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Lee Grieveson (2018) Cinema and the wealth of nations: Media, capital, and the liberal world system 李·格里弗森(2018)《电影与国家财富:媒体、资本和自由世界体系
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0236
Will Kitchen
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引用次数: 0
Take My Breath Away: Review of Mila Zuo (2022) Vulgar beauty: Acting Chinese in the global sensorium Take My Breath Away:Mila Zuo评论(2022)粗俗的美:在全球感官中扮演中国人
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0233
Vivian L. Huang
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引用次数: 2
Machine Vision and Encoded Behaviour in Harun Farocki's Later Work Harun Farocki后期作品中的机器视觉和编码行为
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0231
Moses May-Hobbs
Harun Farocki's films make use of a category of images the director calls “operational”, a term describing images, either photographic or computer-generated, that perform or participate in tasks, usually in military or industrial settings. Treatments of Farocki's films have frequently used the notion of the operational image uncritically, and without comparing Farocki's definition of these images with existing semiotic categories. This article seeks to situate Farocki's operational imagery within a theory of visual communication, and to explore the implications of automated and instrumental imagery for theories of communication in general. Abandoning the focus in much Farocki scholarship on the representative properties of operational imagery, this article focuses on the world-shaping abilities of images that are integral to war and labour. Drawing primarily on Farocki's Eye / Machine I–III series ( Auge / Maschine, 2000–2003) the article then elaborates on the ways in which the world-shaping capacity of operational images conditions human perception and action. In particular, the limitations imposed by operational images upon human actors who interact with them, or live in environments orchestrated by them, reduce the essential role played by indeterminacy and interpretation in communication.
哈伦·法罗基的电影使用了一类被导演称为“操作性”的图像,这是一个术语,描述了通常在军事或工业环境中执行或参与任务的图像,无论是摄影的还是计算机生成的。对Farocki电影的处理经常不加批判地使用操作图像的概念,并且没有将Farocki对这些图像的定义与现有的符号学类别进行比较。本文试图将Farocki的操作意象置于视觉传播理论中,并探索自动化和工具化意象对一般传播理论的影响。本文放弃了Farocki学术界对作战图像的代表性属性的关注,重点关注战争和劳动不可或缺的图像的世界塑造能力。文章主要借鉴了Farocki的Eye/Machine I–III系列(Auge/Maschine,2000–2003),然后阐述了操作图像的世界塑造能力对人类感知和行动的影响。特别是,操作图像对与它们互动或生活在由它们策划的环境中的人类行为者施加的限制,减少了不确定性和解释在沟通中发挥的重要作用。
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引用次数: 0
Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time 死亡是电影哲学的缪斯:德勒兹对运动图像和时间本质的观察
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0227
Susana Viegas
This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori.
本文通过回归对死亡和时间本质的共同思考来探讨电影与哲学之间的联系。死亡一直被认为是哲学的缪斯,也可以被认为是电影哲学的缪斯。但是,说电影哲学是学习死亡,或者说是一种死亡训练,这意味着什么呢?电影是一种提醒我们死亡不可避免的艺术对象;它是对时间短暂和有限本质的沉思。沟口健二的《宇盖津故事集》、雷奈的《广岛之恋》和Guzmán的《追光之乡》等各种各样的电影都采用了一种离奇的方式来处理这一主题,表达了生与死以及不同时间维度的矛盾共存。本文通过德勒兹式的电影手法,探讨了死亡形象和时间的哲学概念,思考了闪回,现在和过去的共存,以及一种新型的拉扎恩角色的出现-一个从死里复活的人。这篇文章的目的不仅仅是澄清死亡在电影中毫无疑问的无所不在,而且还澄清了电影作为当代版本的死亡纪念的角色。
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引用次数: 0
Is It a Wonderful Life? Frank Capra and Objective List Theories of Worth 这是一个美好的生活吗?弗兰克·卡普拉和客观价值表理论
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0228
Joshua Shaw
Aaron Smuts argues that the holiday film It's a Wonderful Life should be understood as both an illustration and a cinematic vindication of objective list theories of worth. This article argues that he is right about the first point but wrong about the second. It's a Wonderful Life is an excellent illustration of objective list theories. However, it also exposes a problem for them – their susceptibility to sceptical anxieties about whether we can know if our lives are worth living. More specifically, I argue that It's a Wonderful Life shows how our lives are vulnerable to two sceptical anxieties, one arising from our potential inability to confirm our successes in promoting the good, the other from our potential inability to ascertain which goods can properly be said to be in our lives due to gaps in our self-knowledge and our potential for self-deception.
