# 第六卷：参考文献与影片资料

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。

来源版本日期：2026-07-11

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。

# 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](/research/hs-5473cb10918ae6c0) · 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](/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。

## 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.

CRITERION COLLECTION. Close-up[EB/OL]. n.d. https://www.criterion.com/films/1092-close-up.

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.

DI 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.

FLEMING S M, LAU H C. How to Measure Metacognition[J]. *Frontiers in Human Neuroscience*, 2014, 8: 443. DOI: 10.3389/fnhum.2014.00443.

GRØNSTAD A. One-Dimensional Men: “Fight Club” and the Poetics of the Body[J]. *Film Criticism*, 2003, 28(1): 1–23.

HASSON 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.

HENLEY 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.

HIGGINS 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.

LAROCCA 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.

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.

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.

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.

MAGLIANO J P, ZACKS J M. The Impact of Continuity Editing in Narrative Film on Event Segmentation[J]. *Cognitive Science*, 2011, 35(8): 1489–1517. DOI: 10.1111/j.1551-6709.2011.01202.x.

MALLE B F. The Actor–Observer Asymmetry in Attribution: A (Surprising) Meta-Analysis[J]. *Psychological Bulletin*, 2006, 132(6): 895–919. DOI: 10.1037/0033-2909.132.6.895.

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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。

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> 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