{"id":"hs-b33fd1d0cbd55beb","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb","title":"第六卷：参考文献与影片资料","kind":"research_note","reviewStatus":"structurally_screened_not_individually_reviewed","language":"zh-CN","category":"声画与理论笔记","series":"电影如何让我们看见自己正在观看-人类投降派与特写重写版-2026-07-11","sourceVersionDate":"2026-07-11","publishedAt":"2026-09-08","modifiedAt":"2026-09-08T05:03:32+00:00","markdownUrl":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-b33fd1d0cbd55beb-d972233f74b4f1b095fc.md","markdownSha256":"d972233f74b4f1b095fcaa7777705a0504fc2dc64c80f20caf463b6eed9c88c7","markdownBytes":11112,"characters":7962,"sourceEvidenceTier":"T3_SYNTHESIS_FROM_T0_T1_FILM_TEXT_PRODUCTION_HISTORY_AND_VIEWING_PSYCHOLOGY","sourceStatus":"draft","evidenceBoundary":"本文为基于《人类投降派》T0 台词账与 T1 本地声画复核、影片文本、公开制作史和观看心理研究的 T3 综合写作；T0/T1 只支持可定位、可见、可听事实，不裁决角色真实心理、真实监测系统、幕后意图或现实观众统一效果；反馈、回溯重释、跨层回流与严格递归分开判断，严格递归须有新结果再次实际进入同类处理；《特写》法庭程序性质按冲突来源记录，不写成透明庭审；不改写 raw 或原始 DOCX。","editionNote":"本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。","imageUrls":[],"links":["https://a.p4theater.top/research/hs-1790e808c2ab563b","https://a.p4theater.top/research/hs-2fdc9147813d9fa4","https://a.p4theater.top/research/hs-48bca4891022e400","https://a.p4theater.top/research/hs-5473cb10918ae6c0","https://a.p4theater.top/research/hs-5ae19d835a6a579a","https://a.p4theater.top/research/hs-638e4bf96c3998a9","https://a.p4theater.top/research/hs-6506596444772a89","https://a.p4theater.top/research/hs-661d2b9b46af60f3","https://a.p4theater.top/research/hs-6eb164b0f025d046","https://a.p4theater.top/research/hs-753745236b28785b","https://a.p4theater.top/research/hs-7dd74a318939f5d5","https://a.p4theater.top/research/hs-a5040a0d2bf8e267","https://a.p4theater.top/research/hs-b23cc44447da3cb1","https://a.p4theater.top/research/hs-cbbcf83c3829895c","https://a.p4theater.top/research/hs-ea4783c91e1dd879"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":55,"markdown":"# 第六卷：参考文献与影片资料\n\n本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。\n\n来源版本日期：2026-07-11\n\n证据边界：本文为基于《人类投降派》T0 台词账与 T1 本地声画复核、影片文本、公开制作史和观看心理研究的 T3 综合写作；T0/T1 只支持可定位、可见、可听事实，不裁决角色真实心理、真实监测系统、幕后意图或现实观众统一效果；反馈、回溯重释、跨层回流与严格递归分开判断，严格递归须有新结果再次实际进入同类处理；《特写》法庭程序性质按冲突来源记录，不写成透明庭审；不改写 raw 或原始 DOCX。\n\n# 第六卷：参考文献与影片资料\n\n> 项目入口：v4 总入口（馆内参考，未随本文公开） · 上一卷：[第五卷：三类返回、证据边界、权力与结语](/research/hs-5473cb10918ae6c0) · 下一卷：暂无\n\n> [!info] 本卷证据入口与边界\n> [《特写》制作介入、法庭争议与递归回流](/research/hs-6eb164b0f025d046)、[《特写》基础事实](/research/hs-2fdc9147813d9fa4)、[观看情境模型与连续性建构](/research/hs-753745236b28785b)、[反转叙事与回溯记忆更新](/research/hs-1790e808c2ab563b)、[元认知、视频自我观看与解释差异](/research/hs-ea4783c91e1dd879)、[《夏日纪事》构成性回流证据](/research/hs-a5040a0d2bf8e267)、[《五道障碍》构成性回流证据](/research/hs-7dd74a318939f5d5)、[《共生心理分类学》制作反馈证据](/research/hs-48bca4891022e400)、[《搏击俱乐部》基础事实](/research/hs-6506596444772a89)、[#1201「这都在编的」T1 复核](/research/hs-cbbcf83c3829895c)、[#1203「只是在发呆」T1 复核](/research/hs-b23cc44447da3cb1)、[#1207「如果你发呆大家看什么」T1 复核](/research/hs-638e4bf96c3998a9)、[#1208「看你发呆啊」T1 复核](/research/hs-661d2b9b46af60f3)、[#1209「你的心理监测报告」T1 复核](/research/hs-5ae19d835a6a579a)。本卷正文属于 T3 综合解释；链接页分别承载 T0/T1、公开制作史或观看心理证据，彼此不得代证。\n\n## 参考文献\n\n《人类投降派》4K 无字幕母文件与本地证据账。本文使用 #1200—#1209（约 01:44:00—01:44:22）的 T0 台词、说话人和时间码，以及 2026-06-27 完成的逐句 T1 声画复核；这些材料只支持可见、可听和可定位事实，不裁决真实心理、现实观众反应或幕后意图。