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从voyeur到voyageuse，电影-建筑构建了自己的身体-政治（replicant-身体性质的变化，德勒兹的“后人类”状况）并最终导向性别的操演/实践(linked by their writing public stories of private life)。Bruno扭转了拉康主义的前定gaze（optical），取而代之一种haptic-emotion（touch-movement）作为一种女性主义的策略去解读空间（对mobility/imobility的讨论则变得十分重要）。应该说，她对电影与建筑的本质把握还是很准确的：a spatialised sense of time，这种把时间空间化的审美理想，的确也是能从西方文化源头中找到渊源。

optic-haptic, sight-site, gaze-motion, voyeur-voyageuse. cine-space is rooted in and differs from the real space (both of the objectivity and the subjectivity). many impressive structural elaboration (cine-house-city), and it seems to dilute the problem of identification by peripatetic experience. the spatial- narrative to build the cinema of image

从voyeur到voyageuse，电影-建筑构建了自己的身体-政治（replicant-身体性质的变化，德勒兹的“后人类”状况）并最终导向性别的操演/实践(linked by their writing public stories of private life)。Bruno扭转了拉康主义的前定gaze（optical），取而代之一种haptic-emotion（touch-movement）作为一种女性主义的策略去解读空间（对mobility/imobility的讨论则变得十分重要）。应该说，她对电影与建筑的本质把握还是很准确的：a spatialised sense of time，这种把时间空间化的审美理想，的确也是能从西方文化源头中找到渊源。

optic-haptic, sight-site, gaze-motion, voyeur-voyageuse. cine-space is rooted in and differs from the real space (both of the objectivity and the subjectivity). many impressive structural elaboration (cine-house-city), and it seems to dilute the problem of identification by peripatetic experience. the spatial- narrative to build the cinema of image

optic-haptic, sight-site, gaze-motion, voyeur-voyageuse. cine-space is rooted in and differs from the real space (both of the objectivity and the subjectivity). many impressive structural elaboration (cine-house-city), and it seems to dilute the problem of identification by peripatetic experience. the spatial- narrative to build the cinema of image