Flipped Hierarchies: Exploring Narrative Metalepsis As A Radical Critical Tool Through Artists' Moving Image Practice

我以实践为基础的研究旨在批判性地审视元感觉的概念和过程，这是一种由运动图像观众通过与诡异的特定遭遇而经历的状况。当故事的叙述者闯入叙事宇宙时，叙述性元感觉就会发生，或者相反。作者-叙述者-人物-读者的层级结构的故意越轨出现在叙事性小说、诗歌、戏剧以及视觉艺术中。元感觉是一个新兴的研究领域的中心主题，该领域被称为“边界语言”(昆泽，1998-现在)，这是一项视觉研究，通过对拓扑学、建筑学和精神分析的跨学科研究，促进了批判理论的实验。我自己的研究试图用这种方法作为一种手段，来测试从根本上改变运动图像的观众主体性的方法。我会争辩说，超感对观众的影响是，意识到曾经被认为是可知的东西已经被质疑，倒置的主观性从根本上扰乱了之前的确定性，以前的自我认同被扔进了未知的地方。意识到自我可以占据另一种位置，这成为一种深刻地重新定义差异体验的手段。我的研究将探索这种不稳定对运动图像实践的影响，也就是对更广泛的文化表达领域的影响。为了测试通过元感觉越界的特殊条件，我将建立一系列实验性的运动图像作品，从根本上颠覆观众的主观性。这些作品将测试观众如何从根本上定位于屏幕、作者和观众席，作为他者面对自己。我将把这部作品与现代和当代运动图像制作者联系起来，他们使用元感觉来批判性地参与主观性，包括让·鲁奇、约书亚·奥本海默的民族志电影，以及欧文·兰德未被探索的实验电影。

My practice-based research aims to critically examine the concept and processes of metalepsis, a condition experienced by moving-image audiences through a particular encounter with the uncanny.Narrative metalepsis occurs when a story's narrator intrudes into the narrative universe, or the inverse. The deliberate transgression of the hierarchic structure of author-narrator-character-reader occurs in narrative fiction, poetry, drama, as well as in visual art. Metalepsis is the central theme of an emerging field of research termed 'Boundary Language' (Kunze, 1998-present) a visual study promoting experiment in critical theory, through interdisciplinary study of topology, architecture and psychoanalysis. My own research seeks to employ this methodology as a means to test ways that radically shift the subjectivity of a spectator of moving image.The effect of metalepsis on the audience, I will argue, is the realisation that what was once considered knowable has been thrown into doubt, an inverted subjectivity has radically disrupted the previous certainty, the previous identification of self is thrown into the place of the unknown. The realisation that the self can occupy a position of alterity becomes a means to profoundly reconceptualise the experience of difference. My research will explore the ramifications of such destabilisation for moving image practice and by implication, for wider fields of cultural articulation.To test the particular conditions for transgressions through metalepsis, I shall set up a series of experimental moving image works that radically flip the subjectivity of the audience. The works will test how a spectator may be radically positioned in relation to the screen, author and auditorium, to confront oneself as Other.I will contextualise this work in relation to modern and contemporary moving image makers who use metalepsis to critically engage with subjectivity, including the ethnographic films of Jean Rouch, Joshua Oppenheimer and the under-explored experimental cinema of Owen Land.