\n\nANDREW G. Abbas Kiarostami [interview transcript][EB/OL]. *The Guardian*, 2005-04-28. https://www.theguardian.com/film/2005/apr/28/hayfilmfestival2005.guardianhayfestival.\n\nBRITISH FILM INSTITUTE. Close-up (1989)[EB/OL]. *BFI*, n.d. https://www.bfi.org.uk/film/3b863389-5735-5b97-86c2-7e52217a7517/close-up.\n\nCHESHIRE G. Close-up: Prison and Escape[EB/OL]. *The Criterion Collection*, 2010-06-22. https://www.criterion.com/current/posts/1492-close-up-prison-and-escape.\n\nCRITERION COLLECTION. Close-up[EB/OL]. n.d. https://www.criterion.com/films/1092-close-up.\n\nCRITERION CHANNEL. “Close-Up” Long Shot[EB/OL]. n.d. https://www.criterionchannel.com/close-up/videos/close-up-long-shot.\n\nDEVICTOR A, NEUVE-EGLISE A. Soft Epiphanies: The Multilayered Narratives in Abbas Kiarostami’s Film *Close-Up* (1990)[J]. *Iranian Studies*, 2023, 56(4): 685–700. DOI: 10.1017/irn.2023.42.\n\nFARAZMAND H. Bogus Makhmalbaf Arrested[EB/OL]. *Sorush*, 1989; English translation published 2017. https://www.sabzian.be/text/bogus-makhmalbaf-arrested.\n\nHARVARD FILM ARCHIVE. Close-Up[EB/OL]. 2023-05-21. https://harvardfilmarchive.org/calendar/close-up-2023-05.\n\nSADEGH-VAZIRI P. On the Borders of Documentary and Fiction in Kiarostami’s *Homework* and *Close-Up*[J]. *Iran Namag*, 2018, 2(4): 76–93. https://www.irannamag.com/en/article/borders-documentary-fiction-kiarostamis-homework-close/.\n\nANDERSON E R. Telling Stories: Unreliable Discourse, *Fight Club*, and the Cinematic Narrator[J]. *Journal of Narrative Theory*, 2010, 40(1): 80–107. DOI: 10.1353/jnt.0.0042.\n\nBORDWELL D. *Narration in the Fiction Film*[M]. Madison: University of Wisconsin Press, 1985.\n\nCONGLETON A R, BERNTSEN D. It Took Me by Surprise: Examining the Retroactive Enhancement Effect for Memory of Naturally Unfolding Events[J]. *Journal of Applied Research in Memory and Cognition*, 2020, 9(3): 300–309. DOI: 10.1016/j.jarmac.2020.03.003.\n\nDI IORIO S. Chronicle of a Summer: Truth and Consequences[EB/OL]. *The Criterion Collection*, 2013-02-25. https://www.criterion.com/current/posts/2674-chronicle-of-a-summer-truth-and-consequences.\n\nFLEMING S M, LAU H C. How to Measure Metacognition[J]. *Frontiers in Human Neuroscience*, 2014, 8: 443. DOI: 10.3389/fnhum.2014.00443.\n\nGRØNSTAD A. One-Dimensional Men: “Fight Club” and the Poetics of the Body[J]. *Film Criticism*, 2003, 28(1): 1–23.\n\nHASSON U, LANDESMAN O, KNAPPMEYER B, et al. Neurocinematics: The Neuroscience of Film[J]. *Projections*, 2008, 2(1): 1–26. DOI: 10.3167/proj.2008.020102.\n\nHENLEY P. *The Adventure of the Real: Jean Rouch and the Craft of Ethnographic Cinema*[M]. Chicago: University of Chicago Press, 2009. DOI: 10.7208/chicago/9780226327167.001.0001.\n\nHIGGINS E T. Self-Discrepancy: A Theory Relating Self and Affect[J]. *Psychological Review*, 1987, 94(3): 319–340. DOI: 10.1037/0033-295X.94.3.319.\n\nLAROCCA D, ed. *Metacinema: The Form and Content of Filmic Reference and Reflexivity*[M]. New York: Oxford University Press, 2021. DOI: 10.1093/oso/9780190095345.001.0001.\n\nLEVIN D T, SIMONS D J. Failure to Detect Changes to Attended Objects in Motion Pictures[J]. *Psychonomic Bulletin & Review*, 1997, 4(4): 501–506. DOI: 10.3758/BF03214339.