveled around the entire world in order to find myself, Count Keyserling affirms in his philosopher's travelogue. Society likewise never finds itself through its voyages; but unlike the count, it travels precisely in order "
- "The hands in factory correspond with the legs of the Tiller girls."
- "knows no higher unity than the unison of the nation's fate."
- "Educated people...have taken offense at the emergence of the Tiller Girls and the stadium images. They judge anything that entertains the crowd to be a distraction of that crowd. But despite what they think, the aesthetic pleasure gained from ornamental mass movements is legitimate."
- "记忆图像的意义联系着它们的真理内容。只要记忆图像融入了不受控制的本能生命（Triebleben）当中，一种魔力般的暖昧性就存在于它们当中，它们与几乎没有一丝光线可以穿过的磨砂玻璃一样不透明。当认识照亮了灵魂的植被并限制了自然的强制力，它们的透明性就会相应提高。只有被释放出来的衡量本能之魔力（Damonie）的意识才能发现真理。这意识回忆起的踪迹处于与被认知为真的事物的联系中，这些事物有可能在这样的踪迹里得以显明，也有可能被踪迹排除出去。这样的踪迹显现于其中的图像是优先于其他所有的记忆图像的，因为它不像其他图像那样保存一大堆不透明的回忆，而是符合真之认知的内容。我们有充分理由将其称为最后的图像，"
用户评论
这个朋友散文很漂亮，话也很多，是祁克果老师的好学生，但没有祁克果老师可爱。不知道为什么对韦伯意见很大，魏玛时期真的是disjointed times，没有宗教不是问题，强行找宗教才是问题。
终于看完了，感觉不可避免地要看第二遍。
pure externality
这次重读猛然发现Kracauer关于摄影的思考如此和当下接轨，不像本雅明在技术乐观主义和神学救赎之间徘徊，Kracauer对工业资本主义的图像生产模式（画报）充满警觉，充分认识到indexicality是根植于photographic reproduction和media mix里的alienating myth，对new vision和new objectivity都持批判态度。可能反而是最接近哲思的那位。photographability、“风暴”一样吞噬对自身存在和历史产生反思可能的摄影图像成为社会constitute itself的基本条件，在这一点上可以读到海德格尔world picture和flusser photographic universe的影子。
Extériorité pure, surface, cinéma; inconscient - photogénie
克拉考尔对电影的技术和叙事都有一种惊人的敏锐，如指出历史电影的问题是以historicism的思路用影像“重构”历史，而非让历史由影像浮现而出；如指出摄像机由streetcorner挪进studio，导演对某物特写和全景的对应关系只流于表面...依然是法兰克福学派的传统——the task of realism is to situate its struggle in the authentic capitalist conditions. 而现实是本该出现在银幕上的事和物被放逐了。
这本书也太好看了吧！有对社会敏锐的洞察，有诗意的想象。单篇文章就像一个个淘气的小孩，被安抚好以后，再分门别类的放进章节里。克拉考尔的早期作品真的是瑰宝诶。
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