区分于传统的基于文本与意义阐释的电影理论, 一支现象学源流的触感影像理论 (haptic image) 成为当代电影理论的重要转向, 其背景是梅洛-庞蒂的知觉现象学与德勒兹的触感理论, 并由劳拉·马克斯等人进一步发展。触感影像理论聚焦于知觉与具身性的观影体验, 似乎与电影所一贯应允的叙事功能形成一种对立。本文将通过触感影像的电影体验与呈现重新梳理影像的细节纹理与叙事之间的二元关系, 并在影片《反基督者》《捕鼠者》以及电子游戏《极乐迪斯科》的基础上, 分析触感影像理论可能具备的叙事维度, 并通过触感影像叙事中“混乱” (mess) 的特质提炼一种后人类主体性。这是一种欲意从物质废墟和数字废墟的混乱中挣脱, 却由于内部性的崩溃与断裂, 遭遇生命的间隙并走向“宕机” (down) 的状态, 引得生命在否定处停留, 然而也只有从作为冲动反面的“宕机”出发才有可能“重启”, 也即经历真正的行动。

Distinct from traditional film theories that are based on textual and semantic interpretation, a phenomenological approach of haptic-image theory has become an important turn in contemporary film theory. Its background is Merleau-Ponty􀆳s perceptual phenomenology and Deleuze􀆳s haptic theory, further developed by Laura Marks and others. The theory of haptic-image focuses on the perceptual and embodied experience of film-watching, which seems to be an opposition to the narrative function that has always been expected in film. This paper will will be based on the inspiration of the theory of haptic image, returning to the relationship between vision and touch in the history of philosophy, explaining this false binary opposition, and analyzing the narrative dimensions that haptic image theory may possess based on films including “Antichrist” and video game “Disco Elysium. ” Through the trait of “mess” in haptic-image narratives, a post-human subjectivity is distilled. This is a desire to break free from the mess or chaos of material and digital ruins, yet due to the collapse and rupture of internality, it encounters the gap in life and moves towards the state of “down. ” causing life to linger in negation. However, it is only from the “down” state that a “reboot” is possible, that is, experiencing real action.