{"title":"Film and Media as a Site for Memory in Contemporary Art","authors":"Domingo Martinez Rosario","doi":"10.1515/AUSFM-2017-0007","DOIUrl":"https://doi.org/10.1515/AUSFM-2017-0007","url":null,"abstract":"","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"15 1","pages":"157-173"},"PeriodicalIF":0.1,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/AUSFM-2017-0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67444873","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}
Abstract Active since 1980, the multidisciplinary Slovenian art collective Neue Slowenische Kunst (NSK, New Slovenian Art) and its branches, the fine arts group IRWIN, industrial music band Laibach and theatre troupe Gledališče Sester Scipion Nasice (The Scipion Nasice Sisters Theatre), have seen their works widely and often controversially discussed, most often in the context of subversion and over affirmation of totalitarian imagery, as well as the contemporary nation-state and nationalism. Gender, as another often essentialist category, has not figured prominently in the analysis of NSK’s output and impact. This paper proposes some areas (participation, representation) for investigation, as well as points of departure for a theoretical framework starting with key texts on gender by Judith Butler and R. W. Connell to analyse the moving images, performing and fine art produced within NSK in terms of the role gender plays therein, as well as its relationship to the construction of other defining categories such as nation and class.
{"title":"Post-Modern, Post-National, Post-Gender? Suggestions for a Consideration of Gender Identities in the Visual Artworks and Moving Images of Neue Slowenische Kunst","authors":"Natalie Gravenor","doi":"10.1515/ausfm-2017-0008","DOIUrl":"https://doi.org/10.1515/ausfm-2017-0008","url":null,"abstract":"Abstract Active since 1980, the multidisciplinary Slovenian art collective Neue Slowenische Kunst (NSK, New Slovenian Art) and its branches, the fine arts group IRWIN, industrial music band Laibach and theatre troupe Gledališče Sester Scipion Nasice (The Scipion Nasice Sisters Theatre), have seen their works widely and often controversially discussed, most often in the context of subversion and over affirmation of totalitarian imagery, as well as the contemporary nation-state and nationalism. Gender, as another often essentialist category, has not figured prominently in the analysis of NSK’s output and impact. This paper proposes some areas (participation, representation) for investigation, as well as points of departure for a theoretical framework starting with key texts on gender by Judith Butler and R. W. Connell to analyse the moving images, performing and fine art produced within NSK in terms of the role gender plays therein, as well as its relationship to the construction of other defining categories such as nation and class.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"172 1","pages":"175 - 196"},"PeriodicalIF":0.1,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73463777","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}
Abstract Modern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and contextualize the past in the current era of convergence through narrowcasting or niche programming on digital television platforms, specifically via nostalgia programming. Such platforms exemplify the multifaceted way of looking at and gaining access to television programming through a variety of connected platforms and screens in the current multi-platform era. Since the way in which television professionals (producers, schedulers, commissioners, researchers) act as moderators in this process needs to be further analysed, the article places an emphasis on how meaningful connections via previously broadcast history and nostalgia programming are also curated, principally through scheduling and production practices for niche programming – key elements in television’s creative process that have received less academic attention. Furthermore, the article discusses to what extent media policy in the Netherlands is attuned to the (re-)circulation of previously broadcast content and programming about past events, and reflects on television’s possibilities for “re-screening” references to the past in the contemporary media landscape. The analysis is based on a combination of textual analysis of audio-visual archival content and a production studies approach of interviews with key professionals, to gain insight into the creators’ strategies in relation to nostalgia programming and scheduling. Subsequently, the article demonstrates how national collective memory, as understood by television professionals in the Netherlands, informs the scheduling and circulation of “living history” on the digital thematic channel – collective cultural memory hence functioning as a TV guide.
