Memory-Time:A Study Of The Image Dispositif Of Cinephilia Film

Cinephilia film is a type of film that examines and reflects on the history of film development from the perspective of the film itself,with the intention of endowing the film itself with the ability of image speculation through the superposition of image meanings.This article takes the French New Wave period,when the miniaturist film first appeared,as a breakthrough point to analyze the role and expression of the miniaturist complex in film creation and to explore the image dispositif of the Cinephilia film.The article is divided into four main parts,as follows.Firstly,the second chapter of this essay is the presentation of the concept and mechanism of Cinephilia cinema,specifically discussing the concept of Cinephilia,the characteristics of its creation and the connotations of the image mechanism.The term "Cinephilia" refers to the special fascination that people have with cinema,but the connection between people and cinema is not limited to the unidirectional attraction of cinema,but is also expressed through the creation of films that explicitly convey their own fanfic complex.It was during the French New Wave that cinema first emerged,a time when creators were drawn to cinema and consciously engaged in a dialogue between cinema and cinema through their creations.It is not a circular development within the film,but rather a reflection on the content of the history of cinema or historical events by the creator in his own time.The value of its existence lies in the superimposition of the meanings of images from different eras,which provokes the audience to think about films in a dislocated manner.Faced with this type of film that is different from the traditional narrative dispositif,it is necessary to analyse the image dispositif of the minstrel film based on Deleuze’s explanation of the dispositif as a theoretical basis.Secondly,the third chapter of this thesis is about the creation dispositif of Cinephilia films,which specifically analyzes the cognitive construction process,memory extraction and memory reproduction of the creators,and the generation and memory coexistence of minstrel films.The cognitive construction process in both daily life and movie viewing follows the interaction rules of"environment-body-brain" and "brain-body-environment"."However,based on the characteristics of the film medium,viewers need to use their daily cognitive experiences as a basis,but also need to combine the broken and fractured images into a continuous and complete story world under their self-perception.The creator’s memory reproduction is the extraction and reconstruction of the result of self-cognitive construction,and the result is a Cinephilia film of the imagery in the mind.In addition,if one wants to permanently preserve the mental image or provoke the audience’s thinking,one needs to use technical means to transform the mental image into a materialized miniature film.Memory,as the core of the creation mechanism of a Cinephilia film,is also the key to activating the audience’s memory.The memory coexistence of a Cinephilia film includes the memories of the creator,the audience and the film itself.Furthermore,the fourth chapter of this thesis is about the performance dispositif of Cinephilia films,which specifically discusses the temporality of images,the concept of temporal images,their characteristics,expression forms and performance forms.The memory creation strategy of Cinephilia film inevitably raises the issue of temporality of the image.The temporal image is a dual image that contains both the present and the past,which shows the meaning given to the image by time and has the characteristics of non-chronological time.The non-chronological temporal characteristics are mainly expressed in three temporal synthesis ways: present time synthesis,past time synthesis and future time synthesis.The first two temporal syntheses are based on the coexistence of perception and memory,and the latter temporal synthesis is a symbiosis of difference from experience and memory.The two different meanings of dual temporal images are specifically expressed in three forms and two shapes.Time can be seen as both another characteristic of the minstrel film and as a derivative of the memory construct,which aims to provoke the viewer to think about the dislocation of the image.Finally,the fifth chapter of this thesis is on memory-time as the image dispositif of the Cinephilia film,which mainly defines the theory and analyzes the shortcomings of the memory-time image dispositif.The memory-time image dispositif mainly involves film semiotics and intertextuality theory.Film semiotics provides a theoretical basis for the memory-time-imaging dispositif of coevalness,and provides proof for the film to examine itself.Intertextuality theory,on the other hand,provides an ephemeral perspective for the memory-time image dispositif,in which texts are not only related to texts,but also to historical and cultural contexts and authors.The deficiencies of the memory-time-image dispositif can be divided into internal and external contradictions.First,what constitutes the internal contradiction is the contradiction between the memory-time image dispositif and the traditional fanfic experience.Secondly,the external contradiction is the contradiction between the popularity and abuse of the memory-time image dispositif.