{"title":"从业余录像到新的纪录片格式:公民新闻与历史知识的重新配置","authors":"Katarzyna Ruchel-Stockmans","doi":"10.5117/9789462989092_ch06","DOIUrl":null,"url":null,"abstract":"The Arab Spring of 2011 appeared on the news in countless video testimonials\n shot by participants and bystanders. Yet the sheer amount of such visual\n data, combined with the untranslatability and poor quality of the footage,\n delivers an often opaque and ambiguous material. Peter Snowdon’s film\n The Uprising (2013) appropriates and reassembles this amateur footage.\n Compared to the 1992 film Videograms of a Revolution by Harun Farocki\n and Andrei Ujică, The Uprising raises the question of a possible knowledge\n shift produced and performed by the amateur video maker. In an analysis\n of these films, this chapter investigates the possibilities of documenting\n historical events through mobile video footage.","PeriodicalId":225180,"journal":{"name":"Media and Mapping Practices in the Middle East and North Africa","volume":"14 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"From Amateur Video to New Documentary Formats : Citizen Journalism and a Reconfiguring of Historical Knowledge\",\"authors\":\"Katarzyna Ruchel-Stockmans\",\"doi\":\"10.5117/9789462989092_ch06\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The Arab Spring of 2011 appeared on the news in countless video testimonials\\n shot by participants and bystanders. Yet the sheer amount of such visual\\n data, combined with the untranslatability and poor quality of the footage,\\n delivers an often opaque and ambiguous material. Peter Snowdon’s film\\n The Uprising (2013) appropriates and reassembles this amateur footage.\\n Compared to the 1992 film Videograms of a Revolution by Harun Farocki\\n and Andrei Ujică, The Uprising raises the question of a possible knowledge\\n shift produced and performed by the amateur video maker. In an analysis\\n of these films, this chapter investigates the possibilities of documenting\\n historical events through mobile video footage.\",\"PeriodicalId\":225180,\"journal\":{\"name\":\"Media and Mapping Practices in the Middle East and North Africa\",\"volume\":\"14 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Media and Mapping Practices in the Middle East and North Africa\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5117/9789462989092_ch06\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Media and Mapping Practices in the Middle East and North Africa","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5117/9789462989092_ch06","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
2011年的阿拉伯之春出现在新闻中，由参与者和旁观者拍摄了无数的视频。然而，如此大量的视觉数据，加上不可翻译性和镜头质量差，往往提供了不透明和模棱两可的材料。彼得·斯诺登(Peter snowden)的电影《起义》(2013)挪用并重组了这些业余镜头。与1992年哈伦·法罗基(Harun Farocki)和安德烈·乌吉科伊(Andrei ujicov)的电影《革命录像》(Videograms of a Revolution)相比，《起义》提出了一个问题，即由业余视频制作者制作和表演的一种可能的知识转移。在对这些电影的分析中，本章探讨了通过移动视频片段记录历史事件的可能性。
From Amateur Video to New Documentary Formats : Citizen Journalism and a Reconfiguring of Historical Knowledge
The Arab Spring of 2011 appeared on the news in countless video testimonials
shot by participants and bystanders. Yet the sheer amount of such visual
data, combined with the untranslatability and poor quality of the footage,
delivers an often opaque and ambiguous material. Peter Snowdon’s film
The Uprising (2013) appropriates and reassembles this amateur footage.
Compared to the 1992 film Videograms of a Revolution by Harun Farocki
and Andrei Ujică, The Uprising raises the question of a possible knowledge
shift produced and performed by the amateur video maker. In an analysis
of these films, this chapter investigates the possibilities of documenting
historical events through mobile video footage.
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