{"title":"Collective Cultural Memory as a TV Guide: “Living” History and Nostalgia on the Digital Television Platform","authors":"B. Hagedoorn","doi":"10.1515/ausfm-2017-0004","DOIUrl":"https://doi.org/10.1515/ausfm-2017-0004","url":null,"abstract":"Abstract Modern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and contextualize the past in the current era of convergence through narrowcasting or niche programming on digital television platforms, specifically via nostalgia programming. Such platforms exemplify the multifaceted way of looking at and gaining access to television programming through a variety of connected platforms and screens in the current multi-platform era. Since the way in which television professionals (producers, schedulers, commissioners, researchers) act as moderators in this process needs to be further analysed, the article places an emphasis on how meaningful connections via previously broadcast history and nostalgia programming are also curated, principally through scheduling and production practices for niche programming – key elements in television’s creative process that have received less academic attention. Furthermore, the article discusses to what extent media policy in the Netherlands is attuned to the (re-)circulation of previously broadcast content and programming about past events, and reflects on television’s possibilities for “re-screening” references to the past in the contemporary media landscape. The analysis is based on a combination of textual analysis of audio-visual archival content and a production studies approach of interviews with key professionals, to gain insight into the creators’ strategies in relation to nostalgia programming and scheduling. Subsequently, the article demonstrates how national collective memory, as understood by television professionals in the Netherlands, informs the scheduling and circulation of “living history” on the digital thematic channel – collective cultural memory hence functioning as a TV guide.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"3 1","pages":"71 - 94"},"PeriodicalIF":0.1,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80372640","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}
Abstract The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio), domestic propaganda occupied the screen of the newly emergent national cinemas, only to see its lucid message challenged and even subverted by the fast-evolving language of cinema. Part one of this paper looks at three non-fiction films, released in 1916: Battle of Somme, With Our Heroes at the Somme (Bei unseren Helden an der Somme) and Battle of Somme (La Bataille de la Somme), as paradigmatic propaganda takes on the eponymous historical battle from British, German and French points of view. Part two analyses two war-time Hollywood melodramas, David Wark Griffith’s Hearts of the World (1918) and Allen Holubar’s The Heart of Humanity (1919), and explains the longevity of the former with the powerful “text effect” of the authentic wartime footage included. Thus, while these WWI propaganda works do validate Virilio’s ideas of the integral connections between technology, war and cinema, and between cinema and propaganda, they also herald the emancipation of post-WWI film language.
战争与电影、宣传与电影之间的关系是一个非常有趣的领域，它位于媒介研究、历史和电影美学的交叉点。第一次世界大战是人类历史上一个真正的悲剧时刻，也是第一次在胶片摄像机出现之前进行的战争。而在战场上，空中侦察变得电影化(《维里奥》)，国内宣传占据了新兴国家影院的屏幕，结果却看到其清晰的信息受到快速发展的电影语言的挑战甚至颠覆。本文的第一部分着眼于1916年上映的三部非虚构电影:索姆河战役，与我们的英雄在索姆河(Bei unseren Helden and der Somme)和索姆河战役(La Bataille de La Somme)，作为从英国，德国和法国的角度宣传同名历史战役的范例。第二部分分析了两部战时好莱坞情节剧，大卫·沃克·格里菲斯的《世界之心》(1918)和艾伦·霍鲁巴的《人性之心》(1919)，并通过其中真实的战时镜头所产生的强大的“文本效应”来解释前者的长寿。因此，这些第一次世界大战的宣传作品确实验证了维里奥关于技术、战争和电影、电影和宣传之间的整体联系的观点，它们也预示着第一次世界大战后电影语言的解放。
{"title":"The Great War: Cinema, Propaganda, and The Emancipation of Film Language","authors":"Christina Stojanova","doi":"10.1515/ausfm-2017-0006","DOIUrl":"https://doi.org/10.1515/ausfm-2017-0006","url":null,"abstract":"Abstract The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio), domestic propaganda occupied the screen of the newly emergent national cinemas, only to see its lucid message challenged and even subverted by the fast-evolving language of cinema. Part one of this paper looks at three non-fiction films, released in 1916: Battle of Somme, With Our Heroes at the Somme (Bei unseren Helden an der Somme) and Battle of Somme (La Bataille de la Somme), as paradigmatic propaganda takes on the eponymous historical battle from British, German and French points of view. Part two analyses two war-time Hollywood melodramas, David Wark Griffith’s Hearts of the World (1918) and Allen Holubar’s The Heart of Humanity (1919), and explains the longevity of the former with the powerful “text effect” of the authentic wartime footage included. Thus, while these WWI propaganda works do validate Virilio’s ideas of the integral connections between technology, war and cinema, and between cinema and propaganda, they also herald the emancipation of post-WWI film language.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"250 1","pages":"131 - 156"},"PeriodicalIF":0.1,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75200571","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}