\n\nLEWIS K. Breaking More Than the Waves: Dogme Meets Documentary in “The Five Obstructions”[EB/OL]. *International Documentary Association*, 2004-06-30. https://www.documentary.org/feature/breaking-more-waves-dogme-meets-documentary-five-obstructions.\n\nMAGLIANO J P, MILLER J, ZWAAN R A. Indexing Space and Time in Film Understanding[J]. *Applied Cognitive Psychology*, 2001, 15(5): 533–545. DOI: 10.1002/acp.724.\n\nMAGLIANO J P, ZACKS J M. The Impact of Continuity Editing in Narrative Film on Event Segmentation[J]. *Cognitive Science*, 2011, 35(8): 1489–1517. 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Correction: *PNAS*, 2026, 123(21): e2614323123. DOI: 10.1073/pnas.2614323123.\n\nSILVIA P J, DUVAL T S. Objective Self-Awareness Theory: Recent Progress and Enduring Problems[J]. *Personality and Social Psychology Review*, 2001, 5(3): 230–241. DOI: 10.1207/S15327957PSPR0503_4.\n\nSONG H, PARK B-Y, PARK H, SHIM W M. Cognitive and Neural State Dynamics of Narrative Comprehension[J]. *The Journal of Neuroscience*, 2021, 41(43): 8972–8990. DOI: 10.1523/JNEUROSCI.0037-21.2021.\n\nSTAM R. *Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard*[M]. New York: Columbia University Press, 1992.\n\nSTORMS M D. Videotape and the Attribution Process: Reversing Actors’ and Observers’ Points of View[J]. *Journal of Personality and Social Psychology*, 1973, 27(2): 165–175. DOI: 10.1037/h0034782.\n\nTAUBIN A. Symbiopsychotaxiplasm: Still No Answers[EB/OL]. *The Criterion Collection*, 2006-12-04. https://www.criterion.com/current/posts/460-symbiopsychotaxiplasm-still-no-answers.\n\nTORRALBA S. “This Sort of Palace-Revolt”: Failure and the American Nation in William Greaves’s *Symbiopsychotaxiplasm: Take One*[J]. *Pacific Coast Philology*, 2021, 56(1): 120–134. DOI: 10.2307/48679075. https://scholarlypublishingcollective.org/psup/pcp/article/56/1/120/296600/This-Sort-of-Palace-Revolt-Failure-and-the.\n\nWILD J, WARNOCK-PARKES E, STOTT R, et al. Video Feedback to Update Negative Self-Perceptions in Social Anxiety Disorder: A Comparison of Internet-Delivered vs Face-to-Face Cognitive Therapy Formats[J]. *Journal of Affective Disorders*, 2023, 331: 139–144. DOI: 10.1016/j.jad.2023.03.017.\n\nYESHURUN Y, SWANSON S, SIMONY E, et al. Same Story, Different Story: The Neural Representation of Interpretive Frameworks[J]. *Psychological Science*, 2017, 28(3): 307–319. DOI: 10.1177/0956797616682029.\n\nZACKS J M, SPEER N K, SWALLOW K M, et al. Event Perception: A Mind–Brain Perspective[J]. *Psychological Bulletin*, 2007, 133(2): 273–293. DOI: 10.1037/0033-2909.133.2.273.\n\nZADBOOD A, NASTASE S, CHEN J, et al. Neural Representations of Naturalistic Events Are Updated as Our Understanding of the Past Changes[J]. *eLife*, 2022, 11: e79045. DOI: 10.7554/eLife.79045.\n\n## 影片资料\n\n《人类投降派》（*Shoot self with you*），本文依据本地 4K 无字幕母文件与 T0/T1 证据账分析。\n\n《特写》（*Close-Up / Nema-ye Nazdik*），阿巴斯·基亚罗斯塔米导演，伊朗，1990。\n\n《“特写”远景》（*“Close-Up” Long Shot*），马哈茂德·乔克罗拉希、莫斯勒姆·曼苏里导演，伊朗，1996。\n\n《搏击俱乐部》（*Fight Club*），大卫·芬奇导演，美国，1999。\n\n《夏日纪事》（*Chronicle of a Summer*），让·鲁什、埃德加·莫兰导演，法国，1961。\n\n《五道障碍》（*The Five Obstructions*），约根·莱斯、拉斯·冯·提尔导演，丹麦等，2003。\n\n《共生心理分类学：第一辑》（*Symbiopsychotaxiplasm: Take One*），威廉·格里夫斯导演，美国，1968。