本文探讨了景观世纪中影像的生产与观看的关系, 由“集中景观”和“弥散景观”结合的“综合景观”反映了资本与权力的结合, 数据的窥视进一步削弱了个体的目光主体性。作者强调了“异轨”这一实践方法能够对媒介自身进行批判性反对, 以揭示影像生产的社会逻辑。通过分析影像作者的处境与职责, 作者认为电影的力量在于对观众威胁的幻觉, 并呼吁“电影眼”这一概念的重新认知与复活———其核心要义在于对社会的分析、考察、内在批判, 得以揭示真理。本文主张影像作者重新审视社会, 离开屏幕, 承担解放日常生活的任务。

This article explores the relationship between the production and viewing of images in the age of spectacle. The “integrated spectacle”, a combination of the “concentrated” and “diffuse” forms of spectacle, reflects the interplay of capital and power, while the covert surveillance of data further undermines the individual’s visual subjectivity. The author emphasizes that the practical method of Détournement can be a critical resistance to the media itself, aiming to expose the social logic behind image production. By analyzing the position and responsibilities of image-makers, the author argues that the power of cinema lies in the illusion of its threat to the audience. This article calls for a renewed recognition and revival of the concept of the Kino-eye, whose core lies in social analysis, inquiry, and internal critique, leading to the revelation of truth. Ultimately, the author advocates for image-makers to re-examine society, step away from the screen, and take on the task of emancipating everyday life.