Abstract The paper investigates two possible critical arguments following the pictorial turn. The first is formulated within ocularcentrism, the dominance of sight, and starts with the right to visibility as a general principle that governs today’s digital culture but gets twisted in special cases like the Auschwitz photos of the Shoa, the Abu Ghraib prison videos, or recently the website called Yolocaust. The second is conceived outside the visual culture and is meant to vindicate the other senses vis-à-vis the eyes. However, the argument is truncated here only to highlight the boomerang effect of the other senses: haptic vision. It is the case of visual perception when (a) there is a lack of things to see and (b) indeterminate synaesthesia: when vision intensifies the other senses in the embodied viewer. The two arguments converge upon a dialectic of the visible and the imaginable, which is formulated here as two paradoxes that the discussed examples transcend. By enforcing visibility at all costs where there is hardly anything recognizable to see, they lead to two diverging results. On the one hand, the meaning of “image” is extended toward the unimaginable, the traumatic experience, on the other hand, it is extended toward the invisible, the encounter with the radical Other.
{"title":"Paradoxes of Visibility","authors":"László Tarnay","doi":"10.1515/ausfm-2017-0001","DOIUrl":"https://doi.org/10.1515/ausfm-2017-0001","url":null,"abstract":"Abstract The paper investigates two possible critical arguments following the pictorial turn. The first is formulated within ocularcentrism, the dominance of sight, and starts with the right to visibility as a general principle that governs today’s digital culture but gets twisted in special cases like the Auschwitz photos of the Shoa, the Abu Ghraib prison videos, or recently the website called Yolocaust. The second is conceived outside the visual culture and is meant to vindicate the other senses vis-à-vis the eyes. However, the argument is truncated here only to highlight the boomerang effect of the other senses: haptic vision. It is the case of visual perception when (a) there is a lack of things to see and (b) indeterminate synaesthesia: when vision intensifies the other senses in the embodied viewer. The two arguments converge upon a dialectic of the visible and the imaginable, which is formulated here as two paradoxes that the discussed examples transcend. By enforcing visibility at all costs where there is hardly anything recognizable to see, they lead to two diverging results. On the one hand, the meaning of “image” is extended toward the unimaginable, the traumatic experience, on the other hand, it is extended toward the invisible, the encounter with the radical Other.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"1 1","pages":"30 - 7"},"PeriodicalIF":0.1,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72769609","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}
Abstract This study proposes a twofold analysis: the presumable strategies of the December 1989 events in Romania and their complexity as it appears in later filmic re-enactments. These re-enactments as theatrical “translations” offer a rhetorical reading of past events, and can also be seen as practices of memories inscribed in the body. The events are interpreted in the duality of the archival image and the acoustic/gestural memory, where the latter is understood as an atmospheric (bodily) memory. The disorientation or disinformation caused by the technical conditions, the circulation or lack of images, the alternating silences and chanting on the street make the past events incomprehensible and medially dissonant.1
{"title":"Multiple Revolutions. Remediating and Re-enacting the Romanian Events of 1989","authors":"Mónika Dánél","doi":"10.1515/ausfm-2017-0005","DOIUrl":"https://doi.org/10.1515/ausfm-2017-0005","url":null,"abstract":"Abstract This study proposes a twofold analysis: the presumable strategies of the December 1989 events in Romania and their complexity as it appears in later filmic re-enactments. These re-enactments as theatrical “translations” offer a rhetorical reading of past events, and can also be seen as practices of memories inscribed in the body. The events are interpreted in the duality of the archival image and the acoustic/gestural memory, where the latter is understood as an atmospheric (bodily) memory. The disorientation or disinformation caused by the technical conditions, the circulation or lack of images, the alternating silences and chanting on the street make the past events incomprehensible and medially dissonant.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"95 1","pages":"130 - 95"},"PeriodicalIF":0.1,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87682690","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}
Abstract The paper investigates Brothers and Sisters (Geschwister-Kardeşler, 1995), the first piece of Thomas Arslan’s Berlin-trilogy. While putting the film into the socio-historical context of the newly united German Republic, the study aims to highlight the characters’ struggle and constant shift between their Turkish and German identity. Through the narrative and textual analysis of Brothers and Sisters, the paper reveals the visual forms of social exclusion and concludes that in Arslan’s film, the characters bear with no social identity but various stages of identification, which keep them in an in-between, insecure position.
