Narrative Exploration in Expanded Cinema

在扩展电影中，传统电影语言的概念（包括戏剧或叙事）扩展到单个屏幕的边界之外，并且经常将交互性，表演和技术实验合并为电影体验的一部分。当前数字扩展电影的实践源于一个广泛的历史轨迹，包括60年代和70年代的扩展电影；70、80年代闭路多通道参与式视频；未来主义者的表演和联觉的景象；包豪斯;艺术中的激流与技术实验。虽然在前卫艺术的批判历史中，关于叙事的定义存在不确定性，但叙事的实验渗透到扩展的电影和录像实践中。最近，数字和基于计算机的系统以及界面的发展扩大了观众参与图像的感官和触觉可能性，并使艺术家能够重新概念化叙事因果、戏剧结构和电影代码。例如，在20世纪60年代，将艺术作品扩展到单屏幕的边界之外，扩展电影经常探索叙事同时性和多层图像，扩大了观众参与的感官和触觉可能性。20世纪70年代，触发器控制的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，通过他们的动态介入，中断了线性叙事，玩弄叙事性、因果性和戏剧概念。除了先锋派的理论（Brakhage, Deren, Gidal, Le Grice， Sitney等），媒体和电影理论领域的话语也为叙事的评估和实验性扩展电影的工作理论定义的制定提供了一个动态的背景(例如：凯瑟琳·罗素的《实验民族志》（1999），劳拉·穆尔维的《视觉愉悦与叙事电影》（1975），康斯坦斯·彭利的《先锋派及其想象》（1977），彼得·伍伦的《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，格莱斯、哈特菲尔德、杰弗里·肖、彼得·维贝尔、丹尼斯·德尔·法维罗、尼尔·布朗、格雷厄姆·温布伦、列夫·马诺维奇和肖恩·库比特在该领域的批评写作延续了实验先锋派的批评传统，并认识到叙事和戏剧是实践历史的决定因素。然而，鉴于艺术家对参与式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、有效的叙事理论定义，因为它涉及到实验性的扩展电影，并仔细考虑从更广泛的媒体和电影理论领域衍生出来的叙事的历史理论化。本研究将从实践的分析出发，建立一套行之有效的叙事理论；口头证词;在媒体和电影理论以及先锋派批判史领域的叙事研究中进行的相关理论研究。它将探索叙事、戏剧和再现之间的领域，并根据过去和现在的扩展电影所开辟的互动性和观众范式来澄清叙事问题。本研究将建立一个适用于当前互动电影的理论框架，并将考虑是否有可能通过先锋派的批判历史和理论来重新定义叙事、非叙事和戏剧的概念。

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.