走向开放的电影院:在全球电影教育领域内重新审视阿兰·贝尔加拉的电影假说

Jamie Chambers
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引用次数: 14

摘要

本文重新审视了《电影假说》和阿兰·贝尔加拉电影教育学的倾向,即在一个缓慢出现的全球电影教育领域中充当相互联系的代理人。借鉴围绕去西方化电影研究的一些争论(b和Higbee, 2012),本研究在重新评估电影假说之前探讨了全球的概念。分析主要集中在贝加拉:(1)对电影的特殊方法;(二)坚持理论与实践相结合;(3)系统化的分析方法;(4)与经典的关系问题;(5)颠覆理论。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Towards an open cinema: Revisiting Alain Bergala's The Cinema Hypothesis within a global field of film education
This paper reconsiders The Cinema Hypothesis and the propensity of Alain Bergala's cine-pedagogy to serve as an agent of interconnectivity within a slowly emergent global field of film education. Drawing upon some of the debates surrounding de-Westernizing film studies (Bâ and Higbee, 2012), this study explores notions of the global before situating a re-evaluation of The Cinema Hypothesis within that frame. Analysis focuses in particular on Bergala's: (1) particularized approach to cinema; (2) insistence upon a proximity between theory and practice; (3) asystematized approaches to analysis; (4) problematic relationship with canons; and (5) theory of disruption.
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