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Rethinking Inside and Outside: The Door in Ernst Lubitsch's When I Was Dead and Charlie Chaplin's The Adventurer 内外反思:恩斯特·卢比奇的《当我死了》和查理·卓别林的《冒险家》中的门
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0218
Ido Lewit
The article investigates the function and signification of doors in two silent films, Ernst Lubitsch's 1916 When I Was Dead and Charlie Chaplin's 1917 The Adventurer. Taking a theoretical perspective provided by the field of intellectual inquiry known as cultural techniques ( Kulturtechniken), the door in these films is studied with respect to its procedural and functional operations. Specifically, the article focuses on the ways in which the employment of doors in each of the films relates to these films' configurations of inside and outside as conceptual realms. The analysis presented shows that Lubitsch and Chaplin engage doors in uniquely different ways. It further reveals that, while the operation of the door in When I Was Dead reinforces an exclusive binary of inside and outside, which itself can be traced back to the film's concern with sexual difference, the operation of the door in The Adventurer essentially deconstructs the inside/outside binary, an act that can be linked to a critique of contemporary notions of industrial management and the treatment of humans as machines.
本文探讨了门在两部无声电影中的作用和意义,分别是恩斯特·卢比奇的1916年《当我死了》和查理·卓别林的1917年《冒险家》。从被称为文化技术(Kulturtechniken)的智力探究领域提供的理论视角,研究了这些电影中的门的程序和功能操作。具体而言,这篇文章关注的是每部电影中门的使用与这些电影作为概念领域的内部和外部配置之间的关系。分析表明,卢比奇和卓别林以独特的不同方式来开门。它进一步揭示了,虽然《当我死了》中对门的操作强化了内部和外部的排他性二元性,这本身可以追溯到电影对性别差异的关注,但《冒险家》中的门的操作本质上解构了内部/外部的二元性,这一行为可以与对当代工业管理观念和将人视为机器的批判联系起来。
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引用次数: 0
Hitchcock's Undertexts: Objects and Language 希区柯克的底层文本:对象与语言
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0216
Brigitte Peucker
This article explores the way in which the generative capacity of language inflects objects and props in several films by Alfred Hitchcock, focusing in particular on Rope (1948) and Strangers on a Train (1951). Camera angle and framing, the duration of the shot, the close-up or the long shot – all give shape to the filmed object. But why is language – or its absence – not mentioned among the set of operations that determines cinematic objects? In the form of dialogue or imaged writing (words or letters visible in the frame), it notably contextualizes the object in Hitchcock's films. Language in relation to objects can be punning; it can extend the image, evoking another, unimaged object through the use of rhyme, and it may act as a verbal solution to a puzzle. When imaged as writing, language is materialized, itself an object. At their most macabre, Hitchcock films stage an oscillation between a word's literal and figurative use, generating an undertext that extends beyond the joke the film's surface makes available. This discussion teases out several functions of language in Hitchcock films as it impacts the viewer's understanding of objects, moments when language creates undertexts that are clearly intentional but resist interpretation.
