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A Cinematic Musée Imaginaire of Spatial Cultural Differences [CineMuseSpace]

空间文化差异的电影博物馆想象 [CineMuseSpace]

基本信息

批准号：
AH/N009487/1
负责人：
Francois Penz
金额：
$ 57.2万
依托单位：
University of Cambridge
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2017
资助国家：
英国
起止时间：
2017 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN009487%2F1
关键词：
Cinematic Mus Imaginaire Spatial Cultural

项目摘要

Now that cinematic representations of every part of the globe are available to us, the Cinematic Musée Imaginaire of Spatial Cultural Differences [CineMuseSpace] proposes to enlarge Malraux' idea of the Musée Imaginaire [Museum without Walls] to display, compare, contrast and communicate spatial constructs across cultures in order to generate a novel understanding of spatial cultural differences, arguing that Cinematic Archive and Musée Imaginaire in turn will expand the physical museum experience of today. The CineMuseSpace will deliver the first cross-cultural interdisciplinary study of space by unlocking architectural records previously embedded in cinematic media. By releasing this knowledge, CineMuseSpace will make it accessible to scholars but also architects, planners and policy-makers, as well as the general public, drawing great societal benefit from the new critical resources that are proposed.Our first hypothesis is that the study of space has become increasingly prominent, making it a good interpreter of societies and cultures; space is an expression of our culture and history materialised in stone, concrete and glass in which our everyday lives unfold. Ultimately understanding spatial constructs from other societies may give us a unique insight into other cultures. The second hypothesis is that of all cultural forms, cinema operates and is best understood in terms of the organization of space. The filmic image shows the visible side of a society and an epoch that image makers try to grasp in order to transmit it. Films record and communicate with unique immediacy how people in different cultures and cities live their lives in domestic buildings and communal spaces. The third hypothesis is that Malraux's Musée Imaginaire provides us with a novel and appropriate paradigm. Malraux assembled photographs of world sculptures according to Eisenstein's montage principles, comparing and contrasting them across the pages. Our proposal is to start from Malraux's concept but use films instead of photographs and complement it with Descola's anthropological approach to images from other cultures (La Fabrique des Images 2010) in order to gather a deeper understanding across cultures.Informed by Malraux's concept and Descola's ontologies, the research will work towards the creation of a Cinematic Musée Imaginaire of Spatial Cultural Differences where moving images will be the integrating medium for communicating the key points of the project. Central to the research is the construction of a cinematic ontology of spatial cultural differences that will more specifically focus on films representative from both the Western 'naturalism' tradition [Europe/USA] and from the Eastern 'analogism' tradition [China/Japan], after Descola's ontologies. Following from that, our cross-cultural cinematic ontologies will be screened inside innovative installations at our partner museum sites: The Centre for Chinese Contemporary Art, Manchester, National Museums Liverpool and The Art Museum of Nanjing University of the Arts, China. Through a novel exhibition development process which utilises leading-edge approaches in museum studies and draws academics and curators together in a research-led design process, CineMuseSpace will also make a significant contribution to on-going developments in the cultural sector which seek to transform the physical museum experience.Finally, catalyzing a conceptual paradigm-shift in the understanding of other cultures commensurate with the latest advances in digital technologies, we will implement an innovative online virtual version of CineMuseSpace, leaving a sustainable methodology and framework capable of replication across other cultures, a lasting resource that can be expanded over time.

现在，我们可以通过电影再现地球的每个部分，空间文化差异电影想象博物馆（CineMuseSpace）建议扩大马尔罗的想象博物馆（无墙博物馆）理念，以展示、比较、对比和交流跨文化的空间结构，以产生对空间文化差异的新颖理解。想象博物馆反过来将扩展当今的实体博物馆体验。 CineMuseSpace 将通过解锁先前嵌入电影媒体的建筑记录来提供首次跨文化跨学科的空间研究。通过发布这些知识，CineMuseSpace 将使学者、建筑师、规划师、政策制定者以及普通公众都能接触到这些知识，从所提出的新的关键资源中获得巨大的社会利益。我们的第一个假设是，对空间的研究已经变得越来越重要，使其成为社会和文化的良好解释者；空间是我们文化和历史的表达，以石头、混凝土和玻璃的形式体现，我们的日常生活在其中展开。最终了解其他社会的空间结构可能会让我们对其他文化有独特的见解。第二个假设是，在所有文化形式中，电影的运作方式和最好的理解方式是空间的组织。电影图像展示了一个社会和一个时代的可见一面，图像制作者试图抓住这一面来传播它。电影以独特的即时方式记录和交流不同文化和城市的人们如何在住宅建筑和公共空间中生活。第三个假设是，马尔罗的想象博物馆为我们提供了一个新颖而恰当的范式。马尔罗根据爱森斯坦的蒙太奇原则收集了世界雕塑的照片，并在页面上进行比较和对比。我们的建议是从马尔罗的概念开始，但使用电影而不是照片，并与德斯科拉对来自其他文化的图像的人类学方法（La Fabrique des Images 2010）进行补充，以收集跨文化的更深入的理解。以马尔罗的概念和德斯科拉的本体论为基础，该研究将致力于创建一个空间文化差异的电影想象博物馆，其中移动图像将成为整合沟通项目要点的媒介。研究的核心是构建空间文化差异的电影本体论，在德斯科拉的本体论之后，该本体论将更具体地关注代表西方“自然主义”传统[欧洲/美国]和东方“类比主义”传统[中国/日本]的电影。此后，我们的跨文化电影本体将在我们合作博物馆的创新装置中放映：曼彻斯特中国当代艺术中心、利物浦国家博物馆和中国南京艺术学院美术馆。通过新颖的展览开发流程，利用博物馆研究的前沿方法，将学者和策展人聚集在一起进行研究主导的设计流程，CineMuseSpace 还将为文化领域的持续发展做出重大贡献，从而改变实体博物馆的体验。最后，与数字技术的最新进展相称，促进对其他文化的理解的概念范式转变，我们将实施创新的 CineMuseSpace 的在线虚拟版本，留下了能够跨其他文化复制的可持续方法和框架，这是可以随着时间的推移而扩展的持久资源。