\n\n《第六感》（*The Sixth Sense*），M. 奈特·沙马兰导演，美国，1999。\n\n《八部半》（*8½*），费德里科·费里尼导演，意大利、法国，1963。\n\n《这不是一部电影》（*This Is Not a Film*），贾法·帕纳西、莫吉塔巴·米尔塔马斯布导演，伊朗，2011。\n\n---\n\n> 项目入口：v4 总入口（馆内参考，未随本文公开） · 上一卷：[第五卷：三类返回、证据边界、权力与结语](/research/hs-5473cb10918ae6c0) · 下一卷：暂无","paragraphs":[{"id":"hs-b33fd1d0cbd55beb#p-ba1fe29b7a874589-1","anchor":"p-ba1fe29b7a874589-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-ba1fe29b7a874589-1","kind":"h2","headingPath":["第六卷：参考文献与影片资料"],"text":"第六卷：参考文献与影片资料","textSha256":"c2d4f374752e2d781519c815d1f5477ba71cb8c6a2e11a2a5dd63a4d6bbbd40a","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-63ba4162c4bc8278-1","anchor":"p-63ba4162c4bc8278-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-63ba4162c4bc8278-1","kind":"p","headingPath":["第六卷：参考文献与影片资料"],"text":"项目入口：v4 总入口（馆内参考，未随本文公开） · 上一卷： 第五卷：三类返回、证据边界、权力与结语 · 下一卷：暂无","textSha256":"d98797fd755dc3ffbc766baa10c88633929cc7b4a988195e9df0d5bfd4bbef37","links":["https://a.p4theater.top/research/hs-5473cb10918ae6c0"],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-80f4fd4cf3721b7d-1","anchor":"p-80f4fd4cf3721b7d-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-80f4fd4cf3721b7d-1","kind":"p","headingPath":["第六卷：参考文献与影片资料"],"text":"[!info] 本卷证据入口与边界 《特写》制作介入、法庭争议与递归回流 、 《特写》基础事实 、 观看情境模型与连续性建构 、 反转叙事与回溯记忆更新 、 元认知、视频自我观看与解释差异 、 《夏日纪事》构成性回流证据 、 《五道障碍》构成性回流证据 、 《共生心理分类学》制作反馈证据 、 《搏击俱乐部》基础事实 、 #1201「这都在编的」T1 复核 、 #1203「只是在发呆」T1 复核 、 #1207「如果你发呆大家看什么」T1 复核 、 #1208「看你发呆啊」T1 复核 、 #1209「你的心理监测报告」T1 复核 。本卷正文属于 T3 综合解释；链接页分别承载 T0/T1、公开制作史或观看心理证据，彼此不得代证。","textSha256":"87ac5b4fc1fc1481f47d969e3df31b34e4d57bd307790ec728530f7d4481c1bb","links":["https://a.p4theater.top/research/hs-1790e808c2ab563b","https://a.p4theater.top/research/hs-2fdc9147813d9fa4","https://a.p4theater.top/research/hs-48bca4891022e400","https://a.p4theater.top/research/hs-5ae19d835a6a579a","https://a.p4theater.top/research/hs-638e4bf96c3998a9","https://a.p4theater.top/research/hs-6506596444772a89","https://a.p4theater.top/research/hs-661d2b9b46af60f3","https://a.p4theater.top/research/hs-6eb164b0f025d046","https://a.p4theater.top/research/hs-753745236b28785b","https://a.p4theater.top/research/hs-7dd74a318939f5d5","https://a.p4theater.top/research/hs-a5040a0d2bf8e267","https://a.p4theater.top/research/hs-b23cc44447da3cb1","https://a.p4theater.top/research/hs-cbbcf83c3829895c","https://a.p4theater.top/research/hs-ea4783c91e1dd879"],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-e897f4192b805e0f-1","anchor":"p-e897f4192b805e0f-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-e897f4192b805e0f-1","kind":"h2","headingPath":["参考文献"],"text":"参考文献","textSha256":"edc3efb149a25b9613ce36ac49d50fa08fbda9e7b7120a27b83d2c9a69b24a3f","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-825229e1c5423f52-1","anchor":"p-825229e1c5423f52-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-825229e1c5423f52-1","kind":"p","headingPath":["参考文献"],"text":"《人类投降派》4K 无字幕母文件与本地证据账。