话语电影与反八卦
爱森斯坦的话语电影，就是要在电影中反八卦（de-anecdotalization），就是要利用偶然的生理刺激，来启动观众的理论思考，使他们在观看中将感-情性（the affective）与认知性（ the cognitive）结合起来。八卦根本上就是离题。好莱坞电影都是在一个很好的故事开始，最后滑进某种八卦的，很难理解为什么好莱坞要这么做。观众其实先已买好票的，难道结局严肃了一点，观众就要会要求退钱的么？八卦化，就是巴迪厄说的全球个人的政治上的找不到北disorientation，这种失位，不是个人迷路，而是由好莱坞产品和小资产阶级知识分子笔下的话语制造出来的产品。以为是个人身上的症状，其实却是全球资本主义景观装置在你身上种下的疫苗：你一辈子都会找不着北的，这样，你最后就会从好莱坞、《南方周末》、梁文道和陈丹青身上找到巨大的安慰，觉得他们是替你说出了心声。
2-Kluge的电影重新将爱森斯坦的电影笔记八卦化了。
3-将马克思主义当作意识形态古董来看，Kluge也显得太莽撞。马克思的未来：社会主义也远远描述不出它的丰富和宏大，中国的十几亿政治主体的觉醒这样的当代大事，在Kluge看了，仍是会打呵欠的。他有权认为马克思过时了么？（詹明信,《马克思与蒙太奇》）。
4-《资本论》是马克思想在日常生活和经验的现象的表面，来描述它后面的真正起作用的生产、分配和消费的主导关系。《资本论》提醒我们：我们不能将“资本主义”当作一个知识问题来了解，而是必须像《资本论》的那种方式去刻骨铭心地描述它。我的《资本论》：我描述我正生活其中的资本主义系统的那种方式。
#To understand all the complexity that exists under capitalism, Marx develops a
method that David Harvey describes as his method of descent. According to Harvey, Marx's method in
Capital is to descend “beneath the surface appearance of particular events to the ruling abstractions
underneath... It entails viewing any particular event set as an internalization of fundamental underlying
guiding forces. The task of enquiry is to identify these underlying forces by critical analysis and
detailed inspection of the individual instance.” In Capital, Marx starts with a seemingly ordinary,
everyday object, the commodity, and descends beneath its surface to reveal the forces and
contradictions of society that get internalized in it. For the next thousand pages, Marx expands from the
internal contradictions found in the commodity to describe the entire capitalist mode of production.
While Marx pioneered this method of descent to understand capitalism, Freud uses a similar method to
develop his theories on the human subconscious.
In the realm of modernist aesthetics, James Joyce also uses the method of descent in his book
Ulysses, as he chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16
June 1904. Beneath the surface of this seemingly banal, modern day, an epic journey emerges
comparable to the heroic adventures of classical antiquity, namely that of Homer's Odysseus. Famously,
one of the literary methods that Joyce develops to represent the experience of daily life is stream-ofconsciousness,
a technique that seems as much inspired by newly emerging theories of the
subconscious as aesthetic innovations such as cubism and montage. The horizontal narrative of Bloom's
day is interrupted by vertical plunges into the mental space of the characters. In Ulysses, we see
depicted in the minds of Bloom and others, chains of associations that show the mental links from, say,
“a bowl of soup to the British vessels sunk by England.”
When Eisenstein had the idea to film Capital, he thought that the literary methods found in
Joyce's Ulysses would be helpful for his project. According to Fredric Jameson, what Eisenstein had in
mind here is “something like a Marxian version of Freudian free association—the chain of hidden links
that leads us from the surface of everyday life and experience to the very sources of production itself.
As in Freud, this is a vertical plunge downward into the ontological abyss, what he called 'the navel of
the dream'; it interrupts the banal horizontal narrative and stages an associative cluster charged with
affect.” Eisenstein's idea was use the structure of Ulysses, a 'day in the life' narrative interrupted by
stream-of-consciousness, together with his theories of montage to depict a narrative film version of
Capital.
