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引用次数: 1
摘要
摘要:本文反驳了Babette Mangolte和D. N. Rodowick关于在数字电影中难以表达持续时间的主张,认为通过数字技术对基于镜头的图像进行一系列微观层面的处理——色彩校正、数字溶解和极端慢动作,我称之为“数字微处理”——能够深化对电影持续时间和时间性的呈现和探索。借鉴詹姆斯·本宁、莎伦·洛克哈特和汤姆·安德森最近的数字电影,我证明了导演对数字微操作的不同使用应该被视为扩展了他们在胶片电影中记录时间和美学的实验方法。
Expressing Duration with Digital Micromanipulations: Digital Experimental Documentaries of James Benning, Sharon Lockhart, and Thom Andersen
Abstract:Countering Babette Mangolte’s and D. N. Rodowick’s assertion that it is difficult to express duration in digital cinema, this article argues that an array of micro-level manipulations of the lens-based image with digital technology—color correction, digital dissolve, and extreme slow motion, all of which I call “digital micromanipulations”—are capable of deepening the presentation and exploration of cinematic duration and temporality. Drawing on the recent digital films of James Benning, Sharon Lockhart, and Thom Andersen, I demonstrate that the directors’ different uses of digital micromanipulations should be viewed as extending their experimental approaches to documentary time and aesthetics in the celluloid-based cinema.