Six-second cinema: Tracing film language in post-cinema social media

该项目对社交媒体与电影的关系进行了原创性的研究。它将通过实践引导的文本分析来批判性地审问在线视频风格，并探索其在后电影视觉文化中的主导地位。最近的后电影辩论图表显示了数字文化如何使电影作为主导机构和一套实践的地位复杂化(查托和莫雷2020)。在这种背景下，社交媒体平台承载着一种日益无处不在的视觉文化，并继承了电影的一些意识形态和讲故事功能(Elsaesser 2016)。这个项目将探索社交媒体作为业余电影制作的网络，使用视频实践来检验其与早期和连续性电影的文本联系。后电影学者探索了数字媒体如何回忆早期或边缘的电影传统(Manovich 2016；Ross 2020)，以及在前数字技术的负担方面(Humphrey&Hjorth 2020)的先行者(Humphrey&Hjorth 2020)，并重建了一家拥有景观优先于叙事的“景点电影院”(Gurevitch 2010；Grusin 2016；Ross 2020)。然而，这些工作的大部分都集中在专业制作的电影媒体上。另一方面，在线视频是从业余实践发展而来的，尽管它继续模糊这些类别(Cunningham&Craig 2021)。我建议通过写作和电影制作来分析社交媒体内容与影院后辩论的关系，以及它的视觉语言如何挑战“专业”实践的叙述。问题如何将社交媒体视频内容的视觉语言与电影实践和围绕后影院的辩论相联系？在线视频在多大程度上回忆起“吸引人的电影院”，这对互联网作为电影媒体的功能有什么启示？对在线网络的实践引导的电影分析可以揭示它们作为主导视觉媒体的地位吗？方法本项目将使用文本分析来追踪电影的视觉语言和在线视频之间的关系。除了一篇书面论文，我还将制作五篇视频短文：每一篇都将追溯一个主要的视觉主题，如POV和幻觉。这些视频将使用一种创造性的媒体考古方法，将档案电影片段与原始和在线视频相结合，对美学进行非线性和中间分析(Huhtamo和Galili 2020)。通过这种反身性的、以实践为导向的方法，过去的电影提供了一个棱镜来建立对当代媒体的新理解(范德海登和科尔科夫斯基2023)。该项目将在一个主流的、高度互文性的DIY图像网络中重新设置背景并评估基本的电影美学关注的意义。影响社交媒体的美学特征-无处不在、模仿和传播-日益形成媒体参与的主导逻辑(Miltner 2018)，甚至渗透到日常文化叙事(Dourish 2020)。我将通过从技术的线性历史叙事中提取社交媒体，而不是分析其与电影的关系来解读这些趋势。该项目旨在促进学术界以外的理解，因此将包括电影节和在线网络的发行战略。这将在创新的、高度当代的媒体辩论的基础上，培养学术界和产业界之间的联系。创造性的传播将为未来学术界、媒体制作和艺术实践的工作提供更广泛的基础。

ContextThis project offers an original study of social media's relationship with cinema. It will critically interrogate online video style through practice-led textual analysis and explore its dominance of post-cinema visual culture.Recent post-cinema debates chart how digital culture complicates cinema's status as a dominant institution and set of practices (Chateau and Moure 2020). In this context, social media platforms host an increasingly ubiquitous visual culture and inherit some of cinema's ideological and storytelling functions (Elsaesser 2016). This project will explore social media as a network of amateur film production, using video practice to examine its textual links to early and continuity cinema.Post-cinema scholars have explored how digital media recalls early or marginal film conventions (Manovich 2016; Ross 2020), has antecedents in affordances of pre-digital technology (Humphrey & Hjorth 2020), and reconstructs a "cinema of attractions" that privileges spectacle over narrative (Gurevitch 2010; Grusin 2016; Ross 2020). However, much of this work has focused on professionally produced film media. Online video, on the other hand, has developed from amateur practices even as it continues to blur such categories (Cunningham & Craig 2021). I propose to analyse, through writing and filmmaking, the relationship of social media content to post-cinema debates, and how its visual language challenges narratives of "professional" practice.QuestionsHow can the visual language of social media video content be characterised in relation to cinematic practices and debates around post-cinema?To what extent does online video recall a "cinema of attractions", and what does this suggest for the function of the Internet as a cinematic medium?What can a practice-led film analysis of online networks reveal of their status as dominant visual media?MethodThis project will use textual analysis to trace the relationship between the visual languages of cinema and online video. Alongside a written thesis I will produce five video essays: each will trace a major visual theme, such as POV and illusionism. The videos will use a creative media-archaeological approach, combining archival film footage with original and online video for a non-linear and intermedial analysis of aesthetics (Huhtamo and Galili 2020). With this reflexive, practice-led method, cinema of the past provides a prism to build new understandings of contemporary media (van der Heijden and Kolkowski 2023). The project will recontextualise and evaluate the meaning of fundamental film-aesthetic concerns in a mainstream, highly intertextual DIY image network.ImpactThe aesthetic characteristics of social media - ubiquity, imitation, and circulation - increasingly form the governing logic of media engagement at large (Miltner 2018), and even pervade everyday cultural narratives (Dourish 2020). I will unpack these trends by extracting social media from a linear historical narrative of technology, instead analysing its relationship with cinema. This project aims to promote understanding beyond academia, and so will include a distribution strategy for film festivals and online networks. This will cultivate links between academia and industry based on innovative, highly contemporary media debates. A creative dissemination will provide a broader foundation for future work across academia, media production, and artistic practice.