将电影制作作为调查残疾人积极空间体验的工具。

Masashi Kajita, Roberta Cassi, Peter Græsbøll Holm
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摘要

目前对建筑与残疾问题交叉点的研究主要集中在解决残疾人的直接需求上,往往忽视了建筑环境创造积极体验的潜力。此外,调查残疾人空间体验的传统方法往往无法捕捉到固有的细微感官和情感方面。本文介绍了电影制作的过程,并利用电影来探讨其在理解个人和环境因素如何影响个人积极空间体验方面的贡献和局限性。由丹麦皇家学院空间包容小组与诺塞尔公司合作制作的电影《场所与小乐趣》是一项反思性调查的案例研究。电影制作过程包括参与者访谈、成绩单分析、故事板设计、拍摄、剪辑和最终放映。对四位被选中的参与者的访谈分析揭示了促成他们所描述的积极体验的关键空间属性和背景现象。四段截然不同的叙述突显了参与者在他们最喜欢的地方的不同身体状况、情绪和感受。通过影片表现他们的经历,融入了语言和非语言线索、他们的身体反应和背景现象,为观众提供了身临其境的丰富感官体验。通过捕捉四位参与者在个人和空间环境中的身体体验,电影制作过程增进了理解和共鸣,丰富了残疾研究,并通过正面故事促进了该领域的学术讨论。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Filmmaking as a Tool for Investigating the Positive Spatial Experiences of Disabled People.

Current studies at the intersection between architecture and disability focus on addressing the immediate needs of disabled individuals and often overlook the potential of built environments to create positive experiences. Additionally, conventional approaches for investigating disabled people's spatial experiences often fail to capture the inherent nuanced sensory and emotional aspects. This paper describes the process of filmmaking and the use of film to explore its contributions and limitations in the understanding on how personal and contextual factors influence individuals' positive spatial experiences. The film Places and Small Pleasures, produced by the Cluster for Spatial Inclusion at the Royal Danish Academy in collaboration with Nossell & Co, serves as a case study for a reflective inquiry. The filmmaking process involved participant interviews, transcript analysis, storyboarding, shooting, editing, and final screening. The analysis of the interviews with four selected participants revealed key spatial attributes and contextual phenomena contributing to their described positive experiences. Four distinct narratives emerged, highlighting the participants' diverse bodily conditions, emotions and feelings in their favorite places. Representations of their experiences through the film incorporated verbal and non-verbal cues, their bodily reactions, and contextual phenomena, offering an immersive sensory richness for the viewers. By capturing the embodied experiences of the four participants within their personal and spatial contexts, the filmmaking process enhanced understanding and empathy, enriching disability studies and fostering academic discourse in this domain through positive stories.

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