集体性及其缺席的形式——解析詹姆逊《可见的签名》中的论题与方法

摘要

Fredric Jameson is the most prominent Marxist cultural theorist in the contemporary era, and film criticism has taken an important position in his discussions about post-modernism. In Signatures of the Visible, a collection of Jameson＇ s film studies, one pivotal subject is discussed repeatedly--collec- tivity remodeling of the contemporary public. By conducting a careful textual analysis of several American movies in the 1970s such as The Godfather, Dog Day Afternoon and Shining, Jameson interprets the theme of ＂collectivity＂ and the forms of its absence. This paper reviews these key parts in a detailed manner so as to illustrate Jameson＇ s theoretical motives, further unfold and demonstrate the Marxist di- alectical criticism re-advocated by him, and provide a new approach for film research and studies on gen- eral cultural theories.%弗雷德里克·詹姆逊是当代最杰出的马克思主义文化理论家，电影批评在他关于后现代主义的论述中占有极为重要的地位。在他的电影研究论集《可见的签名》中，詹姆逊反复探讨的一个核心议题就是当代消费大众的集体性重塑。在20世纪70年代的美国影片当中，詹姆逊选择了《教父》、《炎热的下午》和《闪灵》等几部作品进行文本细读，以阐发“集体性”的主题及其缺席的形式。本文将对这些重点篇章详加评述，希望能更具体地说明詹姆逊的理论题旨，并以此来进一步展现和示范他重新提倡的马克思主义的辩证批评，以期为电影研究和一般的文化理论提供一全新的方法路径。