总体性的影像切片:詹姆逊论戈达尔晚期电影中的合成美学OACHSSCD

Taking Fredric Jameson's interpretation of Jean-Luc Godard's late films as its central theme,this paper examines Godard's use of synthetic aesthetics in the context of late capitalism.In works such as Passion(1982),Godard moves beyond his earlier deconstruction of cinematic language towards an active,technologically mediated synthesis.He integrates heterogeneous elements,such as painting,music and theatre,alongside socio-economic realities,such as technology,capital and labor,all within what Jameson describes as an imaginary laboratory.Jameson regards this aesthetic strategy as a response to the cultural impasses of postmodernity.This confronts the dissipation of the"aura"and the fragmentation of experience head-on while attempting to reconstruct an allegorical vision of totality under conditions of technological mediation through heightened self-reflexivity and media-conscious formal experimentation.Thus,Godard's synthetic aesthetics serve not only as formal experimentation,but also as a mode of cognitive mapping and critical intervention into the crises of narrative,the disintegration of collective experience and the erosion of historical consciousness that are characteristic of late capitalist society.This approach offers a crucial historical coordinate and theoretical lens through which to understand the socio-critical potential of today's technology-intensive moving images.