{"title":"Inside cars: changing automobilities and backseat passengering in experimental film and 360 video","authors":"Kornelia Boczkowska","doi":"10.1080/17450101.2022.2090021","DOIUrl":null,"url":null,"abstract":"<div><p>Despite the recent upsurge of interest in passengering, there are no accounts on how backseat passengering links to experimental film and 360 video or how it responds to the broader relationship between automobilities, the organization of car travel and on-screen storytelling. To fill this gap, I follow up on the profiling of the passenger as a distinctive subject and object of infrastructures of mobility to discuss the backseat passenger’s experience, seen as both a socially engaged and embodied practice, in four stylistically distinct works, Larry Gottheim’s <em>Harmonica</em>, Lluis Escartín’s <em>Mohave Cruising</em>, Ken Jacobs’ <em>Berkeley to San Francisco</em>, and <em>ASMR Driving at night: Back seat view</em>. While <em>Harmonica</em>, <em>Mohave Cruising</em> and <em>Berkeley to San Francisco</em> are selective, self-aware experiments, which play out in various forms, <em>ASMR</em> is an authorless 360 drive video that lacks much aesthetic value and continues the long-established culture of scenic road and auto-tourism, turning on-site visitors into virtual tourists. Although each work approaches passengering visualities differently through exhibiting forward, side, parallax and 3 D views, they all articulate a multi-sensorial experience of driving and offer a relatively novel take on the practices of automobility through shifting the perspective of the driver and frontseat passenger to the backseat view.</p></div>","PeriodicalId":51457,"journal":{"name":"Mobilities","volume":null,"pages":null},"PeriodicalIF":2.9000,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Mobilities","FirstCategoryId":"90","ListUrlMain":"https://www.sciencedirect.com/org/science/article/pii/S1745010122004763","RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"GEOGRAPHY","Score":null,"Total":0}
引用次数: 0
Abstract
Despite the recent upsurge of interest in passengering, there are no accounts on how backseat passengering links to experimental film and 360 video or how it responds to the broader relationship between automobilities, the organization of car travel and on-screen storytelling. To fill this gap, I follow up on the profiling of the passenger as a distinctive subject and object of infrastructures of mobility to discuss the backseat passenger’s experience, seen as both a socially engaged and embodied practice, in four stylistically distinct works, Larry Gottheim’s Harmonica, Lluis Escartín’s Mohave Cruising, Ken Jacobs’ Berkeley to San Francisco, and ASMR Driving at night: Back seat view. While Harmonica, Mohave Cruising and Berkeley to San Francisco are selective, self-aware experiments, which play out in various forms, ASMR is an authorless 360 drive video that lacks much aesthetic value and continues the long-established culture of scenic road and auto-tourism, turning on-site visitors into virtual tourists. Although each work approaches passengering visualities differently through exhibiting forward, side, parallax and 3 D views, they all articulate a multi-sensorial experience of driving and offer a relatively novel take on the practices of automobility through shifting the perspective of the driver and frontseat passenger to the backseat view.
尽管最近人们对乘坐的兴趣高涨,但没有关于后座乘客与实验电影和360视频之间的联系,也没有关于它如何回应汽车、汽车旅行组织和屏幕故事之间更广泛的关系。为了填补这一空白,我将乘客作为一个独特的主体和移动基础设施的对象进行了进一步的分析,以讨论后座乘客的体验,将其视为一种社会参与和具体化的实践,在四部风格迥异的作品中,拉里·戈特海姆的《Harmonica》,路易斯Escartín的《Mohave Cruising》,肯·雅各布斯的《Berkeley To San Francisco》和ASMR夜间驾驶:后座视图。《口琴》、《莫哈维巡航》和《伯克利到旧金山》是选择性的、自我意识的实验,以各种形式进行,而ASMR是一个没有作者的360度驾驶视频,缺乏太多的审美价值,延续了风景公路和汽车旅游的悠久文化,把现场游客变成了虚拟游客。虽然每件作品都通过展示前方、侧面、视差和3d视角来不同地处理乘客的视觉,但它们都表达了一种驾驶的多感官体验,并通过将驾驶员和前座乘客的视角转移到后座的视角,提供了一种相对新颖的汽车实践。
期刊介绍:
Mobilities examines both the large-scale movements of people, objects, capital, and information across the world, as well as more local processes of daily transportation, movement through public and private spaces, and the travel of material things in everyday life. Recent developments in transportation and communications infrastructures, along with new social and cultural practices of mobility, present new challenges for the coordination and governance of mobilities and for the protection of mobility rights and access. This has elicited many new research methods and theories relevant for understanding the connections between diverse mobilities and immobilities.