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Modernism and Its Media最新文献

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Modernism and Film 现代主义与电影
Pub Date : 2011-09-01 DOI: 10.1017/CCOL9781107010635.013
M. Wood
I decided I liked Photography in opposition to the Cinema, from which I nonetheless failed to separate it. Roland Barthes, Camera Lucida It is tempting to argue that all films are Modernist, that the cinema itself is an accelerated image of modernity, like the railway and the telephone. But to do this is to miss the nostalgia inseparable from the way the medium has worked out historically, its (amply rewarded) yearning to become the twentieth century’s version of the nineteenth century’s novel. There are Modernist films, even outside the period we associate with Modernism; but the largest fact about the cinema over the hundred years since its birth is its comfortable embrace of ancient conventions of realism and narrative coherence. When the German critic Walter Benjamin describes the strange mingling of artifice and illusion in the cinema – we know all about the tricky construction of the pictured world, which we nevertheless take as far more intimately actual than anything we could find in the live theatre – he says “the sight of immediate reality has become an orchid in the land of technology.” “In the theatre one is well aware of the place from which the play cannot immediately be detected as illusionary. There is no such place for the movie scene that is being shot. Its illusionary nature is that of the second degree, the result of cutting.”
我决定我喜欢摄影,而不是电影,尽管如此,我还是没能把它和电影分开。人们很容易认为,所有的电影都是现代主义的,电影本身就是现代性的加速影像,就像铁路和电话一样。但这样做就是错过了与媒体在历史上的发展方式密不可分的怀旧之情,它(得到了充分的回报)渴望成为20世纪19世纪小说的版本。有现代主义电影,甚至在我们与现代主义联系在一起的时期之外;但是,电影诞生一百多年来最大的一个事实是,它欣然接受了现实主义和叙事连贯性的古老传统。当德国评论家沃尔特·本雅明(Walter Benjamin)描述电影中技巧和幻觉的奇怪混合时——我们都知道图像世界的微妙构造,但我们认为这比我们在现场剧院中找到的任何东西都更贴近真实——他说:“直接现实的景象已经成为技术土地上的兰花。””“在剧院里,人们很清楚,从哪个地方看出来的戏剧不会立即被认为是虚幻的。没有这样的地方可以放置正在拍摄的电影场景。它的幻觉本质是第二层次的,是切割的结果。”
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引用次数: 3
Purifying the Medium: Clement Greenberg and the Legacy of Medium Specificity 净化媒介:克莱门特·格林伯格和媒介专一性的遗产
Pub Date : 1900-01-01 DOI: 10.5040/9781350033184.ch-2
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引用次数: 0
Conclusion: Digital Modernism 结论:数字现代主义
Pub Date : 1900-01-01 DOI: 10.5040/9781350033184.ch-c
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引用次数: 0
Introduction: Art and Literature in an Age of Media 导论:媒介时代的艺术与文学
Pub Date : 1900-01-01 DOI: 10.5040/9781350033184.ch-i
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引用次数: 0
The Work of Modernism in the Age of Mass Media: The Frankfurt School 大众传媒时代的现代主义作品:法兰克福学派
Pub Date : 1900-01-01 DOI: 10.5040/9781350033184.ch-4
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引用次数: 0
Rebalancing the Sensorium: The Media Ecology of Marshall McLuhan and the Toronto School 重新平衡感官:马歇尔·麦克卢汉和多伦多学派的媒体生态
Pub Date : 1900-01-01 DOI: 10.5040/9781350033184.ch-3
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引用次数: 0
Friedrich Kittler and Media Archaeology: The End of the Book and the Birth of the Modernist Discourse Network 弗里德里希·基特勒与媒介考古学:书的终结与现代主义话语网络的诞生
Pub Date : 1900-01-01 DOI: 10.5040/9781350033184.ch-5
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引用次数: 0
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Modernism and Its Media
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