理查德·莫斯和艾未未难民电影中的抽象、赤裸裸的生活和流动的反叙事

R. Burgoyne
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引用次数: 1

摘要

本章探讨了理查德·莫斯和艾未未前所未有的正式实验,他们试图捕捉我们这个时代的标志性全球事件,即跨越地缘政治边界的难民和移民的大规模流动。在莫斯的作品《降临》中,一台热像仪记录了30英里外人体散发的热量,提供了难民在救生艇、运输卡车和难民营里的图像,这些图像既超凡脱俗,几乎在他们的奇怪中变异,又深深地打动了人们的目光。在艾未未的《人流》(Human Flow)中,无人机摄像机呈现了世界各地大规模的人流——从空中俯瞰的画面中,穿插着手机视频的近距离见证,使用了自发记录的视觉语言,与军事监视相关的技术相对应。在两部影片中,乔治·阿甘本(Giorgio Agamben)的“赤裸的生命”概念在先进的光学和技术框架中得到了阐述,从而带来了新的批判性问题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Abstraction, Bare Life, and Counternarratives of Mobility in the Refugee Films of Richard Mosse and Ai Weiwei, Incoming and Human Flow
This chapter explores the unprecedented formal experiments of Richard Mosse and Ai Weiwei in their attempts to capture the signature global event of our time, the mass movements of refugees and immigrants across geopolitical boundaries. In Mosse’s Incoming, a thermal camera registers the heat emanating from human bodies from some 30 miles away, providing images of refugees in lifeboats, transport trucks, and refugee camps that are both other-worldly, almost mutant in their strangeness, and deeply moving—images that rivet the gaze. In Ai Weiwei’s Human Flow, drone cameras render the vast scale of human displacement around the world—a view from above is interspersed with the close witnessing of cell phone video, using the visual language of spontaneous documentation in counterpoint with a technology associated with military surveillance. In both films, Giorgio Agamben’s concept of “bare life” is articulated within an advanced optical and technological framework that brings new critical questions into view.
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