In 1957, A Face in the Crowd incorporated live video images to warn about the future of broadcast TV. In 2015, Kung Fury was infused with analogue noise to evoke the nostalgic feeling of watching an old VHS tape. Between the two films, numerous ones would incorporate video images to imagine the implications of video practices. Drawing on media archaeology, Videographic Cinema shows how such images and imaginaries have emerged, changed and remained over time according to their shifting technical, historical and institutional conditions. Rediscovering forgotten films like Anti-Clock (1979) and reassessing ones like Lost Highway (1997), Jonathan Rozenkrantz charts neglected chapters of video history, including self-confrontation techniques in psychiatry, their complex relation with surveillance, and the invention/discovery of the “videographic psyche” by artists, therapists and filmmakers. Spanning six decades, Videographic Cinema discovers an epistemic shift from prospective imaginaries of surveillance and control conditioned on video as a medium for live transmission, to retrospective ones concerned with videotape as a recording memory. It ends by considering videographic filmmaking itself as a form of archaeology in the age of analogue obsolescence.
1957年，《人群中的一张脸》(A Face In the Crowd)结合了现场视频图像，对广播电视的未来发出了警告。2015年，《Kung Fury》加入了模拟噪音，唤起了观看旧VHS磁带的怀旧感觉。在两部影片之间，许多人会结合视频图像来想象视频实践的含义。借助媒体考古学，《影像电影》展示了这些图像和想象是如何随着技术、历史和制度条件的变化而出现、变化和保留的。Jonathan Rozenkrantz重新发现了像《Anti-Clock》(1979)这样被遗忘的电影，并重新评估了像《Lost Highway》(1997)这样的电影，他列出了视频历史中被忽视的章节，包括精神病学中的自我对抗技术，它们与监控的复杂关系，以及艺术家、治疗师和电影制作人对“视频心理”的发明/发现。跨越六十年，《录像电影》发现了一种认知上的转变，从以录像作为现场传播媒介的监视和控制的前瞻性想象，到以录像带作为记录记忆的回顾性想象。最后，它将录像电影制作本身视为模拟过时时代的一种考古形式。
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Pub Date : 2020-03-03DOI: 10.1515/9780823287437-014
{"title":"Syncretism and metamorphosis: montage as collage","authors":"","doi":"10.1515/9780823287437-014","DOIUrl":"https://doi.org/10.1515/9780823287437-014","url":null,"abstract":"","PeriodicalId":127492,"journal":{"name":"Expanded Cinema","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133371522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-03DOI: 10.1515/9780823287437-016
Patrick O’Neill
The term kinetic generally indicates motion of material bodies and the forces and energies associated with it. Thus to isolate a certain type of film as kinetic and therefore different from other films means we're talking more about forces and energies than about matter. I define aesthetic quite simply as: the manner of experiencing something. Kinaesthetic, therefore, is the manner of experiencing a thing through the forces and energies associated with its motion. This is called kinaesthesia, the experience of sensory perception. One who is keenly aware of kinetic qualities is said to possess a kinaesthetic sense. The fundamental subject of synaesthetic cinema—forces and energies—cannot be photographed. It's not what we're seeing so much as the process and effect of seeing: that is, the phenomenon of experience itself, which exists only in the viewer. Synaesthetic cinema abandons traditional narrative because events in reality do not move in linear fashion. It abandons common notions of "style" because there is no style in nature. It is concerned less with facts than with metaphysics, and there is no fact that is not also metaphysical. One cannot photograph metaphysical forces. One cannot even “represent" them. One can, however, actually evoke them in the inarticulate conscious of the viewer. The dynamic interaction of formal proportions in kinaesthetic cinema evokes cognition in the inarticulate conscious, which I call kinetic empathy. In perceiving kinetic activity the mind's eye makes its empathy-drawing, translating the graphics into emotionalpsychological equivalents meaningful to the viewer, albeit meaning of an inarticulate nature. "Articulation" of this experience occurs in the perception of it and is wholly nonverbal. It makes us aware of fundamental realities beneath the surface of normal perception: forces and energies.
{"title":"Synaesthetics and kinaesthetics: the way of all experience","authors":"Patrick O’Neill","doi":"10.1515/9780823287437-016","DOIUrl":"https://doi.org/10.1515/9780823287437-016","url":null,"abstract":"The term kinetic generally indicates motion of material bodies and the forces and energies associated with it. Thus to isolate a certain type of film as kinetic and therefore different from other films means we're talking more about forces and energies than about matter. I define aesthetic quite simply as: the manner of experiencing something. Kinaesthetic, therefore, is the manner of experiencing a thing through the forces and energies associated with its motion. This is called kinaesthesia, the experience of sensory perception. One who is keenly aware of kinetic qualities is said to possess a kinaesthetic sense. The fundamental subject of synaesthetic cinema—forces and energies—cannot be photographed. It's not what we're seeing so much as the process and effect of seeing: that is, the phenomenon of experience itself, which exists only in the viewer. Synaesthetic cinema abandons traditional narrative because events in reality do not move in linear fashion. It abandons common notions of \"style\" because there is no style in nature. It is concerned less with facts than with metaphysics, and there is no fact that is not also metaphysical. One cannot photograph metaphysical forces. One cannot even “represent\" them. One can, however, actually evoke them in the inarticulate conscious of the viewer. The dynamic interaction of formal proportions in kinaesthetic cinema evokes cognition in the inarticulate conscious, which I call kinetic empathy. In perceiving kinetic activity the mind's eye makes its empathy-drawing, translating the graphics into emotionalpsychological equivalents meaningful to the viewer, albeit meaning of an inarticulate nature. \"Articulation\" of this experience occurs in the perception of it and is wholly nonverbal. It makes us aware of fundamental realities beneath the surface of normal perception: forces and energies.","PeriodicalId":127492,"journal":{"name":"Expanded Cinema","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134405428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Artist as Ecologist","authors":"","doi":"10.2307/j.ctvnwbz7q.43","DOIUrl":"https://doi.org/10.2307/j.ctvnwbz7q.43","url":null,"abstract":"","PeriodicalId":127492,"journal":{"name":"Expanded Cinema","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124981816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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