{"title":"论Véréna Paravel和Lucien Castaing Taylor的《作为经验的赞扬》和《作为故事的卡尼巴》中的经验和观赏性的特殊性","authors":"M. Holly","doi":"10.1080/17503280.2022.2102187","DOIUrl":null,"url":null,"abstract":"ABSTRACT This article examines the potential of the art-installation as a space for experiential and sensory mediation of non-fiction film. Using the installation Commensal (2017) by Véréna Paravel and Lucien Castaing-Taylor as a case study, I discuss the contribution of contemporary art to discourses on spectatorship and audience experience in non-fiction film. Taking Commensal as a starting point, I will examine how the experience of the visitor to the art installation might differ from that of the audience member at a cinema. How does the space, institutional context and institutional mediation of a non-fiction film installation contribute to the contamination of boundaries between fictional storytelling and objective truth? By comparing Commensal and Caniba (2017), the feature-length theatrical version of the same subject by the same filmmakers, I will propose that presentation and screening in the context of the installation space offers new forms of mediation for some non-fiction film works that are experiential as opposed to spectatorial.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"133 - 150"},"PeriodicalIF":0.5000,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"On the particularities of experience and spectatorship in Véréna Paravel and Lucien Castaing-Taylor’s Commensal as experience and Caniba as story\",\"authors\":\"M. Holly\",\"doi\":\"10.1080/17503280.2022.2102187\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT This article examines the potential of the art-installation as a space for experiential and sensory mediation of non-fiction film. Using the installation Commensal (2017) by Véréna Paravel and Lucien Castaing-Taylor as a case study, I discuss the contribution of contemporary art to discourses on spectatorship and audience experience in non-fiction film. Taking Commensal as a starting point, I will examine how the experience of the visitor to the art installation might differ from that of the audience member at a cinema. How does the space, institutional context and institutional mediation of a non-fiction film installation contribute to the contamination of boundaries between fictional storytelling and objective truth? By comparing Commensal and Caniba (2017), the feature-length theatrical version of the same subject by the same filmmakers, I will propose that presentation and screening in the context of the installation space offers new forms of mediation for some non-fiction film works that are experiential as opposed to spectatorial.\",\"PeriodicalId\":43545,\"journal\":{\"name\":\"Studies in Documentary Film\",\"volume\":\"17 1\",\"pages\":\"133 - 150\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2022-07-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Documentary Film\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17503280.2022.2102187\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Documentary Film","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17503280.2022.2102187","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
On the particularities of experience and spectatorship in Véréna Paravel and Lucien Castaing-Taylor’s Commensal as experience and Caniba as story
ABSTRACT This article examines the potential of the art-installation as a space for experiential and sensory mediation of non-fiction film. Using the installation Commensal (2017) by Véréna Paravel and Lucien Castaing-Taylor as a case study, I discuss the contribution of contemporary art to discourses on spectatorship and audience experience in non-fiction film. Taking Commensal as a starting point, I will examine how the experience of the visitor to the art installation might differ from that of the audience member at a cinema. How does the space, institutional context and institutional mediation of a non-fiction film installation contribute to the contamination of boundaries between fictional storytelling and objective truth? By comparing Commensal and Caniba (2017), the feature-length theatrical version of the same subject by the same filmmakers, I will propose that presentation and screening in the context of the installation space offers new forms of mediation for some non-fiction film works that are experiential as opposed to spectatorial.
期刊介绍：
Studies in Documentary Film is the first refereed scholarly journal devoted to the history, theory, criticism and practice of documentary film. In recent years we have witnessed an increased visibility for documentary film through conferences, the success of general theatrical releases and the re-emergence of scholarship in documentary film studies. Studies in Documentary Film is a peer-reviewed journal.
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