ABSTRACT While “screen” is usually considered a word with a Nordic origin, its older and forgotten classical root shows that its semantic field is more curious than media archaeology commonly thinks. Above all, this proves the existence of a long-lasting connection between the screen and the act of seeing, and the very notion of spectacle in its broader sense. Such a different—Latin, Epicurean—etymology of “screen” can put the idea of separation at the heart of the concept of spectacle. From this perspective, the value of a spectacle stems from a vision of difference—the act of spectating being both detached and detaching, as it enables the spectators to take themselves out of the picture, and thus to draw a morale from what they regard as other than themselves. If we bring this understanding of “screen” to the field of film theory, we deal with an idea of experience that has less to do with the notion of engagement adopted by contemporary approaches focusing on affect, emotion, cognition (and neuroscience), and more to do with the disengagement of the spectator from whatever is represented, and even more to do with the added value that such disengagement brings forth.

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屏幕的深层时间及其被遗忘的词源

摘要虽然“屏幕”一词通常被认为是北欧起源的单词，但其古老而又被遗忘的古典根源表明，其语义领域比媒体考古学通常认为的还要好奇。最重要的是，这证明了银幕与观看行为之间存在着持久的联系，并且从更广泛的意义上来说，正是这种奇观。这种“屏幕”的拉丁语，伊壁鸠鲁语的词源可以将分离的思想置于眼镜概念的核心。从这个角度来看，眼镜的价值源于差异的视野-观众既超脱又超脱的举动，因为它使观众能够脱颖而出，从而从他们的视野中鼓舞士气。除了自己。如果我们将对“银幕”的这种理解带入电影理论领域，