The Limits of Vococentrism: Chris Marker, Hans Richter and the Essay Film
The Limits of Vococentrism: Chris Marker, Hans Richter and the Essay Film
复制标题
声音中心主义的局限性：克里斯·马克、汉斯·里希特和散文电影
DOI：
10.1353/sub.2012.0020
复制
发表时间：
2012
期刊：
影响因子：
--
通讯作者：
D. Harvey
中科院分区：
文献类型：
--
作者：
D. Harvey
左岸电影和散文电影的遗产已经相互交织在一起。前者是战后法国的一个小规模但有影响力的电影制作运动，主要由三位朋友，艺术家和电影制片人组成：克里斯·马克，阿兰·雷奈和艾格尼丝·瓦尔达，尽管乔治·弗兰朱有时也被包括在小圈子里。[1]该团体与法国新浪潮有着显著的重叠，因为两者都有着相同的历史时刻和地理空间，以及在电影象征实践中探索个人表达的共同兴趣，并推进电影形式的美学可能性。吉内特·文森多（Ginette Vincendeau）指出，法国新浪潮成员执导的电影“对政治或社会问题缺乏兴趣，集中于巴黎中产阶级（男性）的个人焦虑（尽管另一个不太突出的电影制作人乐队被称为'左岸'组......表现出更大的政治意识）”（110）。此外，新浪潮电影制片人几乎只制作小说电影，而左岸集团也对纪录片感兴趣。政治参与，美学大胆的纪录片与强烈的个人表达的声音是如何散文电影来理论化。[2]因此，许多关于这种形式的研究都认为，《左岸》是目前公认的散文电影形式的最全面的开创。[3]亚历山大·阿斯特吕克1948年的宣言《新先锋派的诞生：摄影师风格》（The Birth of a New Avant- Garde：La Camera-Stylo）经常被引用为一篇有影响力的文章，被认为是对左岸电影和散文电影的预测和/或煽动。[4]事实上，雷奈提到他的第一部电影《为发明事业而努力》（1946）（现已失传）时说，这是“后来被称为'摄影风格'的那种东西”（引自Joram ten Brink，236）。随着他的摄影机作为笔的概念，阿斯特鲁克表达了他对电影模式的渴望，象征着思想和个人表达。与散文电影的接触利用了相机风格作为一种电影形式的隐喻，这种电影形式表达了智慧和个人观点，通常通过画外音完成。蒂莫西科里根认为，许多参与的散文电影，
The legacies of Left Bank Cinema and the essay film have become mutually intertwined. The former is a small but influential filmmaking movement in postwar France, primarily thought to consist of three friends, artists and filmmakers: Chris Marker, Alain Resnais and Agnes Varda, though Georges Franju is sometimes included in the coterie. 1 The group has significant overlap with the French New Wave in that both share the same historical moment and geographic space, as well as a common interest in exploring personal expression within cinematic signifying practices, and advancing the aesthetic possibilities of the film form. Ginette Vincendeau states that films directed by members of the French New Wave "lacked an interest in political or social issues, concentrating on personal angst among the (male) Parisian middle class (although an- other less media-prominent band of filmmakers known as the 'Left Bank' group…showed greater political awareness)" (110). Moreover, the New Wave filmmakers made almost exclusively fiction films, while the Left Bank group was also interested in documentary. The politically engaged, aesthetically bold documentary voiced with strong personal expression is how the essay film has come to be theorized. 2 Hence, many studies of the form consider the Left Bank group as most fully inaugurating the presently recognized dimensions of the essay film form. 3 Alexandre Astruc's 1948 manifesto, "The Birth of a New Avant- Garde: La Camera-Stylo," is frequently invoked as an influential article thought to anticipate and/or incite both Left Bank Cinema and the essay film. 4 Indeed, Resnais referred to his first film, Ouvert pour cause d'inventaire (1946), now lost, as "the sort of thing (that was) later called 'camera-stylo'" (cited in Joram ten Brink, 236). With his notion of the camera as pen, As- truc expressed his desire for a cinematic mode of signifying thought and personal expression. Engagements with the essay film have utilized the camera-stylo as metaphor for a film form that articulates intelligence and an individual point of view, typically accomplished through voice-over. Timothy Corrigan argues that many engagements with the essay film