Seeing Film between the Lines: Remediation and Aesthetics of the Film Periodical

在第一个资助阶段，“碎片星座”项目强调了文本-图像关系和补救形式的复杂性（即一种媒介在另一种媒介中的描述），这些可以在插图期刊中找到。在第二阶段，项目8将扩大其对这两个领域的研究，并考虑它们与新技术媒体的出现有关。该项目分析了德国和美国从电影早期到20世纪70年代的插图电影期刊。这些期刊构成了专门研究电影补救的出版物。这个研究对象让我们观察到一种媒介（期刊）如何在一个媒介星座中代表另一种媒介（电影），以及摄影（或半色调复制技术）如何成为两种媒介之间的枢纽。通过参考电影的照片，电影期刊获得了自己的身份，尽管不断变化，而这个项目旨在追踪这种不断变化的视觉身份的轮廓。强调的事实是，电影和期刊不是固定的数量，而是通过摄影的同样演变的身份，并通过分析本身，在持续的基础上相互生产。要追求的核心问题是：当我们从期刊的角度看待照片和电影时，我们如何理解这些媒体？这最终说明了电影期刊的补救过程和自我概念是什么？通过与其他（印刷）媒体的竞争、距离和陪伴，特殊兴趣期刊及其内容是如何在视觉上产生的？电影期刊也构成了各种媒介逻辑交汇的场所。虽然电影的特点是它在当下展开，它的短暂接受，以及它作为一个完成作品的状态，但照片被理解为对过去的参考，作为一种持久的媒介，作为一个片段。然而，电影的照片既指向前方，也指向后方，并嵌入在文本的、图像的和结构的语境中：它们指向读者仍在观看或仅将通过这些照片观看的电影，或者它们指向已经发生的电影体验。此外，在电影期刊中，照片不是孤立地呈现的；它们与页面上的其他元素一起出现。该项目追求这种独特的照片整合，既参考了电影，又形成了期刊的一部分，作为可见的表面。

In the first funding phase, the project "Constellations of Fragments" highlighted the complexity of the text-image relationships and forms of remediation (i.e. the depiction of one medium in another) that can be found in illustrated periodicals. In the second phase, project 8 will expand its research into these two areas and consider them in relation to the emergence of new technological media. The project analyses German and American illustrated film periodicals from the early days of the cinema to the 1970s. These periodicals constitute special-interest publications in which the remediation of film is inscribed. This study object allows us observe how one medium (the periodical) represents another (film) within a media constellation, and how photography (or the halftone reproduction technique) may serve as a hinge between the two media. It is through photographs that refer to films that the film periodical acquires its own, albeit continually changing identity, and it is the contours of this changing visual identity that the project aims to trace. Emphasis is placed on the fact that film and the periodical are not fixed quantities but are reciprocally produced on an ongoing basis via the likewise evolving identity of photography, and via analysis itself. The central questions to be pursued are: what do we understand as a photograph and a film when these media are approached from the perspective of the periodical? What does this ultimately say about the remediation process and the selfconception of film periodicals? And how are special-interest periodicals and their content visually produced through their competition with, distance from, and accompaniment of other (print) media?Film periodicals also constitute sites at which various types of media logics intersect. While the film is characterised by its unfolding in the present, its transient reception, and its status as a completed work, the photo is understood as a reference to what is past, as an enduring medium, and as a fragment. Photographs of films, however, refer forward as well as backward, and are embedded in a textual, pictorial, and structural context: they refer to the film that the reader is still to see or will only see via these photographs and/or they refer back to a film experience that has already taken place. Furthermore, photographs are not presented in isolation in film periodicals; they appear alongside other elements on the page. The project pursues this distinctive integration of photographs that both refer to films and form part of the periodical as a visible surface.