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

翻转的层次结构：通过艺术家的移动图像实践探索叙事元相作为一种激进的批判工具

• 批准号: 2345328
• 金额: --
• 依托单位: Kingston University
• 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: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2345328
• 关键词: Flipped; Hierarchies; Exploring; Narrative; Metalepsis

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.

我的研究以实践为基础，旨在批判性地审视元移情的概念和过程，元移情是电影观众通过与神秘事物的特定遭遇所经历的一种状况。叙事元移情发生在故事的叙述者闯入叙事宇宙时，或者相反。作者-叙述者-人物-读者的等级结构的故意逾越发生在叙事小说、诗歌、戏剧以及视觉艺术中。元变是一个新兴的研究领域的中心主题，称为“边界语言”（Kunze，1998年至今），通过拓扑学、建筑学和精神分析的跨学科研究，促进批判理论的视觉研究实验。我自己的研究试图利用这种方法来测试从根本上改变运动图像观众的主观性的方法。我认为，元移情对观众的影响是，曾经被认为是可知的东西被怀疑，一个颠倒的主观性从根本上破坏了以前的确定性，以前对自我的认同被抛到未知的地方。认识到自我可以占据他性的位置，成为深刻地重新概念化差异体验的一种手段。我的研究将探索这种不稳定性对运动图像实践的影响，并暗示着对更广泛的文化表达领域的影响。为了测试通过元移植的违规行为的特定条件，我将建立一系列实验性的运动图像作品，这些作品从根本上翻转了观众的主体性。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，以面对自己作为他者。我将把这部作品与现代和当代的移动图像制作者联系起来，这些制作者使用元移植来批判性地参与主观性，包括让·鲁什、约书亚·奥本海默的民族志电影和欧文·兰德的未被探索的实验电影。