爱森斯坦的话语电影，就是要在电影中反八卦（de-anecdotalization），就是要利用偶然的生理刺激，来启动观众的理论思考，使他们在观看中将感-情性（the affective）与认知性（ the cognitive）结合起来。八卦根本上就是离题。好莱坞电影都是在一个很好的故事开始，最后滑进某种八卦的，很难理解为什么好莱坞要这么做。观众其实先已买好票的，难道结局严肃了一点，观众就要会要求退钱的么？八卦化，就是巴迪厄说的全球个人的政治上的找不到北disorientation，这种失位，不是个人迷路，而是由好莱坞产品和小资产阶级知识分子笔下的话语制造出来的产品。以为是个人身上的症状，其实却是全球资本主义景观装置在你身上种下的疫苗：你一辈子都会找不着北的，这样，你最后就会从好莱坞、《南方周末》、梁文道和陈丹青身上找到巨大的安慰，觉得他们是替你说出了心声。
2-Kluge的电影重新将爱森斯坦的电影笔记八卦化了。
3-将马克思主义当作意识形态古董来看，Kluge也显得太莽撞。马克思的未来：社会主义也远远描述不出它的丰富和宏大，中国的十几亿政治主体的觉醒这样的当代大事，在Kluge看了，仍是会打呵欠的。他有权认为马克思过时了么？（詹明信,《马克思与蒙太奇》）。
4-《资本论》是马克思想在日常生活和经验的现象的表面，来描述它后面的真正起作用的生产、分配和消费的主导关系。《资本论》提醒我们：我们不能将“资本主义”当作一个知识问题来了解，而是必须像《资本论》的那种方式去刻骨铭心地描述它。我的《资本论》：我描述我正生活其中的资本主义系统的那种方式。
#To understand all the complexity that exists under capitalism, Marx develops a
method that David Harvey describes as his method of descent. According to Harvey, Marx's method in
Capital is to descend “beneath the surface appearance of particular events to the ruling abstractions
underneath... It entails viewing any particular event set as an internalization of fundamental underlying
guiding forces. The task of enquiry is to identify these underlying forces by critical analysis and
detailed inspection of the individual instance.” In Capital, Marx starts with a seemingly ordinary,
everyday object, the commodity, and descends beneath its surface to reveal the forces and
contradictions of society that get internalized in it. For the next thousand pages, Marx expands from the
internal contradictions found in the commodity to describe the entire capitalist mode of production.
While Marx pioneered this method of descent to understand capitalism, Freud uses a similar method to
develop his theories on the human subconscious.
In the realm of modernist aesthetics, James Joyce also uses the method of descent in his book
Ulysses, as he chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16
June 1904. Beneath the surface of this seemingly banal, modern day, an epic journey emerges
comparable to the heroic adventures of classical antiquity, namely that of Homer's Odysseus. Famously,
one of the literary methods that Joyce develops to represent the experience of daily life is stream-ofconsciousness,
a technique that seems as much inspired by newly emerging theories of the
subconscious as aesthetic innovations such as cubism and montage. The horizontal narrative of Bloom's
day is interrupted by vertical plunges into the mental space of the characters. In Ulysses, we see
depicted in the minds of Bloom and others, chains of associations that show the mental links from, say,
“a bowl of soup to the British vessels sunk by England.”
When Eisenstein had the idea to film Capital, he thought that the literary methods found in
Joyce's Ulysses would be helpful for his project. According to Fredric Jameson, what Eisenstein had in
mind here is “something like a Marxian version of Freudian free association—the chain of hidden links
that leads us from the surface of everyday life and experience to the very sources of production itself.
As in Freud, this is a vertical plunge downward into the ontological abyss, what he called 'the navel of
the dream'; it interrupts the banal horizontal narrative and stages an associative cluster charged with
affect.” Eisenstein's idea was use the structure of Ulysses, a 'day in the life' narrative interrupted by
stream-of-consciousness, together with his theories of montage to depict a narrative film version of
Capital.
