繼《培根：感覺邏輯》後，《電影1：影像－運動》與《電影2：影像－運動》分別完成於 1983 年與 1985 年，內中涉及德勒茲所創造的影像－運動和影像－時間兩個重要概念，展示後期德勒茲思想的新風貌。本文旨在對兩部電影著作所呈現的兩種電影系譜進行解讀，希望從哲學與電影之交纏的來龍去脈，指出兩冊電影著作方向性的啟示。這種解讀不只可揭示德勒茲後期思想一種「思考動力論」的特殊哲學形態，某種先驗的內在性與電影交媾的奇特實踐，也可對他在藝術哲學上的貢獻作更有效的理解。
德勒茲、電影系譜、哲學系譜、先驗的內在性
After his influential work Francis Bacon: Logic of Sensation, Deleuze published Cinema I: The Movement-Image and Cinema II: The Time-Image in 1983 and 1985, respectively. These two books present two critical concepts of Deleuze: movement-image and time-image. This paper aims to decipher the genealogy of cinema presented in these two film-related works with the goal of pointing out the direction for cinema from the long and short of the interlace between philosophy and cinema. The analysis does not only reveal the unique genealogy of philosophy in his "dynamism of think", an interactive realization between transcendental immanence and cinema, but also provide effective comprehension toward his contribution in art philosophy.
Gilles Deleuze, genealogy of cinema, genealogy of philosophy, transcendental immanence
