Zapping Zone and Level Five. Between the visitor’s experience of the video installation and the filmmaker’s reflection of the essay film

IF 0.5 2区艺术学 0 ART

Arte Individuo y Sociedad Pub Date : 2023-09-04 DOI:10.5209/aris.87867

Lourdes Monterrubio-Ibáñez

{"title":"Zapping Zone and Level Five. Between the visitor’s experience of the video installation and the filmmaker’s reflection of the essay film","authors":"Lourdes Monterrubio-Ibáñez","doi":"10.5209/aris.87867","DOIUrl":null,"url":null,"abstract":"The displacement from the essay film to the video installation has in Chris Marker one of its first and most relevant figures. The comparative study of Zapping Zone. Proposal for an imaginary television (1990) and Level Five (1997) allows for the analysis of the construction and complexification, and the deconstruction and saturation processes that take place between the most complex expression of the Markerian essay film and its transformation into the video installation. Zapping Zone responds to the embodiment of both the magmatic stage of the postmodern audiovisual era and the starting point of the filmmaker's work (documentaries, essay films, video installations, etc.), which would be the opposite of the writer’s blank page: a saturated world of images that needs to be selected, analysed and worked on in order to build meaning. Level Five offers the filmmaker’s reflection on that same reality, applied to the Battle of Okinawa, through a complex audiovisual thinking process that hybridises different types of images—documentary and fictional; analogue and electronic—devices—epistolary video diary, video game and cyberspace—and their authorial subjectivities—Laura, Laura’s lover and Chris—in order to reflect on the relationship between these audiovisual forms and spaces and the thematic axis memory-pain-oblivion. ","PeriodicalId":44483,"journal":{"name":"Arte Individuo y Sociedad","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2023-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Arte Individuo y Sociedad","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5209/aris.87867","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}

引用次数: 0

Abstract

The displacement from the essay film to the video installation has in Chris Marker one of its first and most relevant figures. The comparative study of Zapping Zone. Proposal for an imaginary television (1990) and Level Five (1997) allows for the analysis of the construction and complexification, and the deconstruction and saturation processes that take place between the most complex expression of the Markerian essay film and its transformation into the video installation. Zapping Zone responds to the embodiment of both the magmatic stage of the postmodern audiovisual era and the starting point of the filmmaker's work (documentaries, essay films, video installations, etc.), which would be the opposite of the writer’s blank page: a saturated world of images that needs to be selected, analysed and worked on in order to build meaning. Level Five offers the filmmaker’s reflection on that same reality, applied to the Battle of Okinawa, through a complex audiovisual thinking process that hybridises different types of images—documentary and fictional; analogue and electronic—devices—epistolary video diary, video game and cyberspace—and their authorial subjectivities—Laura, Laura’s lover and Chris—in order to reflect on the relationship between these audiovisual forms and spaces and the thematic axis memory-pain-oblivion.

查看原文本刊更多论文

攻击区和五级。在参观者对录像装置的体验与导演对随笔电影的反思之间

从散文电影到录像装置的转变在克里斯·马克身上是最早也是最相关的人物之一。Zapping区的比较研究。《假想电视的提议》(1990)和《第五层》(1997)分析了在马克里主义散文电影最复杂的表达和转化为录像装置之间所发生的建构和复杂化，以及解构和饱和过程。Zapping Zone回应了后现代视听时代的活跃阶段和电影制作人工作的起点(纪录片、散文电影、视频装置等)，这将是作家空白页的对立面:一个饱和的图像世界，需要被选择、分析和处理，以建立意义。《第五层》通过复杂的视听思维过程，混合了不同类型的影像——纪录片和虚构的影像——提供了电影制作人对同样现实的反思，并应用于冲绳战役;模拟和电子设备——书记性视频日记、电子游戏和网络空间——以及它们的作者主体性——劳拉、劳拉的情人和克里斯——以反思这些视听形式和空间与主题轴记忆-痛苦-遗忘之间的关系。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文求助全文

来源期刊

Arte Individuo y Sociedad ART-

CiteScore

0.90

自引率

20.00%

发文量

审稿时长

24 weeks

期刊介绍： Arte, Individuo y Sociedad (ISSN 1131-5598, ISSN-e 1988-2408) is a quarterly journal that publishes articles and research studies on the visual arts and how they relate to the social, historical, political and cultural context from different scientific fields, particularly creative and artistic education. In addition to scientific articles, bibliographical reviews are also included.