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Framework-The Journal of Cinema and Media最新文献

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Paradoxes and Parapraxes: On (the Limits of) Cinematic Representation in Post-Conflict Situations 悖论与佯谬:论冲突后情境下电影表现的局限性
IF 0.2 Pub Date : 2019-05-22 DOI: 10.1057/978-1-137-43955-0_2
T. Elsaesser
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引用次数: 0
Sigmar Polke: Films 西格玛·波尔克:电影
IF 0.2 Pub Date : 2019-05-22 DOI: 10.13110/FRAMEWORK.60.1.0053
T. Elsaesser
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引用次数: 0
Is a Factory a Museum? 工厂是博物馆吗?
IF 0.2 Pub Date : 2019-05-22 DOI: 10.13110/FRAMEWORK.60.1.0042
T. Elsaesser
I read Hito Steyerl’s essay “Is a Museum a Factory?” with great interest. Not only because she quotes me and announces in the most aff able—if nonetheless unmistakable—way her doubts about my remarks, but because she touches on subjects I have been thinking about for some time and that are relevant for a broader audience. Th e basic argument of “Is a Museum a Factory?” could be summed up as follows: Now, because more and more factories are being converted into museums, it is about time to ask what these two seemingly diametrically opposed institutions have in common that makes it so easy to transition from one to the other. And if that is the case, what consequences does this transition have for (a) the concept of production in art and society, (b) the experience of space and time, (c) the relationship of the masses and the individual, and, fi nally—here I add my own point—(d) the formatting or programming of the human senses and body? All of this is focused on the question of the fate of the socially committed fi lm and political cinema that once was shown in factories as well and now leads a hybrid and confl icted existence as installation art in museums, exhibitions, and galleries. Th e areas of tension cannot be discussed in detail here, so let me just try and extend Hito Steyerl’s essay to include a further thesis: At one time people did
我读了Hito Steyerl的文章《博物馆是工厂吗?》饶有兴趣地问。这不仅是因为她引用了我的话,并以一种最得体的方式(尽管如此,她还是没有弄错)表达了她对我言论的怀疑,还因为她触及了我思考了一段时间的话题,这些话题与更广泛的受众相关。“博物馆是工厂吗?”,可以总结如下:现在,因为越来越多的工厂正在被改造成博物馆,是时候问一下这两个看似截然相反的机构有什么共同之处,使得它们如此容易地从一个过渡到另一个。如果是这样的话,这种转变对(a)艺术和社会中的生产概念,(b)空间和时间的经验,(c)大众和个人的关系,以及(d)人类感官和身体的格式或编程有什么影响?所有这些都集中在社会承诺电影和政治电影的命运问题上,这些电影曾经也在工厂放映,现在作为博物馆、展览和画廊的装置艺术,引领着一种混合和冲突的存在。这里不能详细讨论紧张的领域,所以让我试着扩展Hito Steyerl的文章,包括一个更深入的论点:曾经人们是这样做的
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引用次数: 1
Fashion and Fearlessness in the Wharton Studio's Silent Film Serials, 1914–1918 华顿工作室无声电影系列中的时尚与无畏,1914-1918
IF 0.2 Pub Date : 2019-05-22 DOI: 10.13110/FRAMEWORK.60.1.0083
D. Green
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引用次数: 0
Touch and Gesture: On the Borders of Intimacy 触摸和手势:在亲密的边界
IF 0.2 Pub Date : 2019-04-01 DOI: 10.13110/FRAMEWORK.60.1.0009
T. Elsaesser
If the Internet might well claim to be the medium of public intimacy par excellence, with humans exposing their most intimate moments to legions of strangers and oft en receiving such warm and welcoming response that it feels like one really could be close to half of the world, then my own interest in the subject of intimacy is less “intimate.” Partly symptomatic and partly generic, it situates itself more on the meta-level of the discipline of fi lm studies and does not attempt to explore intimacy in the context of family, domestic space, and the inner life. Instead, I want to probe the intricate relationship between the cinema of intimacy and the intimacy of cinema.
如果说互联网可以称得上是公共亲密行为的卓越媒介,人们可以将自己最亲密的时刻暴露给大批陌生人,并经常得到如此热情和欢迎的回应,以至于感觉一个人真的可以接近半个世界,那么我自己对亲密行为的兴趣就不那么“亲密”了。部分是症状性的,部分是一般性的,它更多地将自己定位在电影研究学科的元层面上,而不是试图在家庭、家庭空间和内心生活的背景下探索亲密关系。相反,我想探究亲密的电影和电影的亲密之间错综复杂的关系。
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引用次数: 2
Turning Away from the Fire: A New Look at Films of Kore-eda Hirokazu 远离火焰:是枝裕和电影的新视角
IF 0.2 Pub Date : 2019-04-01 DOI: 10.13110/FRAMEWORK.60.1.0116
Linda C. Ehrlich
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引用次数: 1
Ousmane Sembene's Moolaadé: People's Rights vs. Human Rights Ousmane Sembene的moolaad<s:1>:人民权利vs.人权
IF 0.2 Pub Date : 2019-03-01 DOI: 10.2307/j.ctv9hvrjz.12
S. Gadjigo
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引用次数: 0
Hustlers & Empires 《骗子与帝国
IF 0.2 Pub Date : 2019-01-05 DOI: 10.13110/framework.59.2.0159
Michelle Handelman
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引用次数: 0
The Grandmaster: Socio-Political Plurality in Contemporary Hong Kong 一代宗师:当代香港的社会政治多元性
IF 0.2 Pub Date : 2019-01-05 DOI: 10.13110/FRAMEWORK.59.2.0101
T. Cunliffe
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引用次数: 1
Back Matter 回到问题
IF 0.2 Pub Date : 2019-01-01 DOI: 10.13110/framework.60.1.bm
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引用次数: 0
期刊
Framework-The Journal of Cinema and Media
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