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电影理论研究 ›› 2026, Vol. 8 ›› Issue (28): 92-102.

• 国际视域 • 上一篇    下一篇

缺席作为本体：电影与“此时此地”的消逝

  

  1. 上海大学上海电影学院特聘教授

    上海大学上海电影学院副教授

  • 出版日期:2026-09-10 发布日期:2026-10-28

  • Online:2026-09-10 Published:2026-10-28

摘要：

电影中“此时此地”的本体性缺席，揭示出电影并非建立在即时性之上，而是基于延迟性。不同于绘画、音乐、现场表演等实时展开的艺术形式，电影由已被经历的时间片段构成，唯有在体验的瞬间消逝后才被拼合成型。通过剖析电影制作中的核心创作角色（编剧、导演、摄影师、演员、剪辑师和作曲家），本文揭示了“在场”消逝的节点和可能重现的地方。电影剪辑（尤其在纪录片实践中）是电影最接近艺术在场的创作环节，其核心不在于执行预设构想，而在于对意义的实时发现，被记录的时间由此得以重新显现并被重构。

关键词: 在场, 缺席, 时间性, 电影本体论, 作者性, 即时性

Abstract:

The ontological absence of the 'here and now' reveals cinema to be a medium founded not on immediacy but on temporal deferral. Unlike artistic practices that unfold in real time—such as painting, music and live performance—cinema is assembled from fragments of lived experience that are organized only after the moment has passed. By examining the principal creative roles in film production—including the screenwriter, director, cinematographer, actor, editor and composer—this article traces how presence is dispersed throughout the filmmaking process and where it may reemerge. It argues that film editing, particularly in documentary filmmaking, represents cinema's closest approach to artistic presence: a mode of creation grounded not in the execution of a predetermined vision but in the real-time discovery of meaning, where recorded time is reactivated and reconfigured through the editorial encounter.

Key words: presence, absence, temporality, cinematic ontology, authorship, immediacy