重读第一章的时候,新想到的东西

山鬼姑娘
2018-03-27 11:55:13

去年Seminar期间看得慌里慌张的,重新读一遍感觉Mary Ann Doane实在很厉害,忍不住去UC Berkeley的网站打开了她的faculty页面。


01 Q: “时间”的conceptualization/reconceptualization? A1: 将“时间” reconceptualization的过程实际上将pre-modern中自然的时间与产业革命以后社会化/资本主义化的时间分开来。(而这本书中讨论的时间是后者。)也就是说,如何将“时间”这个概念与资本主义现代性(capital modernity)联系起来。Doane引入现代历史上关于“时间”的几个重要节点,历史性地将“时间”定义为标准化,理性化的现代时间。她也有引入Marx (labor time/value, page 7),Marey和Freud去从哲学上/精神分析上作出同样定义(集中在第二章)。甚至用热力学/统计学理论来说明(暂时懂不了,万一以后懂了再加上)。

A2:关于“时间”的标准化/理性化我觉得有意思/有用的点:(a)pocket watches的广泛使用和人体感官的延伸(“内”与“外”的关系); (b) 火车旅行、无线电通讯、24时区,以及globalization与"local”的关系; (c)现代时间与自然时间的比较 (“it is not passed, but spent.", page 8)。

02 Q: 人体感官的延伸?/ How social rhythm seeps into human body / biological or natural rhythm? A:

Modernity was characterized by the impulse to wear time, to append it to the body so that watch became a kind of prosthetic device extending the capacity of the body to measure time.

(page 4)

Gilbreth's researches most adamantly illustrate that the scientific analysis of time involves an unrelenting search for its representation in visual terms ——visual terms that exceed the capacity of the naked eye.

(page 6)

原先将“pocket watches的佩戴”和“人体感官的延伸”联系起来,想到的是人体可能多了“时间感”这样一种新的感官。现在看来,不仅如此;如果加上Gilbreth的实践和卢米埃尔《叠手巾的女孩》,被视觉化的时间是一种视觉上的延伸。由此想到,第二学期读的Kino-eye的概念。 Kino-Eye by Vertov "Girl folding a handkerchief" cctv 读秒女孩

03 Q: 火车旅行/无线电/24时区,globalization与local的关系? A:page 5 除此之外,有意思的是“local”这个词在蔡明亮和毕赣《路边野餐》里面的体现。《你那边几点?》local的意思是local time,一边无休无止地想追赶巴黎时间,另一边是无休无止的倒时差失败和失眠,再加上一个代表逝者/死亡/轮回的时间。对于《不散》,globalization变成了即将到来的digital age,而local代表“此地”——即将被抛弃的胶片电影院,以及所谓“不朽”却最终无法不朽(另一个dimension上)的电影时间。《路边野餐》里有各种local,不仅是空间上的,还有语言上的(贵州方言 - 语言的globalization/standardization - localization)。

04 Q: How to fill the gap between cinema and time? (也就是Mary Ann Doane的argument以及对cinematic time的定义) A: 时间是指被资本主义现代性重新定义的现代时间。不同于认为cinema的attraction在于showmanship/display的观点,Doane认为attraction在于对时间的记录。(但两者并不矛盾,page 24)那么,由于电影是19世纪末的产物那么它所记录的自然有被资本主义重新定义的时间。 Doane认为电影处于标准化的时间和”偶然“(contigency)的结构之中,而这个结构处于资本主义现代性之中。(page 3-4,page32)也就是说,电影时间(19世纪末-20世纪出)体现的是标准化时间和contingency的关系。

05 Q: attraction? A: page 24, page 31.

06 Q: Doane在讨论的是19世纪末二十世纪初的电影,那么20世纪中期(也就是二战)以后?二战对其的影响? A:rationalized time 和 Contingency 之间tension的持续性 (page 29

My concluding chapter delineates the relations between the nineteenth-/early twentieth-century epistemology of contingency and contemporary processes of digital and televisual imaging, which inscribe/produce temporality in forms echoing, in many respects, those of earlier technologies of representation. I argue that there is no radical rupture and that what is still very much at stake is the attempt to structure contingency. The work of both modern and "postmodern" technologies of representation is characterized by the tension between a desire for instantaneity and an archival aspiration.
The cinema moves from the status of a machine that amazes and astonished through its capacity as a record of time and movement to a machine for the production of temporalities that mimic "real time". Nevertheless, the production of temporalities in the classical cinema is ultimately not separable from the idea of the image as a record of time outside itself.

page 31

07 Q:“The cinema engages multiple temporalities, and it is helpful, at least temporarily, to disentangle them." (page 30) A: 1. temporality of the apparatus itself;2. temporality of diegesis;3. temporality of reception.

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