Seeing Film between the Lines: Remediation and Aesthetics of the Film Periodical

从字里行间看电影：电影期刊的修复与美学

• 批准号: 428444484
• 负责人: Dr. Vincent Fröhlich
• 金额: --
• 依托单位: Institut für Medienwissenschaft
• 依托单位国家: 德国
• 项目类别: Research Units
• 财政年份: 2019
• 资助国家: 德国
• 起止时间: 2018-12-31 至 2023-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/428444484?language=en
• 关键词: Seeing; Film; between; Lines; Remediation

In the first funding phase, the project "Constellations of Fragments" highlighted the complexity of the text-image relationships and forms of remediation (i.e. the depiction of one medium in another) that can be found in illustrated periodicals. In the second phase, project 8 will expand its research into these two areas and consider them in relation to the emergence of new technological media. The project analyses German and American illustrated film periodicals from the early days of the cinema to the 1970s. These periodicals constitute special-interest publications in which the remediation of film is inscribed. This study object allows us observe how one medium (the periodical) represents another (film) within a media constellation, and how photography (or the halftone reproduction technique) may serve as a hinge between the two media. It is through photographs that refer to films that the film periodical acquires its own, albeit continually changing identity, and it is the contours of this changing visual identity that the project aims to trace. Emphasis is placed on the fact that film and the periodical are not fixed quantities but are reciprocally produced on an ongoing basis via the likewise evolving identity of photography, and via analysis itself. The central questions to be pursued are: what do we understand as a photograph and a film when these media are approached from the perspective of the periodical? What does this ultimately say about the remediation process and the selfconception of film periodicals? And how are special-interest periodicals and their content visually produced through their competition with, distance from, and accompaniment of other (print) media?Film periodicals also constitute sites at which various types of media logics intersect. While the film is characterised by its unfolding in the present, its transient reception, and its status as a completed work, the photo is understood as a reference to what is past, as an enduring medium, and as a fragment. Photographs of films, however, refer forward as well as backward, and are embedded in a textual, pictorial, and structural context: they refer to the film that the reader is still to see or will only see via these photographs and/or they refer back to a film experience that has already taken place. Furthermore, photographs are not presented in isolation in film periodicals; they appear alongside other elements on the page. The project pursues this distinctive integration of photographs that both refer to films and form part of the periodical as a visible surface.

在第一个供资阶段，“碎片星座”项目突出了图文并茂的文字-图像关系和补救形式(即用一种媒介描绘另一种媒介)的复杂性，可在图文并茂的期刊中找到。在第二阶段，项目8将把研究扩展到这两个领域，并考虑它们与新技术媒体的出现有关的问题。该项目分析了德国和美国的插图电影期刊，从电影院的早期到20世纪70年代。这些期刊构成了专门的出版物，其中记载了电影的补救。这一研究对象允许我们观察一种媒体(期刊)如何代表媒体星座中的另一种(胶片)，以及摄影(或半色调再现技术)如何充当这两种媒体之间的枢纽。电影期刊正是通过引用电影的照片来获得自己的身份，尽管不断变化，而这个项目旨在追踪这种不断变化的视觉身份的轮廓。强调胶片和期刊不是固定的数量，而是通过同样不断演变的摄影身份和分析本身，在持续不断的基础上相互产生的。要探讨的核心问题是：当从期刊的角度来对待照片和电影时，我们对这些媒体的理解是什么？这最终说明了电影期刊的补救过程和自我概念是什么？特色期刊及其内容是如何通过与其他(平面)媒体的竞争、距离和伴奏而产生视觉效果的？电影期刊也构成了各种媒体逻辑的交汇点。虽然这部电影的特点是它在现在展开，它的短暂接受，以及它作为完成作品的状态，但这张照片被理解为对过去的引用，作为一种经久不衰的媒介，作为一个片段。然而，电影的照片既指向前也指向后，并且嵌入在文本、图画和结构上下文中：它们指的是读者仍将通过这些照片看到或将看到的电影，和/或它们指的是已经发生的电影体验。此外，照片并不是单独出现在电影期刊上的；它们与页面上的其他元素一起出现。该项目追求照片的独特整合，这些照片既涉及胶片，又构成期刊的一部分，作为可见表面。