Image,Thwarted Fable And Heterotopia:a Study Of The Film Aesthetics Of Jacques Ranciere

In contemporary France,Jacques Ranciere is one of the philosophers who are keen on studying film.Before studying film,he had made notable achievements in the fields of politics,philosophy,aesthetics and so on.By redefining the concepts of politics(le Politique),police(la Politique)and aesthetics,Ranciere connected the"disagreement"(mésentente)of politics with the "disagreement" of aesthetics,and then constructed the political aesthetics with "the Distribution of the Sensible" as the core.His film aesthetics continued deliberation on aesthetic liberation and political equality to dialectically build a new artistic view:film is the dialectical combination of two contradictory forces.Between classical and modern,passive and active,representation and expressivity,film constantly disrupts its own boundary and challenges the hierarchical order,and finally becomes the perceptual expression form of Disagreement.In the past ten years,the translations and researches on Ranciere have increased gradually in China,but it mainly focused on politics,philosophy,literature,art and so on,with less research on film aesthetics.Focused on the film aesthetics of Ranciere,This paper starting from the three key concepts of image,thwarted fable and heterotopia to grasp the ontological construction,value interpretation and practical application of Ranciere’s film aesthetics,and finally to reveal the significance and the dilemma of his film aesthetics.First of all,sort out the background of the film aesthetics of Ranciere,and also clarify his betrayal of the theory of Althusser and his own academic construction;The second is to clarify the ontological construction of the film aesthetics of Ranciere from the double poetry of the image and the thwarted fable of the film.Thirdly,explore Ranciere’s interpretation of the value of his film aesthetics,and make clear his pursuit of political equality and aesthetic liberation.The fourth is to analyze the value and limitation of the film aesthetics of Rancière,and reflect on the enlightenment of Rancier’s film theory to the contemporary film.At the same time,we should also point out its limitations:overstating the political power of film and regarding the film as the arena of political aesthetics,Ranciere’s interpretation of the film sometimes had the suspicion of "theory first".