CAJ | 학술논문

德勒兹提出了饱受争议的“感觉动力导向瓦解”的理论，划分了传统意义上的“运动---影像”电影和现代意义上的“时间---影像”电影。德勒兹从电影中的“间隙”与“界域外”出发，联系知觉、行动和情感，通过讲解具体的电影案例《谁带我回家》，描述了“从内部开始”的“感觉动力导向”模式的瓦解。我们应以开放的心态去迎接视觉影像的“真实”阅读。德勒兹对电影的认识其实并没有以“感觉动力导向瓦解”这一理论为前提，而是建立在电影的虚拟和真实不可分离的基础之上。德勒兹的理论并不是感官运动瓦解的历史性宣言，事实上，感官运动模式与它的瓦解是并驾齐驱的。这一瓦解活动早于德勒兹和朗西埃的言说，但又悄然无息，似未发生过。
덕륵자제출료포수쟁의적“감각동력도향와해”적이론，화분료전통의의상적“운동---영상”전영화현대의의상적“시간---영상”전영。덕륵자종전영중적“간극”여“계역외”출발，련계지각、행동화정감，통과강해구체적전영안례《수대아회가》，묘술료“종내부개시”적“감각동력도향”모식적와해。아문응이개방적심태거영접시각영상적“진실”열독。덕륵자대전영적인식기실병몰유이“감각동력도향와해”저일이론위전제，이시건립재전영적허의화진실불가분리적기출지상。덕륵자적이론병불시감관운동와해적역사성선언，사실상，감관운동모식여타적와해시병가제구적。저일와해활동조우덕륵자화랑서애적언설，단우초연무식，사미발생과。
The most contentious idea in Deleuze's writings on cinema is also its central organizing principle:the “sensorimotor break”that separates the classical cinema of the movement-image from the modern cinema of the time-image. From the “interstice”and “out-of-field”and the perspective of the“” and “”, by giving the example of the movie the Mirror he describes the inner collapse of “Sensorimotor”. We should get ready for a true reading of the visual image with open mind. And yet, the premise of Deleuze's analysis of cinema is not that cinema is the medium of the sensorimotor collapse but that cinema has taught us to think the rupture of the sensorimotor link, the“infinitization” of the interval, which is to say, the inseparability of the virtual and the real. The sensorimotor collapse has always already taken place: before Deleuze, before Rancière, and before the claims of both-very different in their inflection.