Flipped Hierarchies: Exploring Narrative Metalepsis As A Radical Critical Tool Through Artists' Moving Image Practice

我以实践为基础的研究旨在批判性地审视幻觉的概念和过程，这是一种由移动图像观众通过与神秘的特殊相遇而经历的状态。当故事的叙述者闯入叙事宇宙或相反的情况时，就会出现叙事幻觉。作者-叙述者-角色-读者这一等级结构的故意越界，在叙事小说、诗歌、戏剧以及视觉艺术中都有出现。幻觉是一个新兴研究领域的中心主题，被称为“边界语言”（Kunze, 1998-present），这是一项通过拓扑、建筑和精神分析的跨学科研究促进批判理论实验的视觉研究。我自己的研究试图将这种方法作为一种手段来测试从根本上改变运动图像观众主观性的方法。我认为，幻觉对观众的影响是，他们意识到曾经被认为是可知的东西被怀疑了，一种颠倒的主体性从根本上破坏了以前的确定性，以前对自我的认同被扔到了未知的地方。认识到自我可以占据一个另类的位置，成为深刻地重新概念化差异体验的一种手段。我的研究将探索这种不稳定对运动图像实践的影响，并暗示更广泛的文化衔接领域。为了测试通过幻像越界的特殊条件，我将设置一系列从根本上翻转观众主体性的实验性运动图像作品。这些作品将测试观众如何从根本上定位于与屏幕，作者和观众的关系，以面对自己作为他者。我将把这项工作与现代和当代的电影制作人联系起来，他们使用幻觉来批判性地参与主体性，包括让·鲁什、约书亚·奥本海默的民族志电影和欧文·兰德的未被探索的实验电影。

My practice-based research aims to critically examine the concept and processes of metalepsis, a condition experienced by moving-image audiences through a particular encounter with the uncanny.Narrative metalepsis occurs when a story's narrator intrudes into the narrative universe, or the inverse. The deliberate transgression of the hierarchic structure of author-narrator-character-reader occurs in narrative fiction, poetry, drama, as well as in visual art. Metalepsis is the central theme of an emerging field of research termed 'Boundary Language' (Kunze, 1998-present) a visual study promoting experiment in critical theory, through interdisciplinary study of topology, architecture and psychoanalysis. My own research seeks to employ this methodology as a means to test ways that radically shift the subjectivity of a spectator of moving image.The effect of metalepsis on the audience, I will argue, is the realisation that what was once considered knowable has been thrown into doubt, an inverted subjectivity has radically disrupted the previous certainty, the previous identification of self is thrown into the place of the unknown. The realisation that the self can occupy a position of alterity becomes a means to profoundly reconceptualise the experience of difference. My research will explore the ramifications of such destabilisation for moving image practice and by implication, for wider fields of cultural articulation.To test the particular conditions for transgressions through metalepsis, I shall set up a series of experimental moving image works that radically flip the subjectivity of the audience. The works will test how a spectator may be radically positioned in relation to the screen, author and auditorium, to confront oneself as Other.I will contextualise this work in relation to modern and contemporary moving image makers who use metalepsis to critically engage with subjectivity, including the ethnographic films of Jean Rouch, Joshua Oppenheimer and the under-explored experimental cinema of Owen Land.