本文使用 #1200—#1209（约 01:44:00—01:44:22）的 T0 台词、说话人和时间码，以及 2026-06-27 完成的逐句 T1 声画复核；这些材料只支持可见、可听和可定位事实，不裁决真实心理、现实观众反应或幕后意图。","textSha256":"948c2060a67457dbc9da18ae9fdd671a0c11f6d5d062f736bb629e993641b2f3","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-8c5150d18308ec0d-1","anchor":"p-8c5150d18308ec0d-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-8c5150d18308ec0d-1","kind":"p","headingPath":["参考文献"],"text":"ANDREW G. Abbas Kiarostami [interview transcript][EB/OL]. The Guardian , 2005-04-28. https://www.theguardian.com/film/2005/apr/28/hayfilmfestival2005.guardianhayfestival.","textSha256":"a853b1605de78173e7abc822cb29f42c2850bb93211911cbceb2206c1600dc9b","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-e24bd9a4d1824904-1","anchor":"p-e24bd9a4d1824904-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-e24bd9a4d1824904-1","kind":"p","headingPath":["参考文献"],"text":"BRITISH FILM INSTITUTE. Close-up (1989)[EB/OL]. BFI , n.d. https://www.bfi.org.uk/film/3b863389-5735-5b97-86c2-7e52217a7517/close-up.","textSha256":"dae2336c33d3fa30102f957bccce5bd7dc8911bfb6a4ca6e61b78ac2cfbb2a1f","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-891399272d473d9a-1","anchor":"p-891399272d473d9a-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-891399272d473d9a-1","kind":"p","headingPath":["参考文献"],"text":"CHESHIRE G. Close-up: Prison and Escape[EB/OL]. The Criterion Collection , 2010-06-22. https://www.criterion.com/current/posts/1492-close-up-prison-and-escape.","textSha256":"8a1f24fa2c2aafcb96f7bcaceaeb58f4475c4102716c2fac3a7fdae57d08fb96","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-59d5e167050746b5-1","anchor":"p-59d5e167050746b5-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-59d5e167050746b5-1","kind":"p","headingPath":["参考文献"],"text":"CRITERION COLLECTION. Close-up[EB/OL]. n.d. https://www.criterion.com/films/1092-close-up.","textSha256":"ff4e373bcaa1b3c3da31ec000a5977a65b3c69f7e38ac3a6e7cad85a1fd442d3","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-24594d3e9ac53241-1","anchor":"p-24594d3e9ac53241-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-24594d3e9ac53241-1","kind":"p","headingPath":["参考文献"],"text":"CRITERION CHANNEL. “Close-Up” Long Shot[EB/OL]. n.d. https://www.criterionchannel.com/close-up/videos/close-up-long-shot.","textSha256":"9fbaa5b0e3cc7bba66ad191f4996dd673cb658cac09c47adfa3709c32e9e3754","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-080178bb8aaef026-1","anchor":"p-080178bb8aaef026-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-080178bb8aaef026-1","kind":"p","headingPath":["参考文献"],"text":"DEVICTOR A, NEUVE-EGLISE A. Soft Epiphanies: The Multilayered Narratives in Abbas Kiarostami’s Film Close-Up (1990)[J]. Iranian Studies , 2023, 56(4): 685–700. DOI: 10.1017/irn.2023.42.","textSha256":"8764a1d38772ce1a518eceb1bf5fd33ef8bbdc3c2703128c6d1d290e7e10edcf","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-50065152d82790b4-1","anchor":"p-50065152d82790b4-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-50065152d82790b4-1","kind":"p","headingPath":["参考文献"],"text":"FARAZMAND H. Bogus Makhmalbaf Arrested[EB/OL]. Sorush , 1989; English translation published 2017. https://www.sabzian.be/text/bogus-makhmalbaf-arrested.","textSha256":"ae39ace469d06fc4424b0751753d08ae377a2b3e1630d162d0c2cfe4e31df1ea","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-b841cd688cd926fc-1","anchor":"p-b841cd688cd926fc-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-b841cd688cd926fc-1","kind":"p","headingPath":["参考文献"],"text":"HARVARD FILM ARCHIVE. 