作为装配的实验电影

Experimental Film as Assemblage

本文以比尔·布朗的再—装配理论(连接视觉艺术中装配的实践意义和德勒兹与加塔利的装配理论)为出发点和范例,尝试构建一个阐释实验电影的模型,分析五种用装配观念阐释实验电影的理解路径:空镜头、寻得镜头、符号或表意的装配、(社会性)电影机器、蒙太奇。从这几个层面重新理解拼贴式的创作思维在文本、社会和艺术语言层面的含义。从装配观念看,蒙太奇的天然跨媒介性具有意义和生产的双重潜力,可进一步抽象为当代艺术的一种解释路径。

Taking Bill Brown’s re-assembly theory(connecting the practical implications of assembly in visual art and Deleuze and Guattari assembly theory) as the departing point, this paper attempts a model for interpreting experimental film by analyzing five modes of assemblage in terms of the interpretation and criticism of it: scenery shots, found footage, semiotic assemblage,(socially) cinematic machine, and montage. On these different levels of senses, the paper revisits and reconceptualizes collage as a creative mode. From the vantage of assemblage theory, the essentially transmedia nature of montage has potentials both as meaning machine and social machine. This model can also be applied to contemporary art in a more general sense.