Film and New Psychology

Only after reading it did I know that Film and New Psychology was a lecture given by the author at 1945 French Institute of Advanced Film Studies. The first part of this book contains the full text of this speech, translated into Chinese about 10000 words, 26 pages. The second part of this book has 120 pages, including two "others'" articles. AsNo。 0 1, "China film masters" series, the arrangement of this book makes the author feel some kind of "stream of consciousness" after a short period of confusion (hahaha).

Melo-Ponty's lecture talked about three issues: (1) traditional psychology and new psychology (2) movies as perceptual objects (3) philosophy and movies, which run through the core of his phenomenological philosophy. In other words, Melo-Ponty, through the art form of film, well expounded the phenomenological way of looking at the world.

These three problems are closely linked. The first question, the so-called "new" psychology, refers to gestalt psychology according to the author's understanding, emphasizing the integrity and relationship of perception. Perception is not established by intelligence or produced by introspection, but "placed in the objective world", "get along with the objective world" and "exist in the objective world". This is very important, it dispels the external duality of subjective and objective, and it is grasped in the sense of "configuration", "relationship" and "whole". It can be said that this is the phenomenological basis in the progress of psychological research, and there are many examples, such as "figure and background", "cube", "relative motion" and "emotional cognition". The second question is to understand the characteristics of film art from the perspective of the above perceptual theory. This part is explained by many filmmakers. Film is a perceptual whole composed of images, sounds (dialogues) and music. It is not to present ideas, thoughts and other so-called things in the mind, but to present people with the way of existence of characters in the objective world. On this basis, the third question naturally arises, that is, the conclusion that philosophy and film are consistent, because philosophers and filmmakers exist in the same way.

The second part of this book is a response and explanation to the ideas contained in Melo-Ponty's text. Two articles, one is the French writer's comment on a photographic work, and the other is the text analysis of the lecture by the middle school philosophy teacher.

The evaluation of photographic works, entitled "From Photography to Writing", is it the work of Bernard, a French photographer? One of Prosso's photographs, "almeria, Andalusia" (above), was shot through the front window with a fool's camera while sitting in the car. This photo is blurred. At first glance, a man was jumping and shooting in the wilderness, and there was another man behind him. There is no introduction about photographers and their works on the Internet. Critics see the continuity of tone, the prolongation of time and the reconciliation of many irreconcilable forces in the captured images, which is probably the value of existence. The text analysis is as long as one hundred pages, like a lesson plan. After analysis, this 10,000-word lecture becomes thicker and thicker as you read it. Specifically, you can flip through the books yourself.

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2020-05- 18