Narrative Exploration in Expanded Cinema

扩展电影中的叙事探索

• 批准号: AH/E509207/1
• 负责人: Stephen Partridge
• 金额: $ 24.54万
• 依托单位: University of Dundee
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE509207%2F1
• 关键词: Narrative; Exploration; Expanded; Cinema

In expanded cinema the notions of conventional filmic language (including dramaturgy or narrative) are extended outside the boundaries of the single screen, and often amalgamate interactivity, performance and technological experiment as part of the cinematic experience. Current practices of digital expanded cinema emanate from a broad historical trajectory that includes expanded film of the 60s and 70s; closed circuit multi channel participatory video of the 70s and 80s; the performative and synaesthetic spectacles of the Futurists; Bauhaus; Fluxus and technological experiment in art. Whilst there are uncertainties around definitions of narrative in the critical histories of the avant-garde, experiment with narrative permeates expanded film and video practice. More recently digital and computer based systems and interface evolution have widened the sensory and tactile possibilities for audience participation with the image and enabled artists to re-conceptualise narrative cause and effect, dramaturgical structuring and cinematic codes. For example, in the 1960s, extending the artwork beyond the boundaries of the single screen, expanded film often explored narrative simultaneity, and multiple layers of images, widening the sensory and tactile possibilities for spectator participation. In the 1970s, trigger controlled cctv installation further extended the possibilities for audience participation, the subject as active becoming was accomplice in the composition of images, and by their dynamic intervention they discontinued linear narration, playing with narrativity, cause and effect, and notions of dramaturgy. As well as the theories of the avant-garde (Brakhage, Deren, Gidal, Le Grice, Sitney etc), there are discourses in the fields of media and film theory that provide a dynamic context for the assessment of narrative and the formulation of a working theoretical definition specific to experimental expanded cinema (for example: Catherine Russell Experimental Ethnography (1999), Laura Mulvey 'Visual Pleasure and Narrative Cinema' (1975), Constance Penley 'The Avant-Garde and Its Imaginary' (1977), Peter Wollen 'The Two Avant-Gardes'; 'Ontology and Materialism in Film' (1^), Peter Gidal 'The Anti-Narrative' (1978); Christian Metz, Stephen Heath, Colin McCabe, etc). The current critical writing in the field by Le Grice, Hatfield, Jeffrey Shaw, Peter Weibel, Dennis Del Favero, Neil Brown, Grahame Weinbren, Lev Manovich and Sean Cubitt, continues the critical tradition of the experimental avant-garde and recognises that narrativity and dramaturgy are determinants within the practical histories. However, in light of the non-linear cinematic languages emerging through artists' exploration of participatory technologies, more research is needed to establish a clear working theoretical definition of narrative as it relates to experimental expanded cinema, with careful consideration of the historical theorisation of narrative derived from the wider area of media and film theory. The research will establish a working theorisation of narrative from analysis of the practice; oral testimony; the relative theoretical research undertaken in the study of narrative in the fields of media and film theory and the critical histories of the avant-garde. It will explore the territory between, narrative, dramaturgy, and the representational and clarify Issues of narrative in light of interactivity and paradigms of spectatorship opened up by expanded cinema past and present. The research will establish a theoretical framework to apply to current interactive cinema, and will consider whether it is possible to re-conceptualise notions of narrative, non-narrative and dramaturgy as understood through the critical histories and theories of the avant-garde.

在扩展电影中，传统电影语言（包括戏剧或叙事）的概念被扩展到单一屏幕的边界之外，并且通常将互动，表演和技术实验作为电影体验的一部分。数字扩展电影的当前实践源自广泛的历史轨迹，包括60年代和70年代的扩展电影; 70年代和80年代的闭路多通道参与式视频;未来主义者的表演和通感眼镜;包豪斯;艺术中的激浪和技术实验。虽然在先锋派的批评史中，叙事的定义存在不确定性，叙事实验渗透到扩大的电影和录像实践中。最近，数字和计算机为基础的系统和界面的演变扩大了感官和触觉的可能性，观众参与的图像，使艺术家重新概念化叙事的原因和效果，戏剧结构和电影代码。例如，在20世纪60年代，扩展电影将艺术作品扩展到单一屏幕的边界之外，经常探索叙事的连续性和多层图像，扩大观众参与的感官和触觉可能性。在1970年代，触发控制的cctv装置进一步扩展了观众参与的可能性，主体作为主动成为图像构成的帮凶，通过他们的动态干预，他们中断了线性叙事，玩弄叙事性，因果关系和戏剧概念。以及先锋派的理论（布拉哈格，德伦，吉达尔，勒格莱斯，西特尼等），在媒体和电影理论领域的话语，提供了一个动态的背景下，评估叙事和制定工作的理论定义，具体到实验扩大电影（例如：凯瑟琳·罗素实验民族志（1999），劳拉·马尔维《视觉愉悦与叙事电影》（1975），康斯坦斯·彭利《先锋派及其想象》（1977），彼得·沃伦《两个先锋派》;《电影中的本体论和唯物主义》（1^）;彼得·吉达尔《反叙事》（1978）;克里斯蒂安·梅斯、斯蒂芬·希思、科林·麦凯布等）。目前，由勒·格莱斯、哈特菲尔德、杰弗里·肖、彼得·韦贝尔、丹尼斯·德尔·法韦罗、尼尔·布朗、格雷厄姆·温布伦、列夫·马诺维奇和肖恩·库埃尼等在该领域的批评性写作延续了实验先锋派的批评传统，并认识到叙事性和戏剧性是实践历史中的决定因素。然而，鉴于艺术家对参与性技术的探索所产生的非线性电影语言，需要更多的研究来建立一个清晰的叙事工作理论定义，因为它与实验性的扩展电影有关，并仔细考虑来自更广泛的媒体和电影理论领域的叙事历史理论。该研究将通过对实践的分析建立叙事的工作理论化;口头证词;在媒体和电影理论领域的叙事研究中进行的相关理论研究以及先锋派的批判历史。它将探索叙事，戏剧和代表性之间的领土，并根据过去和现在扩大的电影开辟的互动和观看范式来澄清叙事问题。该研究将建立一个理论框架，适用于当前的互动电影，并将考虑是否有可能重新概念化的叙事，非叙事和戏剧的概念，通过前卫的批判历史和理论的理解。