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DOI: 10.1093/oso/9780190095345.001.0001.","textSha256":"b829e9c74f4bbd4cdf6966fcbeeb74a03457dbb39a954931075d016b57021388","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-50962aea3bd211de-1","anchor":"p-50962aea3bd211de-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-50962aea3bd211de-1","kind":"p","headingPath":["参考文献"],"text":"LEVIN D T, SIMONS D J. Failure to Detect Changes to Attended Objects in Motion Pictures[J]. Psychonomic Bulletin & Review , 1997, 4(4): 501–506. DOI: 10.3758/BF03214339.","textSha256":"b5e7b65a639143fbca966b59ab2466319a2f4cb0f3800178ee702a23a2ccc750","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-ba6338913755683d-1","anchor":"p-ba6338913755683d-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-ba6338913755683d-1","kind":"p","headingPath":["参考文献"],"text":"LEWIS K. Breaking More Than the Waves: Dogme Meets Documentary in “The Five Obstructions”[EB/OL]. International Documentary Association , 2004-06-30. https://www.documentary.org/feature/breaking-more-waves-dogme-meets-documentary-five-obstructions.","textSha256":"32a6d22f68264acbeab89fc4efbf36c5d92928dcc3da68a579f552223ee62044","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-5189737cce3b5ba8-1","anchor":"p-5189737cce3b5ba8-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-5189737cce3b5ba8-1","kind":"p","headingPath":["参考文献"],"text":"MAGLIANO J P, MILLER J, ZWAAN R A. Indexing Space and Time in Film Understanding[J]. Applied Cognitive Psychology , 2001, 15(5): 533–545. DOI: 10.1002/acp.724.","textSha256":"a0dde8322d51640ad7110a16d19a2dcdd1533deac51e7ea50d6062bd5b980ccc","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-a6ba6b28b78326cb-1","anchor":"p-a6ba6b28b78326cb-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-a6ba6b28b78326cb-1","kind":"p","headingPath":["参考文献"],"text":"MAGLIANO J P, ZACKS J M. 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DOI: 10.7554/eLife.79045.","textSha256":"9425dcc051a65c7352e7c96e80d37dab9a179c875a4b1c7e8727632022f1ef6e","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-0f37e4a63a2ad9d8-1","anchor":"p-0f37e4a63a2ad9d8-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-0f37e4a63a2ad9d8-1","kind":"h2","headingPath":["影片资料"],"text":"影片资料","textSha256":"4176b80b6fdea5a263deca0bcf816c6354baed20389db79da0d602c79f583e04","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-7b569bf1df9d2a06-1","anchor":"p-7b569bf1df9d2a06-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-7b569bf1df9d2a06-1","kind":"p","headingPath":["影片资料"],"text":"《人类投降派》（ Shoot self with you ），本文依据本地 4K 无字幕母文件与 T0/T1 证据账分析。","textSha256":"2bfb12e5cfda71fb48ba4e0ac01d89c3cdb1d02cac4d08964e1ba14b6ea6988f","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-067a3e99518a1547-1","anchor":"p-067a3e99518a1547-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-067a3e99518a1547-1","kind":"p","headingPath":["影片资料"],"text":"《特写》（ Close-Up / Nema-ye Nazdik ），阿巴斯·基亚罗斯塔米导演，伊朗，1990。","textSha256":"c0de7b04ce8d38006cc76187a935a9dde76eec056e331814b0c70b2ead503240","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-7dce8e521be0e6a9-1","anchor":"p-7dce8e521be0e6a9-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-7dce8e521be0e6a9-1","kind":"p","headingPath":["影片资料"],"text":"《“特写”远景》（ “Close-Up” Long Shot ），马哈茂德·乔克罗拉希、莫斯勒姆·曼苏里导演，伊朗，1996。","textSha256":"7a4bc3fbfdf522704b3e2cc9789f980c62b82240ff01ea9cde7e13d38e6259ad","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-60610638e9c0e422-1","anchor":"p-60610638e9c0e422-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-60610638e9c0e422-1","kind":"p","headingPath":["影片资料"],"text":"《搏击俱乐部》（ Fight Club ），大卫·芬奇导演，美国，1999。","textSha256":"70708baf11ff64e0fc4bc46cf16d749825a148d44d55e44fc3ca8505adecfce0","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-f29693359aa5d06d-1","anchor":"p-f29693359aa5d06d-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-f29693359aa5d06d-1","kind":"p","headingPath":["影片资料"],"text":"《夏日纪事》（ Chronicle of a Summer ），让·鲁什、埃德加·莫兰导演，法国，1961。","textSha256":"8e2f3abb65cec816b1ea15bff71e6a51a8d98bbc1ba08137455fa3c38e22d26b","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-c2257315339840a8-1","anchor":"p-c2257315339840a8-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-c2257315339840a8-1","kind":"p","headingPath":["影片资料"],"text":"《五道障碍》（ The Five Obstructions ），约根·莱斯、拉斯·冯·提尔导演，丹麦等，2003。","textSha256":"585774d0689e8a660fdf62667ae49447b3d01b10cf3361205bfa9dc7c0ac410b","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-0f5c5588eb95e7d1-1","anchor":"p-0f5c5588eb95e7d1-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-0f5c5588eb95e7d1-1","kind":"p","headingPath":["影片资料"],"text":"《共生心理分类学：第一辑》（ Symbiopsychotaxiplasm: Take One ），威廉·格里夫斯导演，美国，1968。","textSha256":"72158037f6b1c1b885c6cf160277f6ed79a6d626622eec52fb5d79222043aaef","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-83a02aca6b023fbb-1","anchor":"p-83a02aca6b023fbb-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-83a02aca6b023fbb-1","kind":"p","headingPath":["影片资料"],"text":"《第六感》（ The Sixth Sense ），M. 奈特·沙马兰导演，美国，1999。","textSha256":"d93a0aeebe1691f04c6921e363599b9a1b5e0b37d5814f91c95dc97a2289e947","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-cc0c6a38aaf9251e-1","anchor":"p-cc0c6a38aaf9251e-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-cc0c6a38aaf9251e-1","kind":"p","headingPath":["影片资料"],"text":"《八部半》（ 8½ ），费德里科·费里尼导演，意大利、法国，1963。","textSha256":"f3fb7450d0760af6094aa4e11fd98b5a88767193468599192b6775d8a08af4c1","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-58ff773a66788665-1","anchor":"p-58ff773a66788665-1","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-58ff773a66788665-1","kind":"p","headingPath":["影片资料"],"text":"《这不是一部电影》（ This Is Not a Film ），贾法·帕纳西、莫吉塔巴·米尔塔马斯布导演，伊朗，2011。","textSha256":"c3c07b73e916cf0b3ee4854ca5fc2e5faa05ce524ae434c653f12d17b3ead4aa","links":[],"images":[]},{"id":"hs-b33fd1d0cbd55beb#p-63ba4162c4bc8278-2","anchor":"p-63ba4162c4bc8278-2","url":"https://a.p4theater.top/research/hs-b33fd1d0cbd55beb#p-63ba4162c4bc8278-2","kind":"p","headingPath":["影片资料"],"text":"项目入口：v4 总入口（馆内参考，未随本文公开） · 上一卷： 第五卷：三类返回、证据边界、权力与结语 · 下一卷：暂无","textSha256":"d98797fd755dc3ffbc766baa10c88633929cc7b4a988195e9df0d5bfd4bbef37","links":["https://a.p4theater.top/research/hs-5473cb10918ae6c0"],"images":[]}]}