多孔电路:蔡明亮、赵亮、王冰出席威尼斯国际电影节,以及电影节与艺术展览电路之间的相互作用

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Elena Pollacchi
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引用次数: 0

摘要

摘要本文从电影节研究的角度,以我在威尼斯电影节的亲身经历为基础,探讨蔡明亮、赵、王冰的作品如何阐释艺术展与电影节的互动关系。这些艺术家电影制作人对这两个电路之间的空隙做出了贡献,并利用了这一空隙。本文以威尼斯电影节为观察点,探讨了他们的作品是如何在电影节巡回演出中进进出出,到达艺术展览空间的。在生产和展览不断减少的情况下,他们卓有成效地扩大了活动范围,接触到了更广泛的观众,并扩大了生产和展览网络。这种多孔系统的优点和局限性是什么?有什么可以促进某些作品在两个电路中的传播?声誉和国际声望——在这里被解读为布迪厄“文化之都”的扩张——如何转化为更多的生产和展览机会?这一有机的讨论考虑到了电影制作和展览的政治经济变化与某些美学特征的关系,探讨了电影节和艺术回路提供各自特定框架、产生不同意义制造模式以及导致截然不同的观众接受的对比方式。此外,对这三位艺术家电影制作人的作品的一些观察表明,尽管这些“节日和画廊电影”面临挑战,但电影节已逐渐将其纳入常规节目。这强化了一种良性循环的理念,即通过这种循环,艺术家电影制作人利用在两个循环中的一个循环中获得的声誉和声望,并将其投资于另一个循环。与此同时,电影节必须接受新的挑战,与电影节观众习惯的相比,具有非传统特色的节目制作节奏可能较慢,持续时间更长。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Porous circuits: Tsai Ming-liang, Zhao Liang, and Wang Bing at the Venice International Film Festival and the interplay between the festival and the art exhibition circuits
Abstract From the perspective of film festival studies and on the basis of my first-hand experience at the Venice Film Festival, this article sheds some light on how the works of Tsai Ming-liang, Zhao Liang, and Wang Bing elucidate the interplay between the art exhibition and film festival circuits. These artist-filmmakers have contributed to and taken advantage of the porosity between the two circuits. Taking the Venice Film Festival as a vantage point of observation, this article discusses how their works have been able to move in and out the festival circuit to reach art exhibition spaces. Against a changing production and exhibition back-drop, they have fruitfully expanded their activities, reached a broader audience and expanded their production and exhibition network. What are the advantages and limitations of such porous systems? What is to be found that facilitates the dissemination of certain works across the two circuits? How do reputation and international prestige – here read as an expansion of Bourdieu’s “cultural capital” – translate into more production and exhibition opportunities? This organic discussion by taking into account the changes in the political economy of film production and exhibition in relation to certain aesthetic features, investigates the contrasting ways in which the festival and art circuits provide their own specific framing, produce different modes of meaning-making and result in quite different audience receptions. Furthermore, some observations on the works of the three artist-filmmakers suggest that festivals have progressively included these “festival and gallery films” in their regular programmes despite the challenges they present. This reinforces the idea of a virtuous circuit of increasing crossovers through which, artist-filmmakers capitalize on the reputation and prestige earned in one of the two circuits and invest it in the other. At the same time, film festivals have to take up new challenges, programming works with unconventional features that can be slower paced and of longer duration compared to what a festival audience is used to.
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来源期刊
Journal of Chinese Cinemas
Journal of Chinese Cinemas FILM, RADIO, TELEVISION-
CiteScore
0.50
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