Aaron Smuts认为,节日电影《美好生活》应该被理解为对价值客观清单理论的说明和电影辩护。这篇文章认为,他在第一点上是对的,但在第二点上是错的。《美好生活》是客观清单理论的一个很好的例证。然而,这也暴露了他们的一个问题——他们容易对我们是否知道自己的生活是否值得生活感到怀疑和焦虑。更具体地说,我认为《美好的生活》表明,我们的生活容易受到两种怀疑焦虑的影响,一种是由于我们可能无法确认自己在促进美好方面的成功,另一种是因为我们可能无法确定哪些商品可以说是我们生活中的商品,这是由于我们的自我认识和自我欺骗的可能性存在差距。
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引用次数: 0
Film as Artificial Intelligence: Jean Epstein, Film-Thinking and the Speculative-Materialist Turn in Contemporary Philosophy 电影作为人工智能:让·爱泼斯坦、电影思维与当代哲学的思辨唯物主义转向
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.3366/film.2023.0224
Christine Reeh Peters
This article considers film as a form of artificial intelligence (AI). This non-anthropocentric hypothesis was first formulated in 1946 by filmmaker and theorist Jean Epstein and regards film as the thinking performance of a technical apparatus, the cinematograph, which is a manifestation of machine thinking based on the holistic entanglement of thought and world, film and philosophy. The article pursues an enquiry into ‘thinking’: one of the most prominent and oldest topics considered in philosophy, and also essential to art and film. Thinking is not only characterised as a sense (like sight or taste) but as a creative and, ultimately, intra-active act. The possibility of film as AI is approached not only from a Deleuzian angle, long appraised by film-philosophy, but also through questions recently raised by theories of artistic research and the speculative-materialist turn in contemporary philosophy. The latter have as a common denominator a strong critique of anthropocentrism in Western philosophy; the article enquires into this criticism from different angles and applies it to the main hypothesis of this analysis – to regard film as a form of AI.
本文认为电影是人工智能的一种形式。这一非人类中心主义假设最早由电影制作人和理论家让·爱泼斯坦于1946年提出,并将电影视为一种技术装置——电影摄影机的思维表现,这是基于思想与世界、电影与哲学的整体纠缠的机器思维的表现。这篇文章探讨了“思考”:哲学中最突出、最古老的话题之一,也是艺术和电影的重要话题。思维不仅是一种感觉(如视觉或味觉),而且是一种创造性的行为,最终是一种内在的主动行为。电影作为人工智能的可能性不仅是从德勒兹的角度来探讨的,长期以来一直受到电影哲学的评价,而且是通过艺术研究理论和当代哲学中的思辨唯物主义转向最近提出的问题来探讨的。后者的共同点是对西方哲学中人类中心主义的强烈批判;本文从不同的角度对这一批评进行了探讨,并将其应用于这一分析的主要假设 – 将电影视为人工智能的一种形式。
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引用次数: 0
Affective Assemblages of Material Culture: Qi Pao, Mahjong and Performance in Ang Lee’s Lust, Caution 物质文化的情感组合:李安《色戒》中的旗袍、麻将与表演
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0215
Jiaying Sim
Using Ang Lee’s Lust, Caution (2007), this article illustrates how an affective mode of address is encouraged when one attends to the ways in which on-screen cinematic audio-visual spectacles are produced through the interaction of different bodies on-screen. Affective cinematic encounters open up other ways of understanding the female body as productive assemblages of everyday affective interactions and relationalities with other bodies within material culture. Particularly, I demonstrate an affective mode of address that attends to the interaction of cinematic objects and how they are constructed, arranged, and engaged with on-screen to reveal hidden dynamics to characters’ relationship and overarching narratives off-screen.