{"title":"The Flux of Transmigrant Identities in Thomas Arslan’s Brothers and Sisters","authors":"Anna Batori","doi":"10.1515/ausfm-2017-0003","DOIUrl":"https://doi.org/10.1515/ausfm-2017-0003","url":null,"abstract":"Abstract The paper investigates Brothers and Sisters (Geschwister-Kardeşler, 1995), the first piece of Thomas Arslan’s Berlin-trilogy. While putting the film into the socio-historical context of the newly united German Republic, the study aims to highlight the characters’ struggle and constant shift between their Turkish and German identity. Through the narrative and textual analysis of Brothers and Sisters, the paper reveals the visual forms of social exclusion and concludes that in Arslan’s film, the characters bear with no social identity but various stages of identification, which keep them in an in-between, insecure position.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"6 1","pages":"51 - 69"},"PeriodicalIF":0.1,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76718716","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}
Abstract This work sets off to offer a polemical response to postcolonialist theories advanced by Homi Bhabha in his seminal work The Location of Culture, particularly to Bhabha’s famous notions of ambivalence and mimicry purportedly used as methods of struggle against colonialism. Reading Béla Tarr’s film Werckmeister Harmonies (Werckmeister harmóniák, 2000) as an allegory for the colonization of a former colonial agent in the guise of an ambiguously framed post-imperial Hungary now on the eve of Soviet invasion, I turn Bhabha’s notions on their heads, and thus de-stereotype the simplistic hierarchy that sees the colonial agent dominate the colonized subject in a top-down approach. To achieve this, I bring into play Kuan-Hsing Chen’s notion of deimperialization as well as the psychoanalysis of Octave Mannoni in order to show that rather than being a straightforward misreading of the Other by an uninformed Self, the relationship between colonized and colonizer appears more like a failed attempt at acquiring the most basic knowledge of the psychological functioning of the Self on both sides of the colonized/colonizer divide.
