本篇目录 / Contents
第六卷：参考文献与影片资料
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
[!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。
参考文献
《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。
ANDREW G. Abbas Kiarostami [interview transcript][EB/OL]. The Guardian, 2005-04-28. https://www.theguardian.com/film/2005/apr/28/hayfilmfestival2005.guardianhayfestival.
BRITISH FILM INSTITUTE. Close-up (1989)[EB/OL]. BFI, n.d. https://www.bfi.org.uk/film/3b863389-5735-5b97-86c2-7e52217a7517/close-up.
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.
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CRITERION CHANNEL. “Close-Up” Long Shot[EB/OL]. n.d. https://www.criterionchannel.com/close-up/videos/close-up-long-shot.
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.
FARAZMAND H. Bogus Makhmalbaf Arrested[EB/OL]. Sorush, 1989; English translation published 2017. https://www.sabzian.be/text/bogus-makhmalbaf-arrested.
HARVARD FILM ARCHIVE. Close-Up[EB/OL]. 2023-05-21. https://harvardfilmarchive.org/calendar/close-up-2023-05.
SADEGH-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/.
ANDERSON 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.
BORDWELL D. Narration in the Fiction Film[M]. Madison: University of Wisconsin Press, 1985.
CONGLETON 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.
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影片资料
《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。
《特写》（Close-Up / Nema-ye Nazdik），阿巴斯·基亚罗斯塔米导演，伊朗，1990。
《“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。
《搏击俱乐部》（Fight Club），大卫·芬奇导演，美国，1999。
《夏日纪事》（Chronicle of a Summer），让·鲁什、埃德加·莫兰导演，法国，1961。
《五道障碍》（The Five Obstructions），约根·莱斯、拉斯·冯·提尔导演，丹麦等，2003。
《共生心理分类学：第一辑》（Symbiopsychotaxiplasm: Take One），威廉·格里夫斯导演，美国，1968。
《第六感》（The Sixth Sense），M. 奈特·沙马兰导演，美国，1999。
《八部半》（8½），费德里科·费里尼导演，意大利、法国，1963。
《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。
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