以电影来表现哲理思考盛行于20世纪50年代后期至70年代,是与当时流行于西方的现代主义思潮分不开的。而随着现代主义的寥落,电影的哲理化也就淡出了世界影坛的主流。大卫·芬奇是一个另类,他不仅以各种手段挖掘出了电影在表现哲思上的丰富可能性,还使这种哲思与电影的市场化毫不矛盾。其电影基本上都能获得艺术与商业上的双重成功。文章从存在主义、弗洛伊德主义、身体话语三方面,探析大卫·芬奇影片中的哲理之光。 The prevalence of philosophical thinking in films from the late 1950s to the 1970s was inseparable from the modernist trend of thought prevailing in the West. With the sparseness of modernism, the philosophicalization of the movie has also faded out of the mainstream of the world’s cinema. David Finch is an alternative, he not only by various means to find out the film in the philosophical possibilities of enrichment, but also make this philosophical and film market is not contradictory. The film is basically able to get both artistic and commercial success. The essay explores the light of philosophy in the films of David Finch from the aspects of existentialism, Freudianism and body discourse.