ABSTRACT

This article argues that Claire Denis’s 35 Rhums (2008) emphasizes everyday things as mediators of intersubjective connectivity. The film’s repeated shots of household appliances (rice cookers), transportation (trains, cars), and infrastructure (urban buildings, tracks) combine with a visual style – organized around what the article terms the synthetic montage of things – that highlights the characters’ intersubjectivity. To build upon these claims, the article draws on the concept of Mit-sein or Being-with, a term developed by Martin Heidegger in his Being and Time (1927). The introduction of ‘Being-with’ in the analysis of 35 Rhums helps to demonstrate the significance of things in the context of intersubjective exchange. The article contends that the film goes beyond Heidegger’s limited thinking on the subject through its emphatic affirmation of a black diaspora in a French context. Cinematically, this affirmation counters the representational practices of much of both classic and contemporary cinema, which, the article argues, has tended toward a whitewashed vision of France.

摘要

本文认为，克莱尔·丹尼斯 (Claire Denis) 的35 Rhums (2008) 强调日常事物是主体间连接的中介。这部电影对家用电器（电饭煲）、交通（火车、汽车）和基础设施（城市建筑、轨道）的重复拍摄与视觉风格相结合——围绕文章所称的合成蒙太奇——突出人物主体间性。为了建立在这些主张的基础上，本文借鉴了Mit-sein或 Being-with 的概念，这是马丁·海德格尔在其《存在与时间》（1927 年）中提出的一个术语。在35 种朗姆酒的分析中引入“Being-with”有助于在主体间交换的语境中展示事物的意义。文章认为，这部电影通过对法国背景下的黑人侨民的强烈肯定，超越了海德格尔对该主题的有限思考。在电影上，这种肯定反驳了许多经典和当代电影的表现手法，文章认为，这些表现手法倾向于粉饰法国的愿景。