独自在一起-纪录片电影制作和户外空间的幸福故事

Esther L. Johnson
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引用次数: 0

摘要

《孤独在一起,长椅的社会生活》是一部18分钟的诗意纪录片,由Esther Johnson制作,是AHRC合作研究“长凳项目”的一部分,探索个人和团体如何使用公共空间。这项研究的目的之一是测试制作一部电影如何帮助讲述户外空间中遭遇、排斥和幸福的详细而微妙的故事。“孤独在一起”包括一系列口头证词,以阐明伦敦两个公共空间的频繁使用者的想法:伍尔维奇的戈登将军广场和萨顿的圣赫利尔开放空间。在制作电影的研究期间,Johnson反复进行了音频采访,因为他知道这些材料既可以用于电影,也可以作为书面报告的社会数据。因此,访谈问题被延长,由此产生的转录在多个维度上帮助研究。本章考虑了动态图像和声音的使用,电影制作的过程,以及纪录片在确定日常环境资产如何用于支持个人福祉方面的结果。此外,还讨论了如何利用电影的体验能力来突出主题,如置身于空间的感觉,游客到一个地方的节奏和流动,以及日常街道家具设计的重要性。影片围绕着简陋的板凳这个微型空间展开,就像一个陌生人和你一起“看着世界流逝”,并通过与他们的板凳同伴交谈来打破僵局。关键词:纪录片制作;民族志;口头证词;肖像;社会研究
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Alone Together – documentary filmmaking and stories of well-being in outdoor spaces
‘Alone Together, the Social Life of Benches’, an eighteen-minute poetic documentary made by Esther Johnson, was created as part of collaborative AHRC research ‘The Bench Project’ exploring how individuals and groups use public space. One of the aims for this research was to test how making a film can help tell detailed and nuanced stories about encounters, exclusion and wellbeing in outdoor spaces. ‘Alone Together’ includes a series of oral testimonies in order to illuminate the thoughts of frequent users of two public spaces in London: General Gordon Square, Woolwich and St Helier Open Space, Sutton. During the research period of making the film, Johnson conducted repeated audio interviews in the knowledge that this material would be used both for the film, and as social data for a written report. Thus the interview questioning was extended, the resulting transcriptions aiding the research in multiple dimensions. This chapter considers the use of moving image and sound, the process of filmmaking, and the results of the documentary in identifying how everyday environmental assets are used in supporting individual wellbeing. There is also a discussion of how the experiential capacity of film is used to highlight themes such as the feeling of being in a space, the rhythm and flow of visitors to a place, and the importance of design for everyday street furniture. Revolving around the micro-space of the humble bench, the film acts like a stranger who joins you to ‘watch the world go by’, and to break the ice by starting a conversation with their fellow bench user. Keywords: Documentary Filmmaking; Ethnography; Oral Testimony; Portrait; Social Research
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