Child spectators: towards a phenomenological perspective on the imaginary transformations of reality

IF 0.3 2区 艺术学 0 FILM, RADIO, TELEVISION New Review of Film and Television Studies Pub Date : 2023-03-20 DOI:10.1080/17400309.2023.2176156
Bettina Henzler
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Abstract

ABSTRACT This paper establishes the motif of ‘child spectators’ within the self-reflexive tradition of modern European cinema since the 1940s and within discourses on the affinity of childhood and cinema, dating back to the beginning of the twentieth century. Through a close reading of The spirit of the beehive (Víctor Erice, 1973) and Jacquot de Nantes (Agnès Varda, 1991) that deals with the impact of the cinema experience on a child’s life, I analyze how this motif stages spectatorship, cinephilia, and filmmaking. First, I show how these films reflect on the impact of film experience and the process of film education as based on the existential being described by phenomenology. Second, I argue that this motif implies specific aesthetic strategies that are often linked to childhood and cinema. The child spectator calls for the understanding of childhood as a film aesthetical category and invites us to engage in a distinctive form of spectatorship. If the children in these films represent and address the phenomenological dimension of film experience, they also invite us, third, to reconsider aspects rarely addressed by phenomenology, especially the integration of imagination and materiality in film experience, and the interdependence of film experience and education.
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儿童观众:从现象学的角度看现实的想象转变
摘要:本文在20世纪40年代以来现代欧洲电影的自我反思传统以及20世纪初关于儿童与电影的亲和力的话语中建立了“儿童观众”的母题。通过仔细阅读《蜂巢的精神》(Víctor Erice, 1973)和《雅克·德·南特》(Jacquot de Nantes, agn·瓦尔达,1991),探讨了电影体验对儿童生活的影响,我分析了这一主题是如何影响观众、电影癖和电影制作的。首先,我以现象学描述的存在存在为基础,展示了这些电影如何反映电影经验的影响和电影教育的过程。其次,我认为这个主题暗示了特定的美学策略,通常与童年和电影有关。儿童观众要求理解童年作为一个电影美学范畴,并邀请我们参与一种独特的观看形式。如果这些电影中的孩子代表和解决了电影经验的现象学维度,他们也邀请我们重新考虑现象学很少涉及的方面,特别是电影经验中想象力和物质性的融合,以及电影经验与教育的相互依存关系。
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