Rethinking Inside and Outside: The Door in Ernst Lubitsch's When I Was Dead and Charlie Chaplin's The Adventurer

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION Film-Philosophy Pub Date : 2023-02-01 DOI:10.3366/film.2023.0218
Ido Lewit
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Abstract

The article investigates the function and signification of doors in two silent films, Ernst Lubitsch's 1916 When I Was Dead and Charlie Chaplin's 1917 The Adventurer. Taking a theoretical perspective provided by the field of intellectual inquiry known as cultural techniques ( Kulturtechniken), the door in these films is studied with respect to its procedural and functional operations. Specifically, the article focuses on the ways in which the employment of doors in each of the films relates to these films' configurations of inside and outside as conceptual realms. The analysis presented shows that Lubitsch and Chaplin engage doors in uniquely different ways. It further reveals that, while the operation of the door in When I Was Dead reinforces an exclusive binary of inside and outside, which itself can be traced back to the film's concern with sexual difference, the operation of the door in The Adventurer essentially deconstructs the inside/outside binary, an act that can be linked to a critique of contemporary notions of industrial management and the treatment of humans as machines.
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内外反思:恩斯特·卢比奇的《当我死了》和查理·卓别林的《冒险家》中的门
本文探讨了门在两部无声电影中的作用和意义,分别是恩斯特·卢比奇的1916年《当我死了》和查理·卓别林的1917年《冒险家》。从被称为文化技术(Kulturtechniken)的智力探究领域提供的理论视角,研究了这些电影中的门的程序和功能操作。具体而言,这篇文章关注的是每部电影中门的使用与这些电影作为概念领域的内部和外部配置之间的关系。分析表明,卢比奇和卓别林以独特的不同方式来开门。它进一步揭示了,虽然《当我死了》中对门的操作强化了内部和外部的排他性二元性,这本身可以追溯到电影对性别差异的关注,但《冒险家》中的门的操作本质上解构了内部/外部的二元性,这一行为可以与对当代工业管理观念和将人视为机器的批判联系起来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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