Cinepoetics - Center for Advanced Film Studies

电影诗学 - 高级电影研究中心

• 批准号: 271627691
• 负责人: Professor Dr. Hermann Kappelhoff
• 金额: --
• 依托单位: Professur für Mediengeschichte im digitalen Zeitalter
• 依托单位国家: 德国
• 项目类别: Advanced Studies Centres in SSH
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/271627691?language=en
• 关键词: Cinepoetics; Center; Advanced; Film; Studies

Cinematic images shape the spatio-temporal parameters and schemata of perception, thus creating new framings of cognitive and semiotic processes. This thesis is central to the KFG´s theoretical work. It aims at a theoretical topos that has accompanied cinema from the early stages of film theory to contemporary philosophical debates regarding film: that cinematic images display new forms of thinking, a 'thinking of images'. This implies a conception that concerns the central paradigm of modern media theory: the thesis of the medium itself being the message. According to this thesis, media are not considered mere means of communicating given facts and issues. Instead they have to be thought of as technical extensions of human perception, altering the a priori conditions of comprehension, judgement and imagination. This thesis is hardly contested. Within cultural studies - and increasingly within the social sciences as well - referring to mediality is considered obligatory. Hence, the KFG rather asks how this thesis can be implemented in the concrete analysis of cinematic images and the discourses they form. Regarding such analyses, the media theoretical topos stated above remains in contrast to the larger part of analytical research on film. Whenever films are being analyzed as media of historical, cultural or political discourses, usually the mere representation of facts and issues is taken into consideration. But what are the theoretical and methodological bases of analyzing cinematic images, if they are not considered representations, if they are conceived of as technical modulations of basic forms of perception instead? What then is the discourse these images generate? From our point of view, these questions cannot be answered by primarily looking at the process of film production, but rather by an understanding of the process of film-viewing as a production of its own, a genuine act of generation. The KFG aims at a.) elaborating the topos of ¿thinking films¿ as a theory of the poiesis of film-viewing and b.) developing a corresponding methodology of analyzing cinematic discourses, that enables us to c.) reconstruct the history of the moving image as a history of the generation of varying logics of thinking in variable spatio-temporal schemata, i.e.: a poetology of thinking in cinematic images.

电影图像塑造了感知的时空参数和图式，从而创造了认知和符号学过程的新框架。本论文是 KFG 理论工作的核心。它瞄准了从电影理论的早期阶段到当代有关电影的哲学辩论中伴随着电影的一个理论主题：电影图像展示了新的思维形式，即“图像思维”。这意味着一个涉及现代媒介理论中心范式的概念：媒介本身就是信息。根据本论文，媒体不仅仅被视为传达事实和问题的手段。相反，它们必须被视为人类感知的技术延伸，改变理解、判断和想象力的先验条件。这篇论文几乎没有争议。在文化研究中——并且越来越多地在社会科学中——提及媒体性被认为是必须的。因此，KFG 更关心的是如何在对电影图像及其形成的话语的具体分析中实施本论文。关于此类分析，上述媒体理论主题仍然与电影分析研究的大部分形成鲜明对比。每当将电影作为历史、文化或政治话语的媒介进行分析时，通常只考虑事实和问题的表现。但是，如果电影图像不被视为表征，如果它们被视为基本感知形式的技术调制，那么分析电影图像的理论和方法论基础是什么？那么这些图像产生的话语是什么呢？从我们的角度来看，这些问题不能通过主要考察电影制作的过程来回答，而是通过将电影观看的过程理解为自身的生产、真正的一代行为。 KFG 的目标是 a.) 将“思考电影”的主题阐述为电影观看的创作理论，b.) 开发分析电影话语的相应方法，使我们能够 c.) 将运动图像的历史重构为可变时空图式中不同思维逻辑的生成历史，即：一种思考的诗学 电影图像。