分散連續性：維爾托夫電影眼理論及實踐中的數位與模控邏輯

Abstract

本論文旨在探討維爾托夫的電影眼理論與《持攝影機的人》一片之中的數位和模控邏輯，通過觀察維爾托夫的電影技術如何運用信息處理邏輯，提供一個閱讀維爾托夫以及數位性的新取徑。 考慮到維爾托夫對他所生活的蘇聯社會的關懷，第一章檢視影響維爾托夫電影理論及創作風格的歷史和藝術背景，以及《持攝影機的人》的現有研究，以期梳理出以「電影眼」為基礎的交流系統中的組織管理模式。第二章提出了數位性和模控學的理論框架，為之後第三章分析電影眼理論以及《持攝影機的人》提供立論基礎。為了更清楚理解數位和模控學概念的文化含義，本章考察了媒體學者曼諾維奇、蓋洛威、漢森、維納和海爾思的理論。為重探和複雜化數位性的概念，本章在文獻閱讀中著重於數據處理層面，並暫且擱置論者對數位性和模控學控制邏輯的控訴。本章聚焦在數位化過程與模控實驗的關係，同時整合了漢森的時間數位銘刻概念，寄望從廣義且肯定的角度來理解數位化的概念。第三章探討電影眼在理論上以及實踐上如何體現時間的數位性、模控實驗的操作邏輯、數位性和模控學的文化意義及其在《持攝影機的人》拍製過程中的作用，以進一步考察維爾托夫革命性的電影理論和創新的電影製作過程。

This thesis reads Dziga Vertov’s kino-eye theory and Man with a Movie Camera in light of digital and cybernetic logics. By examining how Vertov’s filmmaking techniques engage the information processing logics, this reading seeks to intervene in Vertov scholarship by offering a new approach to Vertov’s film theory and experiment. Considering Vertov’s concern for the Soviet society of his time, Chapter One looks into the historical and artistic conditions that shaped Vertov’s film theory and style. This chapter also reviews existing scholarship on Vertov’s seminal work, Man with a Movie Camera, with a view to identifying the organizing pattern in the interchange system that underpins Vertov’s kino-eye method. Chapter Two teases out the theoretical framework of the digital and cybernetic logics that inform kino-eye theory. To better understand the cultural implications of the concepts of digitality and cybernetics, this chapter examines how media theorists Lev Manovich, Alexander R. Galloway, Mark B. N. Hansen, Norbert Wiener, and Katherine Hayles, respectively, conceptualize digitality and cybernetics. This study takes their formulations as a point of departure but will bypass accusations of the control logic in digitality and cybernetics. In particular, the chapter draws upon the functions of the digitizing process in the operation of a cybernetic experiment and integrates Hansen’s thesis of digital inscription of time to approach digitality in a broader and affirmative sense. Chapter Three investigates Vertov’s kino-eye theory and practice through exploring how the kino-eye method embodies the digital character of temporal passage and the operative pattern of a cybernetic experiment. This chapter takes into account the cultural significance of digital and cybernetic logics and their formative role in the making of Man with a Movie Camera. By doing so, it aims to impart a deeper understanding of Vertov’s revolutionary film theory and innovative approach to filmmaking.