本文通过对电影体制中“阵营”的理解, 探讨了当代“独立电影”表象的虚假性。“独立电影”是消费和景观世纪的产物, 作为观众的“迷影者”也是如此。作者提出以“分离主义”取代“独立”的概念, 形成“群岛”, 瓦解电影体制的统治。分离式电影实践是一种主动的、真实的行动, 其要义在于反对影像竞技活动的标准, 对批评能力缺失的现状进行回应, 从而脱离集体主义。作者揭示了当下狂欢式的伪交流场域, 并主张理解、谈论电影的权力交还于个人。电影作者的任务是改变“观看”的模式, 以促成差异性的观看。通过对“作者-现实”、“观众-电影”双层关系的分析, 作者强调了对抗景观、去标准化、超越电影要素的必要性, 从而提出了一种新的电影实践方式。

This article explores the false appearance of contemporary “independent cinema” by examining the concept of “camps” within the cinematic system.“Independent cinema” is revealed to be a product of consumption and the society of the spectacle,with cinephile also falling into this trap.The author proposes replacing the notion of “independence” with “separatism”,forming an “archipelago” that aims to dismantle the control of the cinematic system.Separatist cinematic practice is framed as an active and genuine form, rejecting the standardized frameworks of film competitions and responding to the current lack of critical engagement, thus breaking away from collectivism.The author critiques the pseudo-communicative spectacle of contemporary cinematic discourse,advocating for the return of the power to understand and discuss films to the individual.The role of the filmmaker,therefore,is to transform. the mode of “viewing”,fostering differentiated viewing experiences.Through a dual analysis of the author-reality and audience-film relationships, the author underscores the necessity of opposing the spectacle,rejecting standardization,and transcending traditional cinematic elements,ultimately proposing a new mode of cinematic practice.