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引用次数: 8
摘要
本文探讨了“复古电影”的定义，并通过对最近电影制作中的现象进行分类，具体地重新评估了对过去的拜物教及其在现在的反刍。我们的贡献确定了三种美学类别:人造复古，复古和时代错误;通过说明它们的重叠和差异，它认为过去仍然是现在和未来意义的强大谈判者。借鉴记忆和数字怀旧的研究，本文重点关注后一类:时代错误。通过对《Only Lovers Left Alive》(Jim Jarmusch, 2013)的分析，进一步揭示了过时的模拟对象的持久性和电影魅力。
Retro, faux-vintage, and anachronisme: when cinema looks back
This article explores the definition of ‘vintage cinema’ and specifically re-evaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: faux-vintage, retro and anachronistic; by illustrating their overlapping and discrepancies it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism. It furthermore unravels the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013).
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