叙事与电影电影是一种过剩的媒体。电影中的意义,产生于对这种过剩的精心策划的或意识形态的限制。在以上各章里,此事我们已经看到三次。第一次提到时说,感知来自我们对感觉的过量洪流所规定的界限,有了界限我们便可以倚靠某种感觉安排的稳定性。电影机器和它所采取的修辞策略,使光、色的流动变成可以认知的影象。在下一个层次,即对电影整体理解的层次上,也出现过类似的约束。通过对那些有资格进入更高组织的我们的知觉态度的有效选择过程,知觉在事物状态的表现中定形。如我们已知的,样式是第一也是首要的一种利用知觉滤掉特殊的“事物状态”的办法。 Narrative and film The movie is a surplus of media. The meaning of the film stems from the elaborate or ideological restrictions on such excesses. In the preceding chapters, we’ve seen the incident three times. When it was mentioned for the first time, perception came from the limits that we set for the excessive torrent of feeling, and from the boundaries we could rely on the stability of some sort of sensory arrangement. The movie machine and the rhetorical strategies it takes make light and color flow a recognizable image. At the next level, the level of overall understanding of the movie, there have been similar constraints. Through the process of effective selection of our perceptions of those who qualify for higher organization, perception is shaped by the state of affairs. As we already know, style is the first and foremost a way of using awareness to filter out specific “state of things.”