伦理与档案:获取、挪用、展览

C. Chambers
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引用次数: 0

摘要

档案镜头现在是许多电影和广播制作的主要内容。本章探讨了档案材料被回收利用的一些方式,并考虑了在整个研究、制作和放映过程中电影人、档案工作者和观众之间的一些紧张关系。它考虑了与短形式、叙事和纪录片制作中材料重新定位有关的一些争议,特别是与从未打算在公共领域展示的内容有关。借鉴本杰明关于以一种已被复制的形式获取真实性的观点,它考虑了电影制作人和观众在批评从早期电影形式中自觉或秘密地借用的运动图像内容方面的责任。最后,它提出了在与学术创造性实践的新兴领域相关的研究背景下回收档案材料的道德方法的建议,特别关注所涉及的利益相关者和源材料在其修复形式中的合理背景定位。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Ethics and the Archive: Access, Appropriation, Exhibition
Archive footage is now a staple of much cinematic and broadcast production. This chapter explores some of the ways in which archival material has been recycled and considers some of the tensions between filmmakers, archivists, and audiences throughout the process of research, production, and screening. It considers some of the controversies associated with the repositioning of material in short-form, narrative and documentary filmmaking, particularly in relation to content that was never intended for exhibition in the public sphere. Drawing upon Benjaminian ideas of accessing authenticity in a form that has been reproduced, it considers the responsibility of both filmmaker and viewer in critiquing moving image content that has borrowed, self-consciously or surreptitiously, from earlier filmic forms. It concludes by making recommendations for an ethical approach to recycling archival material in research contexts that are pertinent to the burgeoning field of academic creative practice, with a particular focus on the stakeholders involved and a reasonable contextual positioning of the source material in its remediated form.
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