Narrative Exploration in Expanded Cinema

在扩大的电影院中，传统电影语言(包括戏剧或叙事)的概念延伸到单一屏幕的边界之外，通常将互动性、表演和技术实验融合在一起，作为电影体验的一部分。目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奇观；包豪斯；流派和艺术中的技术实验。虽然在先锋派的批判性历史中，叙事的定义存在不确定性，但叙事的实验渗透到了扩展的电影和视频实践中。最近，基于数字和计算机的系统和界面的发展拓宽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，将艺术作品延伸到单一屏幕的边界之外，扩展电影经常探索叙事的同时性和多层图像，拓宽了观众参与的感官和触觉可能性。20世纪70年代，触发控制的CCTV装置进一步扩大了观众参与的可能性，作为主动成为的主体是图像构成中的帮凶，通过他们的动态干预，他们停止了线性叙事，玩弄叙事性、因果和戏剧性的观念。除了先锋派的理论(布拉赫、德伦、吉达尔、勒·格赖斯、西特尼等)，媒体和电影理论领域的一些论述也为叙事的评估和专门针对实验性扩展电影的实用理论定义的制定提供了动态的语境(例如：凯瑟琳·罗素实验民族志(1999)，劳拉·马尔维(Laura Mulvey)《视觉愉悦与叙事电影》(1975)，康斯坦斯·彭利(Constance Penley)《前卫及其想象》(1977)，彼得·沃伦(Peter Wollen)《两个前卫》；《电影中的本体论和唯物主义》(1^)，彼得·盖达尔《反叙事》(1978)；克里斯蒂安·梅兹、斯蒂芬·希思、科林·麦凯布等)。目前该领域的批评性写作由勒·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·丘比特撰写，延续了实验先锋的批评传统，并认识到叙事性和戏剧性是实践史中的决定性因素。然而，鉴于通过艺术家对参与式技术的探索而出现的非线性电影语言，需要更多的研究来建立一个明确的叙事工作理论定义，因为它与实验性的扩大电影有关，并仔细考虑源自更广泛的媒体和电影理论领域的叙事的历史理论化。这项研究将从实践分析、口头证词、媒介和电影理论领域的叙事学研究以及先锋派的批评史等方面建立起一种有效的叙事理论化。它将探索叙事、戏剧学和代表性之间的领域，并根据互动性和扩大电影过去和现在开辟的观影范式来澄清叙事问题。这项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前卫的批评历史和理论来重新概念化叙事、非叙事和戏剧性的概念。

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.