The magic lantern: open medium
The magic lantern: open medium
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神灯：开放媒介
DOI：
10.1080/17460654.2019.1640605
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发表时间：
2019
影响因子：
0.2
通讯作者：
Kember J
中科院分区：
文献类型：
--
作者：
Kember J
试图归因于媒介特异性，总是一个意识形态负载和criticalallyfraud任务，因此显得特别还原与这项技术。例如，在世纪之交，当英国灯笼行业试图通过诸如行业杂志《光学魔术灯笼杂志》（Optical Magic Lantern Journal）等工具将灯笼主要定义为一种令人振奋的、教育性或指导性话语的工具时，这只是通过过于容易地将其他操作模式视为幼稚、业余或天真而实现的（Kontakt 2009，60-68）。关于媒介特异性的现代理论不得不提出类似的论点，声称每一种媒介都拥有类似于一种特性的东西，一种对它来说自然的操作模式，是它的组成的有机部分，好像所有其他潜在的用途在某种程度上都是不正确或无效的。例如，对于安德烈·高德罗和菲利普·马里恩来说，“一种媒介并没有真正把自己作为一种自治的媒介，一种名副其实的媒介，直到它把自己的不透明性变得有形可见;换句话说，直到它定义了自己重新呈现、表达和交流世界的方式。撇开更广泛的本体论辩论，以及媒介可以说拥有自己的内部能量的程度，甚至是自己的意向性，灯笼的数百年历史，以及它持续的“失败”，以定义一个单一的操作模式或“将自己强加为一个自治媒介”，为我们提供了一个更不连贯，更令人兴奋的研究领域，一个必然对实践的偶然性开放的领域，不仅是作为媒介“个性”的前兆或干扰，而且是作为其长期存在的构成要素。因为，如果灯笼的研究在原则上对魔术灯笼使用的内在差异保持开放，而不寻求优先考虑任何一种操作模式，也不将异质性本身作为指导原则，那么他们应该如何在这个庞大而多样的文化领域中运作？这个问题在任何媒介上都可以同样恰当地提出来，但是，就目前仍处于萌芽阶段的关于神灯的学术研究而言，面对这个令人困惑的经验领域，更简单的问题是：我们应该从哪里开始呢？当然，这个问题的第一个答案是，事实上，我们不是刚刚开始。可以肯定的是，与电影等媒体相比，关于灯笼的出版物一直很薄，电影吸引了学术界数十年的密集学术关注（特别是关于艺术或娱乐电影的形式，而不是业余，地方，工业或教育制作）。但在过去的25年里，关于灯笼的研究一直在稳步发展，特别是来自英国魔术灯笼协会（MLS）的研究，该协会与世界各地的兄弟组织一起，在这一主题领域体现了大量的知识和热情。此外，灯笼研究者表达的兴趣非常广泛，涉及娱乐、教育和社会宣传的各个方面，这种开放式的研究形式可能会为其他媒体的学科化工作提供重要的推动力。在这种程度上，MLS出版物，包括他们自己的期刊，新魔术灯笼杂志（1978-2014）和魔术灯笼（2014年至今），以及具有里程碑意义的论文集，光的境界：
Attempts to attribute medium-specificity, always an ideologically-loaded and criticallyfraught task, therefore appear especially reductive in relation to this technology. For example, at the turn of the nineteenth century, when the British lantern industry sought, via vehicles such as the trade journal the Optical Magic Lantern Journal, to define the lantern primarily as a vehicle for uplifting, educational or instructive discourse, this was only accomplished by the too-easy dismissal of other modes of operation as childish, amateurish, or naïve (Kember 2009, 60–68). Modern theorisations of medium-specificity have been obliged to advance similar arguments, asserting that each medium possesses something akin to a character, a mode of operation natural to it, organically part of its make-up, as if all of the other potential uses were in some way incorrect or invalid. For André Gaudreault and Phillipe Marion, for example,‘a medium does not really impose itself as an autonomous medium, one worthy of the name, until it has rendered its own opacity tangible and visible; in other words until it has defined its own way of re-presenting, expressing and communicating the world’(2005, 3). Leaving aside the broader ontological debates this raises, and also the extent to which a medium may be said to possess its own internal energetics, or even its own intentionality, the centuries-long history of the lantern, and its persistent ‘failure’to define a single mode of operation or to ‘impose itself as an autonomous medium’, presents us with a far less coherent–and more exciting–field of research, one that is necessarily open to the contingencies of practice not merely as precursors to or distractions from a medium’s ‘personality’, but as constitutive elements of its long-term existence.All of which poses a different kind of problem. For, if studies of the lantern are to remain open, in principle, to the intrinsic variance of magic lantern use without seeking to prioritise any one mode of operation, and without taking heterogeneity itself as the guiding principle, how should they operate within this massive and diverse cultural field? This question might be asked with equal felicity of any medium, but in relation to scholarship concerning the magic lantern specifically, which is still in its infancy, the simpler question in the face of this bewildering empirical field is: where should we begin? Of course, the first answer to this question is that we are not, in fact, just beginning. For sure, publications concerning the lantern have been thin compared to media such as film, which has attracted decades of dense scholarly attention from within academia (especially in relation to forms of art or entertainment film, as opposed to amateur, local, industrial or educational productions). But across the past 25 years, there has been a steady flow of research concerning the lantern, especially from the Magic Lantern Society of the UK (MLS), which, alongside sibling organisations across the world, has embodied the bulk of knowledge and enthusiasm within this subject area. Moreover, the interests expressed by lantern researchers have been extraordinarily wide, with all aspects of entertainment, education, and social propaganda represented, a form of open-ended study which might provide an important impetus for disciplinarily entrenched work in other media. To this extent, MLS publications, including their own journals, The New Magic Lantern Journal (1978–2014) and The Magic Lantern (2014-present), and also the landmark volume of essays, Realms of Light:
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DOI：
--
发表时间：
2005
期刊：
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DOI：
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发表时间：
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