本文探讨了阿尔弗雷德·希区柯克的几部电影中语言的生成能力对物体和道具的影响,特别是《绳索》(1948年)和《火车上的陌生人》(1951年)。相机角度和取景、镜头的持续时间、特写镜头或长镜头 – 所有这些都赋予了拍摄对象形状。但为什么语言 – 或不存在 – 在确定电影对象的一组操作中没有提到?在希区柯克的电影中,它以对话或图像写作的形式(在画面中可见的单词或字母),将物体置于背景中。与物体相关的语言可以是双关语;它可以扩展图像,通过押韵唤起另一个单一的对象,也可以作为一个谜题的口头解决方案。当语言被想象成文字时,它就被物化了,它本身就是一个对象。在最恐怖的时候,希区柯克的电影在一个词的字面和比喻之间摇摆不定,产生了一种延伸到电影表面的笑话之外的潜台词。这场讨论引出了希区柯克电影中语言的几个功能,因为它影响了观众对物体的理解,即语言产生明显有意但抗拒解读的潜台词的时刻。
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引用次数: 0
Joshua Sikora (Ed.), A Critical Companion to Terrence Malick Joshua Sikora(Ed.),特伦斯·马利克的批判伙伴
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0222
M. Johnson
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引用次数: 0
Film as Museum: One-of-a-Kind Objects in Berkun Oya's Bir Başkadır 电影博物馆:Berkun Oya头上独一无二的物品
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0220
Olivia Landry
This article explores the 2020 Turkish Netflix series Bir Başkadır ( Ethos) written and directed by Berkun Oya about contemporary Turkey through its objects. With objects surge memories, which are both personal and collective. From the charged objects that convey private attachments, traumas, and histories to ordinary household trinkets and finally archival audiovisual material, this series assumes the status of museum in its drive to carefully exhibit the material world on screen. As the Turkish title of the series indicates, these objects are “ bir başkadır”: one of a kind. Through themes and practices of lost innocence, counter-archives, and archiveology, I sift through the quotidian objects, miniatures, old photos, souvenirs, and analogue film footage re-presented and re-collected in this series with an eye to their new scope and allure. The past and present rest adjacent to one another in the mise-en-scène of this series. In engagement with the philosophical writings of Walter Benjamin on the collector, the archive, and memory, Andreas Huyssen's concept of the “museal gaze,” Jennifer Culbert's “counter-archival sensibility,” and finally Catherine Russell's practice of “archiveology,” this article examines how the objects that fashion the on-screen world acquire depth and meaning and the film as museum comes to form.
本文探讨了由Berkun Oya编剧和导演的2020年土耳其网飞电视剧《Bir Başkadır(Ethos)》,该剧通过其对象讲述了当代土耳其。随着物体的出现,记忆激增,这既是个人的,也是集体的。从传递私人依恋、创伤和历史的带电物体,到普通的家庭小饰品,再到档案视听材料,这一系列作品在努力在屏幕上仔细展示物质世界的过程中,占据了博物馆的地位。正如该系列的土耳其标题所示,这些物体是“bir başkadır”:独一无二的。通过失去童真、反档案和档案学的主题和实践,我筛选了本系列中重新呈现和收集的日常物品、微缩模型、旧照片、纪念品和模拟电影片段,以期了解它们的新范围和吸引力。在这个系列的mise en scène中,过去和现在彼此相邻。与Walter Benjamin关于收藏家、档案馆和记忆的哲学著作接触,Andreas Huyssen的“博物馆凝视”概念,Jennifer Culbert的“反档案情感”,最后是Catherine Russell的“档案学”实践,这篇文章探讨了时尚屏幕世界的物体是如何获得深度和意义的,以及作为博物馆的电影是如何形成的。
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引用次数: 0
Introduction to Special Issue: Film Objects 特刊简介:电影对象
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0213
Elizabeth Ezra, Catherine Wheatley
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引用次数: 0
Love Objects: Eros and the Materialistic Aesthetics of Ernst Lubitsch 爱的对象:爱欲与恩斯特·卢比奇的唯物主义美学
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0217
Noa Merkin
This article explores the role of filmic objects within the romantic relationships featured in Ernst Lubitsch’s silent The Marriage Circle (1924) and the comedy Trouble in Paradise (1932). I argue that these objects reflect a unique engagement with the materiality of film décor, which makes use of the strong presence of objects to portray intimacy as the site of inconclusive meaning. By examining both films together, I demonstrate how the world of inanimate objects brings erotic undertones to the surface while challenging the material conditions of the erotic itself. In order to do so, I examine the ways in which Lubitsch relies on material details not only as functional narrative devices, but as elements that challenge and complicate our interpretations of familiar things. While the underacknowledged use of objects in The Marriage Circle illustrates the logic of displacement that stands at the center of the director’s style, Trouble in Paradise provides a framework for recognizing the critical role of objects in the structure of desire in his films. This article sets up a new reading of tactility and materiality in Lubitsch’s use of mise en scéne and seeks to give objects a prominent role in the analysis of his style.
