Abstract: This paper endeavors to understand Benjamins reformulated historical materialism and explore its potential to inform and set the theoretical parameters of historiographical discourses and practices in film and media. It focuses on the concept of “collection”, one of the key concepts of Benjamins materiality history in terms of three steps involving in collecting: first, to discover and gather the objects; second, to store and organize; third, to appreciate and play.Then it observes the historiographical practices of media archaeologists, a group of new film/media historian who demonstrate the highest similarity to the Benjaminian collectorhistorian. It is argued that media archaeologists are Edward Fuchslike paradoxical figures: while initiating a new revolutionary historical theory to critique and differentiate themselves from old historians, they cannot overcome the old dogmatic historical styles and historiographical methods in practices. The Edward Fuchslike paradoxical media archaeologists thus become the embodiment of the dilemma of Benjaminian historical materialism or even new historicism at large.

Key words: Benjamin, collection, media archeology, new film/media historiography

摘要： 本文试图通过阐释“收藏”这一本雅明史学的重要概念，以理解本雅明的历史唯物主义历史学，进而探索其作为电影史学研究新思路、新方法的可能性。文章大体分为两个部分：第一部分分析“收藏”的三个步骤：“收”，收罗藏品；“藏”，整理陈列；“赏”，凝视和体验，以更“清晰”地勾勒出作为史学概念的“收藏”的理论形象。第二部分通过分析新电影/媒体历史活动中与本雅明式的收藏—历史学家最为亲厚的媒体考古学家的历史实践活动，考察新电影/媒体史的突破和困境。本文指出当今的媒体考古学家表现出了本雅明笔下福克斯式的收藏—历史学家的双重属性，在他们身上革命性、批判性的新历史观念和根深蒂固的、教条化的旧历史撰写方法矛盾共存。这是实践者面对理论的两难窘境。

关键词: 本雅明, 收藏, 媒体考古学, 新电影史学