光影之间:前卫电影运动中的投射实验/践  

Between Light and Shadow:ThePractices and Experiments of Projection inAvant-GardeFilm Movements

作　　者：黄天乐[1] 王涵宇 Huang Tianle;Wang Hanyu

机构地区：[1]中国传媒大学戏剧影视学院

出　　处：《电影艺术》2024年第6期40-48,共9页Film Art

基　　金：教育部人文社会科学研究一般项目“再媒介化语境下电影形态变迁研究”(批准号:22YJC760028);教育部产学合作协同育人项目“媒介融合视域下电影类课程教学改革创新研究”(批准号:221000862113194)阶段性成果。

摘　　要：前卫电影运动将投射作为新兴媒介与美学语言,期望以去物质化形态抵抗商品化话语的侵蚀。此语境下,莫霍利-纳吉与布拉哈格等人以光为取迳,想象电影的乌托邦未来;在反叙事、反幻象的渴望中,库贝尔卡、沃霍尔藉由对时延的自反,批判古典电影意图再现的连续性时间框架;勒格赖斯与白南准则选择将投射事件化,凸显其现场性,试图从资本主义文化逻辑中逃逸。此等实验/践行为赋予观者作为主体的在场经验,却也不可避免地成为资本主义工业社会的代偿。The avant-garde regarded projection as an emerging medium and aesthetic language independent from the lluminated object,expecting to resist the commodified discourse in a dematerialised form and condition.In this context,Laszlo Moholy-Nagy and Stan Brakhage,among others,imagined a utopian future for cinema via light experiments;in the radical desire for anti-narrative and anti-illusionism,Peter Kubeka and Andy Warhol presented their critique on the dominant cinematic time frame by the self-reflexive perception of duration;and artists like Malcolm Le Grice and Nam June Paik highlighted the materiality and immateriality of the image in projection to reflect on the aesthetics of capitalist rationality.These practices and experiments successfully shaped the spectators'experience of"presence",but inevitably became a substitute for the consumer society.

关 键 词：前卫电影 投射 光 物质性 非物质性 

分 类 号：J905[艺术—电影电视艺术]