羅蘭·巴特公開表示過對電影的抵觸,但實際上他對電影的態度卻是口是心非。本文試圖從巴特的兩篇電影批評《嘉寶的臉》與《走出電影院》入手,探討巴特對電影的魅惑力這一話題所進行的復雜思考,并借助兩篇短文中"面具"與"中性"思想在巴特后期批評思想中的嬗變,及其與60年代后"返魅"思潮的脈絡關系,對巴特的電影批評進行重新思考和審視,從而闡釋隱藏在巴特"抵觸"電影這一態度背后對電影藝術的欲罷不能之愛,進而揭示出巴特對電影及藝術魅惑力的哲思。

Roland Barthes was notorious for his self-proclaimed "resistance" to the cinema. It strikes as a paradox to that claim because Barthes undeniably left a rich seam of writing on the subject. This paper examines Barthes’ s complex thought on the allure of cinema by reading his two essays on it-"Garbo’s Face" and "Leaving the Movie Theater"-along with Barthes’ s later train of thought and other post-structural ideas of the reenchantment. It proposes that Barthes’ s "resistance" to moving images should be reconsidered as a neutral strategy to mask his fascination with the allure of cinema.