Staging images of war as a mediated experience of community. The example of the Hollywood war film and its interdependencies with other audiovisual media

在这个项目中，我们将通过好莱坞战争片的例子来考察情感化的美学策略，以及它与其他视听媒体或其他媒体形式的战争报道和宣传的修辞之间的相互关系。核心问题是：类型电影的导演策略和审美表现模式对信息媒体起到了什么作用，或者说战争电影与视听媒体中的战争报道之间的相互关系被赋予了什么功能？我们首先假设战争电影类型的审美表现策略可以在战争的所有形式的视听表现中找到，目的是动员一种共同体意识(Rorty)。我们的第一个目标是为这部好莱坞战争电影开发一种情感诗学，这将使我们能够将其描述为一种处于其历史变化动态中的类型。这是基于这样的假设，即这种动态本质上是由体裁和信息媒体的相互作用所标志的。我们将这一类型理解为试图将大量无法管理的战争视听图像转换成可实际观看的、可管理的、可观看的电影。我们的第二个目标是验证战争电影类型和视听战争报道的这种互动在多大程度上可以被视为战争形象的泛媒体舞台。该项目的第三个目标是从理论上阐明，在与战争形象相关的审美体验模式中，观众如何在他们自己的自我意识中与社区意识联系在一起。这些子项目着眼于一个特殊的历史星座，每一个星座都可以通过媒体技术的突破来展示：在UP 1中，它是古典类型电影、电影报道和第二次世界大战的新闻片，作为不同的电影格式；UP 2专注于当时的新媒体电视在新闻报道和后经典好莱坞战争电影中对越南战争上演的影响；UP 3研究互联网的视频图像如何改变电视和类型电影中2003年伊拉克战争的再现。

In the project we will examine the aesthetic strategies of emotionalizing through the example of the Hollywood war film and its mutual relationship to the rhetorics of war reporting and propaganda in other audio-visual media or other media formats. The central question is: What role do the directorial strategies and aesthetic modes of representation in genre cinema play for the information media, or what function is granted to the mutual relationship between war films and war reporting in audio-visual media? We started from the hypothesis that the aesthetic representational strategies of the war film genre can be found in all forms of the audio-visual representation of war and are aimed at mobilizing a sense of community (Rorty). Our first goal consists in developing a poetics of affect for the Hollywood war film, which will allow us to describe it as a genre within the dynamics of its historical changes. This is based on the assumption that this dynamic is essentially marked by the interaction of the genre and the information media. We understand the genre as an attempt to take the large, unmanageable amount of audio-visual images of war and transfer it into ,,manageable,, films that can actually be watched. Our second goal is to verify the degree to which this interaction of war film genre and audio-visual war reporting can be taken as a pan-medial staging of an ,,image of war,,. The third goal of the project is to clarify theoretically how, in the modes of aesthetic experience that are associated with the image of war, the spectators are related in their own sense of self to a sense of community. The sub-projects look at a special historical constellation, each of which can be demonstrated by means of a media-technological break: in UP 1 it is the classical genre film, film reportage, and the newsreels of the Second World War, examined as different cinematic formats; UP 2 focuses on the effects of the then new media of television on the staging of the Vietnam war in news coverage and in post-classical Hollywood war film; UP 3 examines how the video images of the internet altered the representations of the 2003 Iraq war in television and genre cinema.