Jan Švankmajer作品中的中间密度:媒介人类学案例研究

Caught In-Between Pub Date : 2020-04-01 DOI:10.3366/edinburgh/9781474435499.003.0005

Mareike Sera

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引用次数: 1

摘要

这一章表明，中间性提供了一种强化的亲密感。对话需要彼此“接触”，分享彼此的世界。本文以Eduardo Viveiros De Castro的著作和Giorgio Agamben关于手势的笔记为基础，从媒介人类学的角度在捷克电影制作人Jan Švankmajer的作品中探讨了这一观点，重点关注了三部电影:《平面》(Byt, 1968)、《骨槽》(Kostnice, 1970)和《对话的维度》(Moznosti dialogu, 1982)。

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Intermedial Densities in the Work of Jan Švankmajer: A Media-Anthropological Case Study

This chapter suggests that intermediality offers itself as a reinforced sense of intimacy. Dialogue requires to get in ‘touch’ with each other, to share each other's worlds. Based on the writings of Eduardo Viveiros De Castro, and on Giorgio Agamben's notes on gesture, the essay pursues this idea from a media-anthropological perspective in the work of Czech filmmaker Jan Švankmajer, focusing on three films: The Flat (Byt, 1968), The Ossuary (Kostnice, 1970) and Dimension of Dialogue (Moznosti dialogu, 1982).

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Caught In-Between

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