本文旨在对霍米·巴巴(Homi Bhabha)在其开创性著作《文化的定位》(The Location of Culture)中提出的后殖民主义理论，特别是巴巴(Homi Bhabha)著名的矛盾心理(ambivalence)和模仿(mimition)概念进行辩论性回应，这些概念据称是用来与殖民主义作斗争的方法。当我读到b2013.la Tarr的电影《Werckmeister Harmonies》(Werckmeister harmóniák, 2000)时，我把它看作是前殖民代理人在苏联入侵前夕以模糊的后帝国匈牙利为幌子进行殖民的寓言。我彻底颠覆了Bhabha的观念，从而消除了那种认为殖民代理人以自上而下的方式统治被殖民主体的简单等级制度的刻板印象。为了达到这个目的，我引入了陈冠希的去帝国化概念，以及奥克塔夫·曼诺尼的精神分析，以表明被殖民者和殖民者之间的关系，与其说是一个无知的自我对他者的直接误读，不如说是一种失败的尝试，即在被殖民者和殖民者的分水岭两端，获取自我心理功能的最基本知识。
{"title":"The Postcolonial Self and the Other in Béla Tarr’s Werckmeister Harmonies","authors":"Lucian Țion","doi":"10.1515/ausfm-2017-0002","DOIUrl":"https://doi.org/10.1515/ausfm-2017-0002","url":null,"abstract":"Abstract This work sets off to offer a polemical response to postcolonialist theories advanced by Homi Bhabha in his seminal work The Location of Culture, particularly to Bhabha’s famous notions of ambivalence and mimicry purportedly used as methods of struggle against colonialism. Reading Béla Tarr’s film Werckmeister Harmonies (Werckmeister harmóniák, 2000) as an allegory for the colonization of a former colonial agent in the guise of an ambiguously framed post-imperial Hungary now on the eve of Soviet invasion, I turn Bhabha’s notions on their heads, and thus de-stereotype the simplistic hierarchy that sees the colonial agent dominate the colonized subject in a top-down approach. To achieve this, I bring into play Kuan-Hsing Chen’s notion of deimperialization as well as the psychoanalysis of Octave Mannoni in order to show that rather than being a straightforward misreading of the Other by an uninformed Self, the relationship between colonized and colonizer appears more like a failed attempt at acquiring the most basic knowledge of the psychological functioning of the Self on both sides of the colonized/colonizer divide.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"56 1","pages":"31 - 49"},"PeriodicalIF":0.1,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77178708","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}
Abstract This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs records the telecine process that transforms the classic silent film Tom, Tom, the Piper’s Son from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images. Moreover, Jacobs focuses on the moment of transition from a material medium (the film strip) to the immaterial (the image, the video), so that the noise brings the viewer closer to a perception or brief capture of the medium in itself. Images are both figured and disfigured along this process. The second work is The Guests, an unconventional 3D film in which Jacobs transforms a short take from a Lumière Brothers film by discovering unseen views of the original footage. In his remediation of the 3D technology, Jacobs employs the Pulfrich effect, which allows him to blur the images of the archival film and to create instances of uncertainty between the views coming from the two human eyes. As a result of this procedure, the characters in the film seem to look directly at the audience. The analysis of both films highlights the poetry of the typical manoeuvre by which Jacobs perverts the archival medium, whereupon the viewing mode between media denaturalizes the usual media gaze (framed and representational), focusing on the moment of viewing in itself. This, as a result, favours the medium for what it is and subverts the gaze that expects something representational, discursive, perhaps story-driven.
摘要:本文分析了美国电影导演肯·雅各布斯最近两部涉及补救方面的作品。第一部是《Tom Tom Chaser》，雅各布斯记录了将经典默片《Tom, Tom, The Piper’s Son》从化学媒介转化为电子媒介的电视制作过程。影片充满诗意的转折，邀请观众重新发现隐藏在图像中的媒体噪音。此外，雅各布斯关注的是从物质媒介(胶片)到非物质媒介(图像、视频)的过渡时刻，因此噪音使观众更接近对媒介本身的感知或简短捕捉。在这个过程中，图像既被塑造又被破坏。第二部作品是《客人》，这是一部非传统的3D电影，雅各布斯将lumi兄弟电影的一段短片转换为原始镜头的未见视图。在他对3D技术的修复中，雅各布斯采用了普尔弗里奇效应，这使他能够模糊档案电影的图像，并在两只眼睛的观点之间创造不确定性的实例。这一过程的结果是，电影中的人物似乎直接看着观众。对这两部电影的分析突出了雅各布斯歪曲档案媒介的典型手法的诗意，因此，媒介之间的观看模式使通常的媒体凝视(框架和代表性)变性，专注于观看本身的时刻。因此，这有利于媒介本身，并颠覆了期待具有代表性、话语性、可能是故事驱动的凝视。
{"title":"Ken Jacobs and the Perverted Archival Image","authors":"Pablo Gonçalo","doi":"10.1515/ausfm-2016-0015","DOIUrl":"https://doi.org/10.1515/ausfm-2016-0015","url":null,"abstract":"Abstract This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs records the telecine process that transforms the classic silent film Tom, Tom, the Piper’s Son from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images. Moreover, Jacobs focuses on the moment of transition from a material medium (the film strip) to the immaterial (the image, the video), so that the noise brings the viewer closer to a perception or brief capture of the medium in itself. Images are both figured and disfigured along this process. The second work is The Guests, an unconventional 3D film in which Jacobs transforms a short take from a Lumière Brothers film by discovering unseen views of the