A digital cinematic museum of the everyday
A digital cinematic museum of the everyday
复制标题
日常生活的数字电影博物馆
作者：
Schupp J
日常生活——我们的日常习惯和活动——在我们的生活中很少被仔细观察。正如吉姆·贾木许所说，“在某种程度上，最普通的事物也是最奇怪的。”这种陌生感可能是我们对自己的日常生活矛盾的不熟悉的结果，乔治·佩雷克称之为“一种失明的形式，一种麻醉的模式”，这是由于长时间的沉浸。日常生活的无所不在可能正是使它不可见的因素。例如，我们会努力回忆和分析我们今天早上吃早餐、昨天下午洗衣服或昨晚睡觉的任何细节。然而，从卢米埃尔兄弟对吃早餐或下班等平凡活动的观察来看，电影一直对这个话题着迷。用齐格弗里德·克拉考尔（Siegfried Kracauer）的话来说，“可以试探性地说，电影喜欢日常生活的形式。”通过拍摄的行为，无意识的日常经历可能会被相机的眼睛，麦克风的耳朵和剪辑的时间节奏有意识地重新发现和调查。正如沃尔特·本雅明所写的，“相机介入了它的下降和上升，它的中断和孤立，它的扩展和加速，它的扩大和缩小”，结果“把我们引入了无意识的光学，就像精神分析引入了无意识的冲动一样”。如果说虚构电影提供了一种对日常生活的深刻的电影处理，理查德·戴明也指出，“表现普通事物总是要通过表现它的过程来解释它，而解释普通事物总是要重新发现它”。5电影所产生的日常生活的电影收藏因此提供了研究笔记
The everyday–our daily habits and activities–is seldom closely observed as we go about our life. As Jim Jarmusch has noted,‘In a way the most ordinary things are the strangest of all’. 1 This strangeness is one possible result of our paradoxical unfamiliarity with our own everyday, what Georges Perec calls ‘a form of blindness, a mode of anaesthesia’, 2 due to prolonged immersion. The omnipresence of the everyday might be the very factor that renders it invisible. We would, for example, struggle to recall and analyse in any detail the way we ate breakfast this morning, did the laundry yesterday afternoon, or fell asleep last night. Cinema, however, right from the Lumiere brothers’ observations of such banal activities as having breakfast or leaving work, has always been fascinated by the topic. In the words of Siegfried Kracauer,‘It might tentatively be said that films favour life in the form of everyday life’. 3 Through the very act of filming, the unconsciously experienced everyday may be consciously rediscovered and investigated by the eye of the camera, the ears of the microphone and the temporal rhythms of the editing. As Walter Benjamin has written,‘the camera intervenes with the resources of its lowerings and liftings, its interruptions and isolations, its extensions and accelerations, its enlargements and reductions’ and as a result ‘introduces us to unconscious optics as does psychoanalysis to unconscious impulse’. 4 If fiction films offer a profound cinematic treatment of the everyday, Richard Deming notes too that ‘to represent the ordinary is always to be interpreting it through the process of representing it, and to interpret the ordinary is ever to discover it anew’. 5 The filmic collection of the everyday generated by cinema thus provides research note