本文探讨了电影对象在恩斯特·卢比奇(Ernst Lubitsch)的无声作品《婚姻圈》(1924)和喜剧《天堂里的麻烦》(1932)中的浪漫关系中的作用。我认为,这些物体反映了对电影装饰物质性的独特参与,电影装饰利用物体的强烈存在将亲密感描绘成具有不确定性意义的场所。通过将这两部电影放在一起研究,我展示了无生命物体的世界是如何将情色的潜台词带到表面,同时挑战情色本身的物质条件的。为了做到这一点,我研究了卢比奇依赖材料细节的方式,这些细节不仅是功能性叙事手段,而且是挑战我们对熟悉事物的解释并使其复杂化的元素。虽然《婚姻圈》中对物体的使用未被充分认识,这说明了作为导演风格中心的位移逻辑,但《天堂的烦恼》为认识物体在他的电影中欲望结构中的关键作用提供了一个框架。本文对卢比奇使用mise en scéne中的触觉性和物质性进行了新的解读,并试图赋予物体在分析其风格中的突出作用。
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引用次数: 0
Tiago de Luca (2021) Planetary Cinema: Film, media and the earth 蒂亚戈·德·卢卡(2021)《行星电影:电影、媒体和地球》
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2023-02-01 DOI: 10.3366/film.2023.0221
Karim Townsend
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引用次数: 0
Truth, Beauty and Goodness: Freedom and the Platonic Triad in Eric Rohmer’s Film Theory 真、美、善:侯麦电影理论中的自由与柏拉图式人格
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0204
Hanne Schelstraete
This article analyses Eric Rohmer’s film theory in the light of the Platonic triad of truth, beauty and goodness, as embodied by the aesthetic philosophy of Kant, Hegel and Schiller. Although his film theory shows affinity with Kant’s ideal of art as a form of natural beauty, I will argue that a broader look at Rohmer’s philosophical foundations is necessary. The point where Rohmer’s film theory deviates from Kant’s triadic philosophy is exactly the point where he approaches the aesthetics of Hegel and Schiller. Turning towards their idealistic philosophy creates a new understanding of Rohmer’s film theory. His ideas on cinema’s ontology and value mirror both Hegel’s emphasis on beauty as the artistic and immediate manifestation of trans-historical truth and Schiller’s belief in beauty as the condition for morality and freedom. Plato’s conceptual and intertwined triad of truth, beauty and goodness lies at the basis of his affinity to 18th century aesthetic philosophy. This close affinity raises the question of the relation between film theory and philosophy, and Rohmer’s position in this debate. He enriches his own thoughts with those of philosophers that inspired him, and enriches their legacy with his cinema-related conclusions.
本文从康德、黑格尔、席勒美学哲学所体现的真、美、善的柏拉图三元性出发,分析了罗默的电影理论。尽管他的电影理论与康德的艺术理想有着密切的关系,即艺术是一种自然美,但我认为有必要更广泛地审视罗默的哲学基础。罗默电影理论偏离康德三元哲学的点,正是他接近黑格尔和席勒美学的点。转向他们的理想主义哲学创造了对罗默电影理论的新理解。他的电影本体论和价值观既反映了黑格尔强调美是跨历史真理的艺术和直接表现,也反映了席勒认为美是道德和自由的条件。柏拉图的真、美和善的概念性和交织的三位一体是他与18世纪美学哲学结缘的基础。这种密切的关系提出了电影理论与哲学之间的关系问题,以及罗默在这场争论中的立场。他用启发他的哲学家的思想丰富了自己的思想,并用他与电影相关的结论丰富了他们的遗产。
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引用次数: 0
Michel Serres, Topology and Folded Time in Christopher Nolan's Dunkirk 克里斯托弗·诺兰的《敦刻尔克》中的拓扑和折叠时间
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0203
K. Hunt
This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that rely upon motion, which means discussing Serres's philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres's thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze's understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan's work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film, based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument.
