纪录片《人类世的挑战》

Q1 Arts and Humanities

Green Letters Pub Date : 2022-04-03 DOI:10.1080/14688417.2022.2102525

Jasper Delbecke

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引用次数: 0

摘要

本文探讨了纪录片艺术家在应对气候变化时代的多方面问题时所面临的障碍。“纪录片”的标签唤起了一些假设，并表明这些艺术品以客观、中立和无中介的方式表现事件。因此，这类纪实艺术作品带有再现现实的前提。尽管对跟单模式的局限性有大量的理论反思，但这些错误的假设和承诺仍然存在。通过回顾纪录片传统的谱系，并特别参考Hannes Dereere和Silke Huysmans 2019年的表演《愉悦岛》，本文指出了纪录片艺术家应对当前时期压倒性复杂性的一些挑战和可能的解决方案。

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Documentary(‘s) Challenges in the Anthropocene

ABSTRACT This article engages with the obstacles confronting documentary-oriented artists when engaging with the multifaceted problem of the era of climate change. The label ‘documentary’ evokes several assumptions and suggests that such artworks represent events in an objective, neutral and unmediated way. Consequently, the premise of representing reality-as-it-is is attached to these kinds of documentary artworks. Despite the large body of theoretical reflections on the limitations of the documentary mode, these false assumptions and promises endure. By revisiting the genealogy of the documentary tradition, and with particular reference to Hannes Dereere and Silke Huysmans’ 2019 performance Pleasant Island, this article points at some challenges and possible solutions for documentary artists to cope with the overwhelming complexity that characterises our current period.

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来源期刊

Green Letters Arts and Humanities-Literature and Literary Theory

CiteScore

0.50

自引率

0.00%

发文量

期刊介绍： Green Letters: Studies in Ecocriticism explores the relationship between literary, artistic and popular culture and the various conceptions of the environment articulated by scientific ecology, philosophy, sociology and literary and cultural theory. We publish academic articles that seek to illuminate divergences and convergences among representations and rhetorics of nature – understood as potentially including wild, rural, urban and virtual spaces – within the context of global environmental crisis.