透视灵魂:叠加、认知与幻影马车

IF 0.2 0 FILM, RADIO, TELEVISION

Film History Pub Date : 2016-01-01 DOI:10.2979/FILMHISTORY.28.2.05

Tybjerg

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引用次数: 4

摘要

长期以来，叠加一直是电影中表现鬼魂的一种流行技术。通过维克多Sjöström的电影Körkarlen(幻影马车，1921年)的例子，文章将检查的技术和它的批评接受。安德烈·巴赞写了一篇关于叠加的重要文章(首次发表于1945年)，他驳斥了在电影中使用双重曝光来描绘鬼魂的做法。这篇文章详细考察了巴赞的言论。多重曝光效应的可信性和欺骗性联系可能源于它们与幽灵摄影的相似性，但文章也认为，如果我们借鉴对宗教的认知研究，我们对叠加幽灵的理解可能会得到加强。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Seeing through Spirits: Superimposition, Cognition, and The Phantom Carriage

Superimposition was long a popular technique for showing ghosts in films. Through the example of Victor Sjöström’s film Körkarlen (The Phantom Carriage, 1921), the article will examine the technique and its critical reception. André Bazin wrote an important essay on superimposition (first published in 1945) where he dismissed the use of double exposure to depict ghosts in films. The article examines Bazin’s remarks in detail. The credibility—and the fraudulent associations—of multiple-exposure effects may derive from their similarity to spirit photography, but the article also argues that our understanding of superimposed phantoms may be enhanced if we draw on the cognitive study of religion.

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来源期刊

Film History FILM, RADIO, TELEVISION-

CiteScore

0.60

自引率

0.00%

发文量

期刊介绍： The subject of Film History is the historical development of the motion picture, and the social, technological, and economic context in which this has occurred. Its areas of interest range from the technical through all aspects of production and distribution. Active electronic and combined electronic/print subscriptions to this journal include access to the online backrun.