本文以《敦刻尔克》(2017)为例,从电影研究的角度讨论了米歇尔·塞雷斯的拓扑思维及其对空间和时间的处理方法,特别是塞雷斯哲学与克里斯托弗·诺兰作品之间的联系。这篇文章选择性地概述了塞雷斯的拓扑思维,它反对对空间和时间的几何方法,并指出了塞雷斯思想与电影研究之间更广泛的联系。塞雷斯经常使用依赖于动作的视觉隐喻,这意味着讨论塞雷斯与电影有关的哲学可以有目的地理解他对空间化时间的拓扑思维。塞拉斯哲学可以为电影研究带来新的思路,而从电影研究的角度来探讨塞拉斯的思想,有助于将他的一些哲学思想形象化。这篇文章考虑了与吉勒·德勒兹对电影时间的理解的相似之处和区别,后者是以亨利·柏格森的作品为蓝本的。一个本质的区别是,Serres将拓扑时间与空间联系起来,而Deleuze只通过非空间化时间图像的虚拟质量来考虑时间的拓扑方面。这篇文章的主要目的是通过应用与《敦刻尔克》相关的塞拉西亚思想,为电影研究做出贡献,并为诺兰作品中反复出现的空间和时间主题提供一种新的方法。主要目标是将塞拉斯拓扑思维作为电影研究中空间和时间的一种替代方法,其中包括潜在地补充或增强德勒兹和柏格森发展的思想的能力。为了与塞拉西亚哲学保持一致,本文在探索新的领域和综合思想的基础上,而不是试图提出一个普遍的论点,对电影中的折叠时间进行了新的思考。
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引用次数: 0
Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive 《土拨鼠之日》中的不朽、美好生活和浪漫爱情
IF 0.2 3区 艺术学 Q2 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.3366/film.2022.0208
Rick Zinman
Groundhog Day (Harold Ramis, 1993) and Only Lovers Left Alive (Jim Jarmusch, 2013) are fantasy films that use the device of practical immortality in order to raise important philosophical questions about what constitutes a good life and to explore the nature of romantic love. Groundhog Day provides fairly conventional answers about how to live a good life by focusing on issues of spiritual redemption, selflessness, and developing one’s human potential. In contrast, Lovers provides a dark portrayal of a civilization on the brink of extinction but offers a glimmer of hope for the future. The lifestyle and values of married vampires Adam and Eve represent an alternative vision of the core values needed to sustain a better world: greater reliance on human imagination, maintaining a sense of wonder and curiosity about the world, creating and appreciating works of art and living in harmony with the natural world. Both films also offer a perspective on the importance of romantic love in living a good life. Although these perspectives often diverge from one another, they do overlap in some interesting ways. The style of film criticism used in this paper is inspired by the film philosophy of Stanley Cavell.
《土拨鼠日》(Harold Ramis,1993)和《只有活着的情人》(Jim Jarmusch,2013)是一部奇幻电影,它们使用了实用的永生手段,以提出关于什么构成美好生活的重要哲学问题,并探索浪漫爱情的本质。土拨鼠日通过关注精神救赎、无私和开发人类潜力等问题,为如何过上美好生活提供了相当传统的答案。相比之下,《情人》描绘了一个濒临灭绝的文明的黑暗写照,但也为未来带来了一线希望。已婚吸血鬼亚当和夏娃的生活方式和价值观代表了维持一个更美好世界所需的核心价值观的另一种愿景:更加依赖人类的想象力,对世界保持好奇和好奇,创作和欣赏艺术作品,与自然世界和谐相处。这两部电影也都从一个角度阐述了浪漫爱情在美好生活中的重要性。尽管这些观点经常相互偏离,但它们确实以一些有趣的方式重叠。本文采用的电影批评风格受到了斯坦利·卡维尔电影哲学的启发。
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引用次数: 0
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