original footage. In his remediation of the 3D technology, Jacobs employs the Pulfrich effect, which allows him to blur the images of the archival film and to create instances of uncertainty between the views coming from the two human eyes. As a result of this procedure, the characters in the film seem to look directly at the audience. The analysis of both films highlights the poetry of the typical manoeuvre by which Jacobs perverts the archival medium, whereupon the viewing mode between media denaturalizes the usual media gaze (framed and representational), focusing on the moment of viewing in itself. This, as a result, favours the medium for what it is and subverts the gaze that expects something representational, discursive, perhaps story-driven.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"1 1","pages":"73 - 88"},"PeriodicalIF":0.1,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76813644","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}
Abstract The theatre of Jay Scheib blends theatrical and filmic features, allowing for a theoretical investigation of the manner in which two different media coexist on the same expressive support. How can two distinct media like film and theatre fuse and, at the same time, be apprehended as separate artistic means in a single artifact? The present article uses a theoretical interpretive metaphor that rests on an application of the mechanisms of relationship between two physical systems issued from the quantum mechanical view of reality. From this perspective, the two afore-mentioned media are in an entangled state. Media is understood as “potential materials or forms for future practices,” or “automatisms” (Rodowick 2007, 42). At the same time, theatrical or cinematic media is apprehended by the audience in a dynamic way, not defined as a static bundle of defining features. Dynamic conceptualization will modulate or “tune” the comprehension of one of the media considered to be a subordinate system in the duplex. The blending of the two media presupposes a local conceptualization unfolding dynamically and an entangled one manifested nonlocal. The distinction between film and theatre is also to be seen as a difference in the cognitive model which posits a detached display (a screen/a scene), an imaginary world (a diegesis) and a spectator (observer). In theatre, the body of the observer is inside the theatrical display setting, while in film, the body of the viewer is conceptualized to be separated from the cinematic display. The notion of threshold, introduced by Dudley Andrew (2010), renders this shift of attention from one side of the display to the other.
{"title":"Hypertheatre or Media Entanglement in the Theatre of Jay Scheib","authors":"M. Deaca","doi":"10.1515/ausfm-2016-0012","DOIUrl":"https://doi.org/10.1515/ausfm-2016-0012","url":null,"abstract":"Abstract The theatre of Jay Scheib blends theatrical and filmic features, allowing for a theoretical investigation of the manner in which two different media coexist on the same expressive support. How can two distinct media like film and theatre fuse and, at the same time, be apprehended as separate artistic means in a single artifact? The present article uses a theoretical interpretive metaphor that rests on an application of the mechanisms of relationship between two physical systems issued from the quantum mechanical view of reality. From this perspective, the two afore-mentioned media are in an entangled state. Media is understood as “potential materials or forms for future practices,” or “automatisms” (Rodowick 2007, 42). At the same time, theatrical or cinematic media is apprehended by the audience in a dynamic way, not defined as a static bundle of defining features. Dynamic conceptualization will modulate or “tune” the comprehension of one of the media considered to be a subordinate system in the duplex. The blending of the two media presupposes a local conceptualization unfolding dynamically and an entangled one manifested nonlocal. The distinction between film and theatre is also to be seen as a difference in the cognitive model which posits a detached display (a screen/a scene), an imaginary world (a diegesis) and a spectator (observer). In theatre, the body of the observer is inside the theatrical display setting, while in film, the body of the viewer is conceptualized to be separated from the cinematic display. The notion of threshold, introduced by Dudley Andrew (2010), renders this shift of attention from one side of the display to the other.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"2 1","pages":"21 - 42"},"PeriodicalIF":0.1,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88136024","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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