本文以李安的《色戒》(2007)为例,阐述了当人们关注通过屏幕上不同身体的互动产生屏幕电影视听奇观的方式时,如何鼓励一种情感的称呼模式。情感电影的相遇开辟了理解女性身体的其他方式,女性身体是物质文化中日常情感互动和与其他身体关系的富有成效的组合。特别是,我展示了一种情感寻址模式,它关注电影对象的互动,以及它们是如何在屏幕上构建、排列和参与的,以揭示隐藏的人物关系动态和屏幕外的总体叙事。
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引用次数: 0
Poetic Objects: Bachelardian Reverie, Reverberation and Repose in Claire Denis' 35 Shots of Rum 诗意的对象:克莱尔·丹尼斯《35枪朗姆酒》中巴赫的混响、回响与复诵
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0214
Saige Walton
This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum ( 35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into the rhythmic structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose.
本文借鉴加斯顿·巴切拉德哲学中相互关联的遐想和休息概念,探讨克莱尔·丹尼斯在《35首朗姆酒》(35 Rhums,2008)中对物体的诗意前景。将巴切拉德关于时间的工作与他后来对想象的研究联系起来,我证明了遐想和休息的诗意时间对巴切拉德的思维是多么重要。围绕三个特别带电的物体(火车、电饭煲和灯笼),我主张将遐想和休息融入丹尼斯电影的节奏结构、情感组织和形式中。将Bachelard后来关于Eugène Minkowski的思考置于背景中,我认为Denis的对象会产生反响(无论是形式上还是感官上)。在《35枪朗姆酒》中,丹尼斯的诗歌对象和她对不同状态之间的唤起,与巴切拉德自己关于想象、遐想和休息的唯物主义思想如出一辙。
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引用次数: 0
White Material: Ivory tiles, white womanhood, and white supremacy in Jean-Marc Vallée’s Sharp Objects 白色材料:让-马克·瓦莱的《利器》中的象牙瓷砖、白人女性和白人至上主义
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0219
Emily K Sanders
Jean-Marc Vallée’s HBO miniseries, Sharp Objects (2018), follows Camille Preaker (Amy Adams) as she returns to her childhood home in Wind Gap, Missouri, to investigate the murders of two young girls. This article explores a specific type of object related to the systems of violence that reveal themselves over the course of the miniseries: ivory tiles. Here, the ivory tiles affixed to the floor of Camille’s mother’s, Adora Crellin’s (Patricia Clarkson), master bedroom both reveal and influence sinister behaviours of the household’s women. In employing concepts inspired from Thing Theory and Object-Oriented Ontology, as well as critical theory, this article examines how the ivory tiles possess multilayered excesses that constitute an object’s thingness. The foremost excess that informs the ivory tiles’ thingness, I contend, is its relationship to white supremacy. It is not only the tiles’ material history that informs its relationship to white supremacy, but how, through outlining the forms of agency things possess under Thing Theory, the tiles are able to reveal the forms of violence that are structured within the domestic sphere of the Crellin home. A product of violence, the ivory tiles as things speak back to the design of white supremacy.
Jean-Marc vallsame的HBO迷你剧《Sharp Objects》(2018)讲述了Camille Preaker (Amy Adams饰)回到她童年时在密苏里州Wind Gap的家,调查两名年轻女孩的谋杀案。这篇文章探讨了一种与暴力系统相关的特定类型的物体,它在迷你剧的过程中揭示了自己:象牙瓷砖。在这里,卡米尔的母亲阿多拉·克雷林(帕特里夏·克拉克森饰)主卧室的地板上贴着象牙瓷砖,这些瓷砖揭示并影响了家庭女性的邪恶行为。本文运用从物论和面向对象本体以及批判理论中获得灵感的概念,研究了象牙瓷砖如何拥有构成物体物性的多层过剩。我认为,象牙瓷砖之所以具有“物性”,最重要的是它与白人至上主义的关系。不仅是瓷砖的物质历史告知了它与白人至上主义的关系,而且,通过概述事物在物论下拥有的代理形式,瓷砖能够揭示Crellin家庭内部结构的暴力形式。作为暴力的产物,这些象牙瓷砖反映了白人至上主义的设计。
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引用次数: 0
Sarah Cooper (2019). Film and the imagined image 莎拉·库珀(2019)。电影和想象中的形象
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0223
Giulia Rho
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引用次数: 0
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Film-Philosophy
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