Jean-Francois Lyotard’s work remains a largely untapped resource for film-philosophy. This paper will survey four fundamental concepts which indicate the fecundity of this work for current studies and debates. These terms indicate the relevance of Lyotard’s work in the contexts of the renewed interest in the dispositif , new materialism, the affective turn, and second-wave Lacanianism. As Adrian Martin has argued, the concept of the dispositif (or apparatus) is ripe for rehabilitation in the contemporary context because it shows a way beyond the limiting notion of mise en scene which has dominated approaches to film. Lyotard’s prevalent use of this term is one of the sources feeding into its current renewal. Following Jean-Michel Durafour, matter may be situated as an important theme in Lyotard’s film-philosophy. If it is not one that Lyotard explicitly makes central in his writings on film, it is nevertheless one at the heart of his aesthetics, which may be extended for film. Affect was an important theme for Lyotard in many contexts, including his approaches to film. In the essay “Acinema” affect is understood in the context of a singular intensity which disrupts narrative and transmits sensation directly to the body of the spectator-listener. And in “Two Metamorphoses of the Seductive in Cinema” there is an early intimation of his later concept of the affect-phrase, where a disruptive scene in Coppola’s Apocalypse Now is analysed in terms of an abeyance of the film’s “seductive” effects. Finally, the Real emerges as a central concept in Lyotard’s last essay on cinema, “The Idea of a Sovereign Film.” This concept in some ways resembles Lacan’s, but while Lacanian film theorists often see the Real as symbolised within the film’s narrative, Lyotard emphasises the formal and material dimensions of the Real which disrupt the narrative construction of the film.

中文翻译：

---

处置、物质、影响和真实：利奥塔电影哲学的四个基本概念

让-弗朗索瓦·利奥塔 (Jean-Francois Lyotard) 的作品在很大程度上仍然是电影哲学尚未开发的资源。本文将调查四个基本概念，这些概念表明这项工作对当前研究和辩论的丰富性。这些术语表明利奥塔的作品在对处置、新唯物主义、情感转向和第二波拉康主义重新产生兴趣的背景下的相关性。正如阿德里安·马丁（Adrian Martin）所说，在当代语境中，处置（或装置）的概念已经成熟，因为它超越了主导电影方法的场景调度的限制性概念。利奥塔对这个词的普遍使用是其当前更新的来源之一。继让-米歇尔·杜拉福尔之后，物质可能成为利奥塔电影哲学中的一个重要主题。如果利奥塔在他的电影著作中没有明确指出这一点，那么它仍然是他美学的核心，可以扩展到电影。在许多情况下，影响是利奥塔的一个重要主题，包括他的电影方法。在文章“Acinema”中，情感被理解为一种单一的强度，这种强度破坏了叙事并将感觉直接传递到观众和听众的身体。在“电影中诱惑的两次变形”中，早期暗示了他后来的情感短语概念，其中根据电影“诱惑”效果的搁置来分析科波拉的《现代启示录》中的一个破坏性场景。最后，在利奥塔关于电影的最后一篇文章“主权电影的理念”中，真实成为了一个核心概念。这个概念在某些方面类似于拉康的，