摘要
作为“论文电影”的开创者和革新者,克里斯·马克和戈达尔分别从不同路径建构起当代论文电影的两个面向。马克在电影中引入互联网数字媒介并由此而发展了其风格,从《日月无光》开始,其作品不断探索着“媒介和记忆”之主题,他的只读光盘作品《非记忆》突出体现了其“论文电影记忆术”:首先,以只读光盘的媒介特征为架构,他考察了如何将记忆之“时间”(历史)转化为“空间”(地理),以此利用技术来解决“记忆/遗忘”之悖论;然后,在图像学和跨媒介语境中,《非记忆》构成了对于瓦尔堡《记忆女神图集》的延续。马克的论文电影构成了作为“心灵图景”的“图书馆/博物馆/档案馆”之意象。
As the pioneers and innovators of"essay film",Chris Marker and Godard have respectively constructed two aspects of contemporary paper films from different paths.Marker has constantly introduced internet digital media into his films and thus developed his style.From Sans Soleil,his works have constantly explored the theme of"media and memory".His CD-ROM work Immemory highlights his"essay film mnemonics":first,based on the media characteristics of CD-ROM,he investigated how to transform the"time"(history)of memory into"space"(geography),thus using technology to solve the"memory/forgetting"paradox;Then,in the context of iconography and cross media,Immemory constitutes a continuation of Warburg's Bilderatlas Mnemosyne.Thus,Marker's essay films constitute the image of a"library/museum/archive"as a"mental landscape".
出处
《南京艺术学院学报（音乐与表演版）》
北大核心
2024年第5期141-145,I0003,共6页
JOURNAL OF NANJING UNIVERSITY OF THE ARTS:Music & Performance
基金
贵州省高校人文社会科学研究项目“新媒体时代下贵州民族文化传播与保护研究”(项目编号:2024RW170)阶段成果。
作者简介
钱进(1983-),河南省开封市人,贵州大学音乐学院讲师,研究方向:电影哲学。
