Digitally Expanded Cinema Through A Computational Vision

本论文在先锋/实验性电影制作的历史背景下，对扩大的电影进行还原。与以往关于扩大电影院的描述不同的是，扩大电影院大多位于60年代扩大的艺术环境中，强调移动图像从电影院转移到画廊和媒体融合，而忽视了电影的艺术自主性，这项研究为扩大电影的概念提供了一种以电影为中心的理论。本文认为，电影的扩张不仅面向外部的电影的位移和运动图像与其他艺术形式之间的交叉滋养，而且内在面对计算技术(深度学习、摄影测量学、空间计算是本文强调的三项技术)渗透到电影肌理中。因此，本研究试图不仅为电影研究(电影史学、前卫理论)做出贡献，而且也为当代数字文化和数字美学问题提供批判性的反思。

This thesis restores expanded cinema in the historical context of avant-garde/experimentalfilmmaking. Unlike previous accounts of expanded cinema, which mostly situated expanded cinemain '60s expanded arts milieu, stressing moving images' relocation from cinemas to galleries andmedia convergence while ignoring cinema's artistic autonomy, this research provides a cine-centricre-theorisation of the notion of expanded cinema. The cinematic expansion, this thesis argues, notonly faces outwardly in cinema's displacement and the cross-fertilisation between moving imagesand other art forms, but also faces inwardly with computational technologies (deep learning, photogrammetry, spatial computing are the three technologies emphasised in this thesis) permeatingthe filmic texture. Therefore, this research attempts to not only contribute to film studies (filmhistoriography, avant-garde theory) but also provide a critical reflection on contemporary digitalculture and questions concerning digital aesthetics.