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电影的例子来研究情感化的美学策略，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修辞的相互关系。核心问题是：类型电影的导演策略和表现的审美模式对信息媒体起到了怎样的作用，或者在视听媒体中，战争电影与战争报道的相互关系被赋予了怎样的功能？我们从假设战争片类型的美学表征策略可以在所有形式的战争视听表征中找到，旨在动员一种社区意识（罗蒂）。我们的第一个目标是为好莱坞战争电影发展一种情感诗学，这将使我们能够在其历史变化的动态中将其描述为一种类型。这是基于一种假设，即这种动态本质上是由类型和信息媒体的相互作用所标记的。我们把这种类型理解为一种尝试，将大量难以管理的战争视听图像转化为可管理的、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图像的泛媒体舞台。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起来。子项目着眼于一个特殊的历史星座，每一个都可以通过媒体技术的突破来展示：在UP 1中，它是经典类型电影，电影报告文学和第二次世界大战的新闻片，作为不同的电影格式进行考察；UP 2侧重于当时的电视新媒体对越南战争在新闻报道和后古典好莱坞战争电影中的表现的影响；UP 3探讨了互联网的视频图像如何改变了2003年伊拉克战争在电视和类型电影中的表现。

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.