非人类电影与逻辑上的崇高*

IF 0.4 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
OCTOBER Pub Date : 2021-09-01 DOI:10.1162/octo_a_00435
Kyle Stine
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引用次数: 1

摘要

摘要Erika Magnusson和Daniel Andersson的《物流》(2012)是有史以来拍摄时间最长的电影,持续时间超过35天。这部电影试图通过荷兰集装箱船Elly Maersk从瑞典哥德堡到中国深圳的缓慢旅程,让全球物流网络变得触手可及。在这篇关于一段与阿拉伯之春事件同时发生并一度被其阻止的海洋通道的文献之后,本文探讨了极端的持续性电影如何在数字网络媒体时代引发观众地位和表现局限性的问题。这表明,除了观众和图像之间的直接关系之外,电影地址的大小和艺术创作的后勤条件之间还存在着对应关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Nonhuman Cinema and the Logistical Sublime∗
Abstract Erika Magnusson and Daniel Andersson's Logistics (2012) is the longest film ever made, at over thirty-five days in duration. The film endeavors to make the world-spanning network of global logistics perceptible through an experience of the slow journey of the Dutch container-ship Elly Maersk from Gothenburg, Sweden, to Shenzhen, China. Following this document of an oceanic passage that coincided with—and was at one point halted by—the events of the Arab Spring, this article explores how extreme durational cinema raises questions about the position of the spectator and the limits of representation in an era of digitally networked media. It suggests that there exists, beyond the immediate relationship between spectator and image, a correspondence between the magnitude of filmic address and the logistical conditions of art's creation.
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来源期刊
OCTOBER
OCTOBER HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.10
自引率
33.30%
发文量
0
期刊介绍: At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.
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