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Against Imprinting: The Photographic Image as a Source of Evidence 反对印记:作为证据来源的摄影图像
Pub Date : 2022-12-01 DOI: 10.1353/sor.2022.0061
Dawn M Wilson
Abstract:A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly articulates different production stages, such as registering and rendering, that are relevant to understanding the relation between a photographic image and the photographed scene. By denying that any photographic image is a causal imprint, the multistage approach proposes a more demanding evaluation of photographic evidence. This has implications for documentary film and photojournalism, along with specialized applications such as forensics, surveillance, and face-recognition technology.
摘要:摄影图像被认为是拍摄场景的证据,因为它是反射光的因果印记,是真实物体和事件的索引痕迹。尽管在摄影的历史、理论和哲学中广泛建立,但这种传统的印记模式必须被拒绝,因为它依赖于对摄影过程的“单阶段”误解:认为摄影图像在曝光时就存在了。取而代之的是,“多阶段”的叙述恰当地阐明了不同的生产阶段,如注册和渲染,这与理解摄影图像和拍摄场景之间的关系有关。通过否认任何摄影图像都是因果印记,多阶段方法提出了对摄影证据更严格的评估。这对纪实电影和新闻摄影,以及法医、监视和面部识别技术等专业应用都有影响。
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引用次数: 0
Not the Songs but the Singing: Sounding Sense in Colonial Films from British Mandate Palestine 不是歌曲而是歌声:英属巴勒斯坦殖民地电影的声音意义
Pub Date : 2022-12-01 DOI: 10.1353/sor.2022.0067
Diana K. Allan
Abstract:This essay considers how Palestinian history and experience might be reclaimed from colonial films from British Mandate Palestine, and how sensory and synesthetic attention developed in experimental filmmaking might bear on archival footage. Analysis focuses in particular on the possibilities of sound. My reflections draw heavily on a current work in progress, Partition, which makes extensive use of found footage from Britain’s imperial collections and sound recordings made with Palestinian refugees in Lebanon and across the sites of their displacement. The film attempts to harness the disruptive potential of refugee voice to make visible the continuity of Palestinian presence in colonial archives and to deconstruct and reconstruct archival authority and colonial history.
摘要:本文探讨了巴勒斯坦的历史和经验如何从英属巴勒斯坦托管的殖民电影中再现,以及实验电影制作中发展起来的感官和联觉注意力如何对档案镜头产生影响。分析主要集中在声音的可能性上。我的思考很大程度上借鉴了目前正在进行的作品《分区》(Partition),它广泛使用了从英国帝国收藏中找到的镜头,以及在黎巴嫩和流离失所的巴勒斯坦难民的录音。这部电影试图利用难民声音的破坏性潜力,使巴勒斯坦人在殖民档案中的存在的连续性可见,并解构和重建档案权威和殖民历史。
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引用次数: 1
Volume 89 Index 第89卷索引
Pub Date : 2022-12-01 DOI: 10.1353/sor.2022.0070
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引用次数: 0
Conspiracy: Systemic and Pragmatic 阴谋:系统的和务实的
Pub Date : 2022-09-01 DOI: 10.1353/sor.2022.0040
N. Urbinati
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引用次数: 1
Conspiracies and the Liberal Imagination 阴谋论与自由想象
Pub Date : 2022-09-01 DOI: 10.1353/sor.2022.0051
N. Guilhot
in 1975 playboy magazine sent the novelist mordecai richler to interview Mae Brussell at her home in Carmel, California. Brussell was the host of a popular radio show called Dialogue: Conspiracy. She also published a newsletter, daringly called The Realist, which at some point was saved from bankruptcy thanks to John Lennon’s financial generosity. Skeptical of the official version of the assassination of John F. Kennedy, she had combed through the 26 volumes of the Warren Commission report looking for inconsistencies and clues. She did not come out empty-handed. The assassination, she concluded, was part of a vast fascist plot to take over America, and she was intent on exposing it. Over the years, she commented on the major and lesser events of the day—the kidnapping of Patricia Hearst, the Chappaquiddick incident—and suggested they were episodes of the same global conspiracy. Richler was not impressed:
1975年,《花花公子》杂志派小说家莫迪凯·里奇勒去梅·布鲁塞尔位于加州卡梅尔的家中采访她。布鲁塞尔是一个很受欢迎的广播节目“对话:阴谋”的主持人。她还出版了一份时事通讯,大胆地命名为《现实主义者》(The Realist)。由于约翰·列侬(John Lennon)的慷慨资助,这本杂志一度免于破产。她对约翰·f·肯尼迪(John F. Kennedy)遇刺案的官方说法持怀疑态度,仔细梳理了沃伦委员会(Warren Commission)的26卷报告,寻找前后矛盾的地方和线索。她没有空手而归。她总结说,这次暗杀是法西斯统治美国的巨大阴谋的一部分,她决心要揭露这个阴谋。多年来,她评论了当天发生的重大事件和次要事件——帕特里夏·赫斯特被绑架、查帕奎迪克事件——并认为它们是同一个全球阴谋的插曲。Richler并没有被打动。
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引用次数: 1
Learning from Experience? COVID-19 Conspiracy Theories and Their Implications for Democratic Discourse 从经验中学习?COVID-19阴谋论及其对民主话语的影响
Pub Date : 2022-09-01 DOI: 10.1353/sor.2022.0042
J. Hochschild, David Beavers
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引用次数: 0
The Path from Conspiracy to Ungoverning 从阴谋到不统治的道路
Pub Date : 2022-09-01 DOI: 10.1353/sor.2022.0046
R. Muirhead, Nancy L. Rosenblum
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引用次数: 1
What, If Anything, Do Populism and Conspiracy Theories Have to Do with Each Other? 民粹主义和阴谋论之间有什么关系?
Pub Date : 2022-09-01 DOI: 10.1353/sor.2022.0050
Jan-Werner Müller
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引用次数: 2
QAnon, Women, and the American Culture Wars QAnon,妇女和美国文化战争
Pub Date : 2022-09-01 DOI: 10.1353/sor.2022.0037
M. Bloom, S. Moskalenko
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引用次数: 0
Subjectivity, Mobilization, and Everyday Politics: Insights from Reconfigurations of Conspiracy Theories in Turkey 主体性、动员和日常政治:来自土耳其阴谋论重新配置的见解
Pub Date : 2022-09-01 DOI: 10.1353/sor.2022.0047
Erol Saglam
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引用次数: 0
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