基于斯宾诺莎情感科学的电影⼈物情感表达研究论⽂写作⽅法分析

• 영문명: A Study on Character Emotion Expression in Film Based on Spinoza's Science of Emotions
• 발행기관: 국민대학교 문화교차연구소
• 저자명: 吕可⼼
• 간행물 정보: 『문화교차연구』제1권 제1호, 257~292쪽, 전체 36쪽
• 주제분류: 인문학 > 철학
• 파일형태: PDF
• 발행일자: 2025.06.30

국문 초록

本研究基于斯宾诺莎的情感科学，分析了电影⼈物情感的表达⽅式。特别是探讨了斯宾诺莎将情感视为⾝体变化及其相应观念的必然结合，⽽⾮单纯的⼼理现象，这⼀观点如何为电影分析提供新的视⾓。与以往侧重⼼理学或叙事⽅法的电影研究不同，本⽂强调情感的必然性及其本质结构。 在情感科学中，情感不是⼼灵的事件，⽽是⾝体的事件。这⼀点与东⽅哲学中的“性发为情”思想相契合——即情感是⾝体本质属性的⾃然显现。这与斯宾诺莎的“conatus”（努⼒存在）概念密切相关，该概念指的是⼀切存在物维持并扩展其⾃⾝存在的根本努⼒，为理解电影中⼈物的情感与⾏为提供了核⼼框架。 基于上述理论基础，本⽂从三个维度分析了情感在电影中的必然表达。⾸先，探讨了欲望的运动与感官蒙太奇之间的关系；其次，分析了愉悦与悲伤的情感变奏如何通过理性蒙太奇呈现；第三，考察了能动情感与被动情感的辩证关系如何通过诗意蒙太奇表现出来。 为展开具体分析，本⽂选取了两部当代电影《爱乐之城》（La La Land）与《盗梦空间》（Inception）作为研究对象。尽管两部影⽚在情感表达⽅式上各有不同，但它们都在根本上体现了斯宾诺莎所论述的情感的必然性。《爱乐之城》展⽰了艺术与爱情之间的必然关系，⽽《盗梦空间》则探讨了现实与梦境边界上情感的复杂性。 特别地，本⽂详细论述了斯宾诺莎提出的三种认知层次（想象认知、理性认知与直觉认知）如何与电影的形式元素相联系。研究表明，想象认知通过直接的感官经验体现情感的必然性；理性认知通过叙事结构呈现因果的必然性；直觉认知则通过象征与隐喻表达本质的必然性。 研究结果确认，斯宾诺莎的情感科学为电影分析提供了新的理论视⾓，尤其是“情感的必然性”概念，为理解电影的形式元素提供了重要框架。此外，通过探索东西⽅哲学的交汇，本研究也提出了构建普遍情感理解的可能性。 本研究的意义可总结为三点：第⼀，引⼊“情感科学”作为电影分析的新理论框架；第⼆，系统化电影形式要素与情感表达之间的关系；第三，通过东西⽅哲学的交汇，提出理解情感的新可能性。不过，本研究仍存在局限，如分析影⽚数量有限、理论运⽤的深度尚需提升，后续研究将进⼀步补充和拓展。

영문 초록

This study analyzes the expression of emotions in film characters based on Spinoza's science of emotions. In particular, it explores how Spinoza's perspective - which views emotion not as a mere psychological phenomenon but as a necessary combination of bodily modification and its corresponding idea - can provide new insights into film analysis. Unlike previous film studies that mainly focused on psychological and narrative approaches, this study emphasizes the necessity and essential structure of emotions. In the science of emotions, emotion is not an event of the mind but an event of the body. This connects with the Eastern philosophical concept of xingfaweiqing (性發爲情), which aligns with Spinoza's theory in viewing emotion as the manifestation of essential attributes inherent in the body. Specifically, Spinoza's concept of conatus, which refers to every being's fundamental effort to maintain and expand its existence, provides a crucial framework for understanding characters' emotions and actions in films. Based on this theoretical foundation, this study analyzed how emotions are necessarily expressed in films from three dimensions. First, it explored the relationship between the movement of desire and sensory montage. Second, it analyzed how variations of joy and sadness are implemented through intellectual montage. Third, it examined how the dialectic of active and passive emotions is expressed through poetic montage. For this analysis, two contemporary films, "La La Land" and "Inception," were selected as primary subjects. While these films express emotions in different ways, they both fundamentally demonstrate the necessity of emotions that Spinoza discusses. "La La Land" explores the necessary relationship between art and love, while "Inception" investigates the complexity of emotions arising at the boundary between reality and dreams. Particularly, this study detailed how Spinoza's three levels of cognition (imaginative, rational, and intuitive) connect with formal elements of film. It demonstrated how imaginative cognition is realized through emotional necessity via direct sensory experience, rational cognition through causal necessity via narrative structure, and intuitive cognition through essential necessity via symbolism and metaphor. The research confirms that Spinoza's science of emotions can provide new perspectives in film analysis. Specifically, the concept of emotional necessity offered an important framework for understanding formal elements of film. Additionally, by exploring the intersection of Eastern and Western philosophy, it suggested the possibility of a universal understanding of emotions. The significance of this study can be summarized in three points: first, introducing the science of emotions as a new theoretical framework for film analysis; second, systematizing the relationship between formal elements of film and emotional expression; and third, presenting new possibilities for understanding emotions through the intersection of Eastern and Western philosophy. However, limitations exist in terms of the restricted number of analyzed films and insufficient depth in theoretical application, which remain as tasks to be supplemented through follow-up studies.

목차

Ⅰ. 论⽂的整体结构分析

Ⅱ. 研究⽅法分析

Ⅲ. 论⽂写作思路分析

Ⅳ. 情感科学的理论基础

Ⅴ. 具体的案例分析

VI. 如何系统性的展开你的研究

키워드

情感科学 斯宾诺莎 性发为情 电影分析 蒙太奇 情感表达 必然性 Science of Emotions Spinoza Xingfaweiqing Film Analysis Montage Emotional Expression Necessity