技术本位与艺术想象的弥散——媒介考古学视角下的一次电影物质性考察

电影是近代科技发展的产物。自其诞生以来,技术与艺术复杂的联动关系即是内生于电影内部的重要命题。技术的革新与突破,往往会带给电影新的表现工具、表达手段,催生出新的风格、样式、类型与流派。从机械时代走向电子时代,进而至如今的数字化时代,出现了一个电影不断自现实物质世界剥离的趋向。电影会否进入到一个纯粹想象的世界,最终演化为一种无须依托实存现实物质世界、纯粹想象的艺术形式呢?这是本文重点考察的对象。

Investigation on Mechanical Properties of CMSLDS/Acrylate Copolymeric Blending Films for Warp Sizing

Carboxymethyl starch with lower degree of substitution was, blended with acrylate copolymer for revealing the relation between mechanical properties and chemical structure of blending film. Effects of carboxymethylation of starch, acrylate constituent units of acrylate copolymers, and copolymer content of the film on the properties were investigated. The mechanical properties were evaluated in terms of tensile strength, breaking elongation, abrasion resistance, and flex-fatigue resistance. Film morphology was examined with X-ray diffraction （XRD）, scanning electron microscopy （SEM）, and atomic force microscope （AFM）. It was found that the properties depended on the degree of substitution of carboxymethyl starch, chemical structure of acrylate units, and content of acrylate copolymer. Phase-separation of the two ingredients occurred within film matrix and the separation was decreased after starch carboxymethylation. Breaking elongation and flex-fatigue resistance of the film reached maximmns when acrylate copolymer content was 50%. Excessively increasing the content of acrylate copolymer reduced the film properties.

20世纪70年代澳大利亚实验动画的案例研究——以林西·马丁为例

本文研究了20世纪70年代澳大利亚实验动画电影运动中一位被忽视的作者林西·马丁。这个时期的实验动画是在更为基础的领域“实验电影”名下展开的,并受到当时来自欧洲的形式主义电影和概念艺术的影响。林西·马丁的创作尽管在一定程度上采取了胶片电影的形式作为实验方法,例如直接在胶片上手绘、刻痕,并把这种直接胶片技术的动画节段与摄影影像重叠在一起,但与纯粹形式主义作品的区别又在于他对日常生活个体经验的介入。他用基于模拟信号痕迹的“手工电影”所具有的物质力量,来映射加之于个体之上的现代性及政治隐喻。这些均在本文所分析的西林·马丁极为重要的六部短片作品当中凸显出来。马丁的实验动画电影是独具原创性的,他的创造精神体现了戈达尔关于电影的观念:“关键在于政治性地拍电影,而不是拍摄关于政治的电影。”