The concept of 'medium' in the films of Margaret Tait, c.1960-1980

玛格丽特·泰特电影中的“媒介”概念，c.1960-1980

• 批准号: 2274218
• 金额: --
• 依托单位: University of Cambridge
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2274218
• 关键词: concept; medium; films; Margaret; Tait

The significance of the work of Margaret Tait has been chronically neglected by scholars. This thesis will aim to reinstateTait within the history of British avant-garde film by taking seriously her engagement with the filmic medium. Throughclose attention to the visual and auditory texture of Tait's work, this thesis will explore her films through the perspective oftechnology and the senses. Tait wrote of her relationship to technology in embodied terms, speaking of her technique as'breathing' with the camera. The majority of her films featured poetic narration, echoing the narration of the earlier Britishdocumentary tradition encapsulated in The Night Mail (1936). Using the work of David Toop this research project willexamine the spectral resonances of Tait's audioscape in comparison to Tina Keane's Shadow of A Journey (1980). Ideasof media and spiritualism will also be explored with parallels sketched between Tait's interest in light waves, andVictorian spirit photography in which women were figured as mediums for channelling souls. Tait's sensitivity to themateriality of the film strip supports this reading, as it intersects with theories of contact in relation to the transfer of spiritsonto the photographic surface. This overlaps with the contemporary feminist concern to give voice to the ghosts of pastgenerations, present in the work of historian Carolyn Steedman and in the films of Tina Keane, which provide a widercontext to this 'spectropoetic' reading.

玛格丽特·泰特工作的重要性长期被学者们忽视。本文旨在通过认真对待泰特与电影媒介的接触，将她重新纳入英国先锋电影的历史。本文将从技术和感官的角度来探讨泰特电影作品的视觉和听觉肌理。泰特用具体的术语描述了她与技术的关系，将她的技术称为用相机“呼吸”。她的大部分电影都以诗意的叙事为特色，呼应了早期英国纪录片传统的叙事，这些传统被封装在《夜邮报》（1936年）中。利用大卫图普的工作，这个研究项目将把泰特的听力片的光谱共振与蒂娜·基恩的《旅程的阴影》（1980）进行比较。媒体和唯心主义的想法也将探讨与泰特的光波的兴趣之间的相似之处勾勒，维多利亚时代的精神摄影，其中妇女被描绘为媒介，引导灵魂。泰特对胶片材料的敏感性支持了这种阅读，因为它与有关精神转移到摄影表面的接触理论交叉。这与当代女权主义者关注为过去几代人的鬼魂发声重叠，存在于历史学家Carolyn Steedman的作品和Tina Keane的电影中，为这种“光谱学”阅读提供了更广泛的背景。