奇点和开放式危机

IF 0.1 0 FILM, RADIO, TELEVISION Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-07-01 DOI:10.2478/ausfm-2022-0007
Norbert Gyuris
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引用次数: 0

摘要

本研究旨在探讨危机现象在模拟、奇点和时间性三个领域的交集。这一论点发展了一种关于单一危机的理论,美国惊悚片《避难》(2011年,杰夫·尼科尔斯)证明了这种危机的实例。危机的应用概念是基于这样的论点,即任何关键时期都是由早期危机衍生的模型来处理的。危机的模拟运行机制的理论背景是鲍德里亚和德勒兹对模拟和拟像的挪用。如果模拟的问题解决模式在关键时期失败,则可以观察到危机的单一特征。基于电影中的例子,文章认为,对任何给定危机的反应本质上都是由模拟控制的超真实模式和模拟无法解释的单一元素建立起来的。对危机的时间性质的描述在很大程度上依赖于解释,因此它们的时间跨度是从其单一特征的有利位置观察到的。该研究认为,危机通常是开放式的,但它们的终点主要是在事后指定的,目的是为了便于管理,将危机视为一个结束的时间段。
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Singularity and the Open-Ended Crisis
Abstract The study aims at investigating the phenomenon of crisis in the intersection of three areas: simulation, singularity and temporality. The argument develops a theory of the singular crisis whose instances are demonstrated and proved by the American thriller, Take Shelter (2011, Jeff Nichols). The applied concept of crisis is based on the argument that any critical period is treated by models derived from earlier crises. The theoretical background to the simulated operating mechanisms of the crisis is Jean Baudrillard’s and Gilles Deleuze’s appropriations of simulation and simulacra. In case the simulated problem-solving patterns fail in a critical period, the singular characteristics of the crisis can be observed. Based on examples taken from the film, the article argues that reaction to any given crisis is essentially built up by both hyperreal patterns governed by simulation and singular elements that simulation cannot account for. The description of the temporal nature of crises is heavily dependent on interpretation, thus their temporal span is observed from the vantage point of their singular characteristics. The study argues that crises are characteristically open-ended but their endpoint is predominantly designated in hindsight to render the crisis as a finished time period for the sake of manageability.
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0.00%
发文量
8
审稿时长
10 weeks
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