论Véréna Paravel和Lucien Castaing Taylor的《作为经验的赞扬》和《作为故事的卡尼巴》中的经验和观赏性的特殊性

IF 0.5 0 FILM, RADIO, TELEVISION

Studies in Documentary Film Pub Date : 2022-07-25 DOI:10.1080/17503280.2022.2102187

M. Holly

{"title":"论Véréna Paravel和Lucien Castaing Taylor的《作为经验的赞扬》和《作为故事的卡尼巴》中的经验和观赏性的特殊性","authors":"M. Holly","doi":"10.1080/17503280.2022.2102187","DOIUrl":null,"url":null,"abstract":"ABSTRACT This article examines the potential of the art-installation as a space for experiential and sensory mediation of non-fiction film. Using the installation Commensal (2017) by Véréna Paravel and Lucien Castaing-Taylor as a case study, I discuss the contribution of contemporary art to discourses on spectatorship and audience experience in non-fiction film. Taking Commensal as a starting point, I will examine how the experience of the visitor to the art installation might differ from that of the audience member at a cinema. How does the space, institutional context and institutional mediation of a non-fiction film installation contribute to the contamination of boundaries between fictional storytelling and objective truth? By comparing Commensal and Caniba (2017), the feature-length theatrical version of the same subject by the same filmmakers, I will propose that presentation and screening in the context of the installation space offers new forms of mediation for some non-fiction film works that are experiential as opposed to spectatorial.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"133 - 150"},"PeriodicalIF":0.5000,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"On the particularities of experience and spectatorship in Véréna Paravel and Lucien Castaing-Taylor’s Commensal as experience and Caniba as story\",\"authors\":\"M. Holly\",\"doi\":\"10.1080/17503280.2022.2102187\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT This article examines the potential of the art-installation as a space for experiential and sensory mediation of non-fiction film. Using the installation Commensal (2017) by Véréna Paravel and Lucien Castaing-Taylor as a case study, I discuss the contribution of contemporary art to discourses on spectatorship and audience experience in non-fiction film. Taking Commensal as a starting point, I will examine how the experience of the visitor to the art installation might differ from that of the audience member at a cinema. How does the space, institutional context and institutional mediation of a non-fiction film installation contribute to the contamination of boundaries between fictional storytelling and objective truth? By comparing Commensal and Caniba (2017), the feature-length theatrical version of the same subject by the same filmmakers, I will propose that presentation and screening in the context of the installation space offers new forms of mediation for some non-fiction film works that are experiential as opposed to spectatorial.\",\"PeriodicalId\":43545,\"journal\":{\"name\":\"Studies in Documentary Film\",\"volume\":\"17 1\",\"pages\":\"133 - 150\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2022-07-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Documentary Film\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17503280.2022.2102187\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Documentary Film","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17503280.2022.2102187","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}

引用次数: 1

摘要

本文探讨了艺术装置作为非虚构电影的体验和感官中介空间的潜力。我以vacimrsamna Paravel和Lucien castain - taylor的装置作品《共生》(2017)为例，讨论当代艺术对非虚构电影中观众观赏性和观众体验话语的贡献。以“共生”为出发点，我将研究参观者在艺术装置上的体验与观众在电影院的体验有何不同。一个非虚构电影装置的空间、制度背景和制度调解是如何导致虚构故事和客观真理之间的界限受到污染的?通过比较《共生》(Commensal)和《Caniba》(2017)，我将提出，在装置空间的背景下，呈现和放映为一些非虚构电影作品提供了新的调解形式，这些作品是经验而不是观赏性的。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

查看原文本刊更多论文

On the particularities of experience and spectatorship in Véréna Paravel and Lucien Castaing-Taylor’s Commensal as experience and Caniba as story

ABSTRACT This article examines the potential of the art-installation as a space for experiential and sensory mediation of non-fiction film. Using the installation Commensal (2017) by Véréna Paravel and Lucien Castaing-Taylor as a case study, I discuss the contribution of contemporary art to discourses on spectatorship and audience experience in non-fiction film. Taking Commensal as a starting point, I will examine how the experience of the visitor to the art installation might differ from that of the audience member at a cinema. How does the space, institutional context and institutional mediation of a non-fiction film installation contribute to the contamination of boundaries between fictional storytelling and objective truth? By comparing Commensal and Caniba (2017), the feature-length theatrical version of the same subject by the same filmmakers, I will propose that presentation and screening in the context of the installation space offers new forms of mediation for some non-fiction film works that are experiential as opposed to spectatorial.

求助全文

通过发布文献求助，成功后即可免费获取论文全文。去求助

来源期刊

Studies in Documentary Film FILM, RADIO, TELEVISION-

CiteScore

1.00

自引率

16.70%

发文量

期刊介绍： Studies in Documentary Film is the first refereed scholarly journal devoted to the history, theory, criticism and practice of documentary film. In recent years we have witnessed an increased visibility for documentary film through conferences, the success of general theatrical releases and the re-emergence of scholarship in documentary film studies. Studies in Documentary Film is a peer-reviewed journal.