The Corporeal Image-猫眼课题宝

物质形象

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2007

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F. Hughes‐Freeland

大卫·麦克杜格尔（David MacDougall）的一本新书总是引人注目，因为他是为数不多的实践民族志电影制作人之一，他以一种持续的方式写了他的电影作品和视觉人类学之间相互影响的关系。就像他之前由吕西安·泰勒（Lucien Taylor）[1998]编辑的非常有效的文集《跨文化电影》（Transcultural Cinema）一样，这本文集也包括了他以前发表过的作品，但除了三篇论文外，其他都是第一次在这里发表。麦克杜格尔比以往任何时候都要挑战下一代，让他们接受他自20世纪60年代以来一直追求的电影原则，并认识到早期从业者仍然可以提供的东西。尽管人们普遍抱怨视觉的首要地位及其对我们未来语言能力的威胁，但本书的议程是在一个由标志主导的世界里为视觉而战。他宣称，视觉人类学的新原则“必须建立在探索社会生活维度的策略上，这些维度不同于那些已经用语言和数量术语定义的维度”[269]。这些文章分为四个部分，由一个简短的格言章节介绍。在这里，我们遇到了以抵抗翻译和总结为特征的图像[2]，以及作为三种观看模式的框架行为-“响应”，“互动”和“建设性”“各种相机”-在任何一部电影中都可以找到[4]。写作看似简单，让人想起麦克杜格尔的“无特权的摄影风格”[1998年泰勒出版的第9章]，并为随后的文章奠定了基调。“物质与影像”是对电影中身体、声音与视觉关系的一般性理论探索。一个简短的章节探讨了身体作为“电影”、“观众”和“电影人”的存在。这一章既是挑衅，也是全面的讨论。关于身体的写作从来都不是直截了当或稳定的，在这里，“身体”有时带有“欲望”的感觉，这将把这个项目带入一个完全不同的方向。下一章对口头和文学传统中与感知有关的形象的生命进行了更广泛的分析，并在视觉和口头之间建立了对比，这支撑了本书的其余部分。在这里，“image”有时会变成“shot”[38-39]，这是实践者的观点与视觉人类学之间更普遍的滑动的一个例子，20:245-250,2007版权# Taylor & Francis Group， LLC ISSN: 0894-9468 print=1545-5920 online DOI: 10.1080/08949460601061917

A new book by David MacDougall is always as event, as he is one of the few practicing ethnographic filmmakers who has written in a sustained way about the mutually informing relationship between his film work and visual anthropology. Like his very effective previous collection of essays edited by Lucien Taylor [1998] as Transcultural Cinema, this collection includes previously published work, but all except three essays are published here for the first time. More than ever, MacDougall challenges the next generation to take up the cinematic principles he has pursued since the 1960s, and to recognize what earlier practitioners can still offer. Despite general mutterings about the primacy of the visual and its threats to the future of our verbal capabilities, the agenda in this book is to campaign for the visual in a world dominated by logos. New principles of visual anthropology, he declares, ‘‘must be built around strategies for exploring dimensions of social life different from those already defined in verbal and quantitative terms’’ [269]. The essays are organized in four sections, introduced by a short aphoristic chapter. Here we meet images characterized as resistant to translation and summation [2], and the act of framing as three modes of looking—‘‘responsive,’’ ‘‘interactive,’’ and ‘‘constructive’’ ‘‘kinds of camera’’—which are found in any one film [4]. The writing is deceptively simple, reminiscent of MacDougall’s ‘‘unprivileged camera style’’ [Chap. 9 in Taylor 1998], and sets the tone for the essays that follow. ‘‘Matter and Image’’ is a general theoretical exploration of the physical body in cinema, and of the relationship between voice and vision. A short chapter explores the body as being of ‘‘the film,’’ ‘‘the spectator,’’ and ‘‘the filmmaker.’’ This chapter is as much provocation as full-fledged discussion. Writing about the body is never straightforward or stable, and here ‘‘the body’’ sometimes has the sense of ‘‘desire,’’ which would take the project into quite a different direction. The next chapter is a more extended analytical account of the life of the image in oral and literary traditions in relation to perception, and establishes a contrast between the visual and the verbal, which sustains the rest of the book. Here ‘‘image’’ sometimes morphs into ‘‘shot’’ [38–39], an instance of a more general slippage between the situated point of view of the practitioner and the more Visual Anthropology, 20: 245–250, 2007 Copyright # Taylor & Francis Group, LLC ISSN: 0894-9468 print=1545-5920 online DOI: 10.1080/08949460601061917

The Corporeal Image

物质形象

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