On Jacques Rancière's Film Aesthetic Issues:Politics Of The Image

After Deleuze,there was a philosophical turn in the field of film studies,and the film criticism also showed the feature of interdisciplinary,intertwined with aesthetics,philosophy and literature.The generation of the concept of image expands the boundaries of the film and thus the concept becomes an important art paradigm of Rancière's political aesthetics.In the dual context of the philosophical turn of film theory and the image turn of contemporary aesthetics,images provide a broader speaking space for film theory with its flowing power,and Distribution of the sensible,as a key concept in Rancière's theory,connects art and politics.The former demonstrates the power of equality through the rebellion of the aesthetic regime of art against the representative regime,while the latter provides a space of self expression for the part has no part based on the theory of dissensus.As the text host of Rancière's aesthetic politics,the film issue contains the reflection on film form,film ontology and film sense,and points to the power of image politics.This thesis intends to take the politics of image,which is the core issue in the film aesthetics of Rancière,as the key concept and investigate the ideological approach,expression mechanism and practical logic of the politics of image.The ideological approach of the politics of image is connected with the democratic tendency of film and the aesthetic regime of art of Rancière.As the primary feature of the film's democratization tendency,the "impure" attribute of the film provides a basis for the connection with the aesthetic regime of art.The automatic mechanism of the camera connects the will of the director with the image unconsciously.Therefore,the image cannot be regarded as a consistent existence,a Foreign materials are automatically included in the image to mark the political elements of the film.Under the view of the aesthetic regime of art,the film crosses the boundary between art and art,between art and daily life,and the presentation subject and expression mechanism of art are reconstructed.In the face of the rupturebetween the classical film and the modern film,Rancière pointed out the "thwarted fable" of the film in the image.The operating logic of the politics of image is largely reflected in the confrontation between the poetic moment of the film and the code of representation.The "thwarted fable" aims to show that the film connects the representative regime and the aesthetic regime of art at the same time.The plot-fable points to the narrative mechanism of the film.The moments that are not related to the narrative or the parts where the video and language cannot mutually prove are contradictory.The aesthetic power of the poetic moment of the image is triggered by the purely perceptual image.As an art in the aesthetic age,the film can keenly observe the perceptual texture of everyday things and take over the work of literature to make room for ordinary things,regarding elements that were not originally art as art.Rancière recounted the glimmer of the small figures through the Tramp persona developed by Charlie Chaplin,using Hegel 's description of the beggar 's free state.While Vertov continued Whitman's brushstrokes in writing The Leaves of Grass,through an accelerated montage,put everything in the city into an equal movement of the image.Under the view of aesthetic regime,the appearance of the concept of phrases-image redefines the relationship between the two.Godard's Histoire(s)du cinéma uses phrases-image as an installation to implicitly express the theme of the Holocaust,revealing a messianic redemptive tendency,whereby phrases-image move from dialectical conflict to symbolic redemption.In the face of the Holocaust,Lyotard and other philosophers regarded it as something that could not be reproduced,which triggered Rancière's reflection on the ethical turn of aesthetic political.As the third feature of the aesthetic political ethical turning limit,the move towards consensus further revealed the political aphasia.Rancière used the dissensus as a means to break through this dilemma.The part has no part using the reshaping of the perceptual experience reiterates its position as the main body of the political.The words of the people are no longer treated as noise and neglected,but with the help of dissensus achieve the space of speech,and as an artistic paradigm of contemporary political aesthetics,image has become an effective means of expressing this complex perceptual logic.At the historical level,it intervenes in the grand history that has been written;at the practical level,the presence of the part has no part interfered with the established hierarchical order,and the image also found an expression paradigm for the writing of the people at the bottom.