EVALLYO VIOLETTA DMITRIEVNA / ЭВАЛЛЬЕ ВИОЛЕТТА ДМИТРИЕВНА. (2018). the multi-screen aesthetics in the animated cartoons of soviet artists / полиэкранная эстетика в мультипликации советских художников. Nauka Televideniâ (Online), 14.3, 168-189. https://doi.org/10.30624/1994-9529-2018-14.3-168-189
The essence of multi-screen technology is segmentation, but paradoxically, it unifies and juxtaposes objects and space, and produces new ways of interacting. The multi-screen technology reflects the spatial location structure of the protagonist and the social space map of the hero, which helps to depict the characters in more detail and smoothly introduce the other protagonists. In this article, the author introduces for the first time the animated film "Istoriya odnogo prestupleniya" (" The Story of a Crime ") and Feodor Khitruk's "Film, Film, Film", "Lisa i zayats" [" Fox and Rabbit "] by Yuri Norstein, and "Kontakt" [" Contact "] by Vladimir Tarasov. The multi-screen technology in these works covers up the reflected modernity and enhances the decorative and entertaining nature of the visual material. Through the "play" of cadres and Windows, not only the expansion of semantic connotation is realized, but also the originality of the "picture" is enhanced. Multi-screen technology offers filmmakers a unique opportunity to both show the protagonist's different views of the world and enhance semantic meaning. The author examines in detail the effects of multi-screen plots and the use of multi-screen techniques in visual storytelling, pointing out that they reflect the world picture of the period and emphasize the interest in humans. His inner world and the expression of the author's philosophical and aesthetic position in the film structure. Thus, all visual and scene components of animation and especially multi-screen techniques are dedicated to creating a deeply ethical aesthetic work with multiple interpretations.
多屏技术的本质是分割，但矛盾的是，它却将物体和空间统一、并置，并产生新的交互方式。多屏技术反映了主角的空间位置结构和英雄的社会空间地图，有助于更详细地描绘人物角色，并顺利引入其他主角。在本文中，作者首次以动画片“Istoriya odnogo prestupleniya”（“一个犯罪的故事”）和费奥多尔·希特鲁克（Feodor Khitruk）的“电影，电影，电影”，尤里·诺斯坦（Yuri Norstein）的“Lisa i zayats”[“狐狸和兔子”]，以及弗拉基米尔·塔拉索夫（Vladimir Tarasov）的“Kontakt”[“接触”]。这些作品中的多屏技术掩盖了所反映的现代性，增强了视觉物质的装饰性和娱乐性。通过干部和窗户的“玩”，不仅实现了语义内涵的扩展，而且增强了“画面”的原创性。多银幕技术为电影制片人提供了独特的机会，既可以展示主角对世界的不同看法，又可以增强语义含义。作者详细考察了多屏情节以及多屏技术在视觉叙事中的应用效果，指出它们反映了那个时期的世界图景，并强调了对人类的兴趣。 他的内心世界与电影结构中作者哲学美学立场的表达。因此，动画的所有视觉和场景组成部分以及特别是多屏幕技术都致力于创作一部深刻的伦理美学作品，并具有多重解释。
Bizzocchi, J. (2009). The fragmented frame: The poetics of the split-screen. la Web del Massachusets Intiture of Technology. http://web. mit. edu/commforum/mit6/papers/Bizzocchi. pdf.
Peter Greenaway ：
“the tyranny of the frame”---框架的暴政
Willoquet-Maricondi, P., & Alemany-Galway, M. (2008). Peter greenaway's postmodern/poststructuralist cinema (Rev. ed.). Scarecrow Press.
Perhaps, Greenaway seems to be saying, the systems that we build to understand
the functioning of life are like the house of cards that the young Smut builds
in Drowning by Numbers: they are fun games to build and watch collapse. “I
mock those universal systems like the alphabet and the number structures I
use as an alternative and support to the narrative,because,again,they are only
man-made devices, explains Greenaway” (Sampson, 12–13). It is no surprise
that, in one way or another, Greenaway’s films are all about doings and undoings,makings and unmakings,constructions and deconstructions.They are
elaborate and detailed constructions that ultimately seem to question the efficacy and durability of all our constructions—be they theoretical or practical.
也许，Greenaway似乎在说，我们用来理解生命功能的系统就像年轻的Smut在《被数字淹没》中建造的纸牌屋:它们是建造和看着倒塌的有趣游戏。“我嘲笑那些通用的系统，比如字母和数字结构，我用它们作为叙事的替代和支持，因为，再一次，它们只是人造的装置，”Greenaway解释说。在某种程度上，格林纳威的电影都是关于做与不做、创造与不创造、建构与解构的，这并不奇怪。它们是精心设计和细致的建筑，最终似乎对我们所有建筑的功效和耐久性提出了质疑——无论是理论上的还是实际的。
In Hutcheon’s words, words that perfectly characterize Greenaway’s films, “postmodernist contradictory art still installs that order, but it
then uses it to demystify our everyday processes of structuring chaos, of imparting or assigning meaning”
赫切恩（Hutcheon）的话--这些话完美地描述了格林-维奇电影的特点--"后现代主义的矛盾艺术仍然在建立这种秩序，但它又利用这种秩序来揭开我们日常的混乱结构化过程、意义成像或分配过程
的神秘面纱"
While Greenaway has, without a doubt, been influenced by such modernist filmmakers as Ingmar Bergman and Jean-Luc Godard, his work is significantly different from the modernist narrative strategies that these filmmakers employ. Most of Godard’s cinema is a Brechtian deconstructive
cinema, and Bergman’s films are characterized by the same ambiguity of meaning of modernist literature. Greenaway uses both these strategies while going beyond them in his deployment of postmodern forms. While Greenaway continues to use many of the self-reflexive and politically critical modes of the Brechtian cinema, his self-reflexivity is taken up in the service of a more radical form of free play of meaning that does not lead to closure. Greenaway has also adopted the patterns of illogical narrative structures and spaces characteristic of the art cinema, as exemplified, for instance, by Last Year at Marienbad.
虽然格林纳威,毫无疑问,受到现代主义电影制作人如英格玛·伯格曼和让-吕克·戈达尔,他的工作是明显不同于这些制片人雇佣的现代主义叙事策略。戈达尔的大部分电影都是布莱希特式的解构主义，伯格曼的电影具有与现代主义文学相同的模糊性。Greenaway使用了这两种策略，但在他的后现代形式的部署中超越了这两种策略。虽然格林纳威继续使用许多布莱希特电影的自我反思和政治批判模式，但他的自我反思被用来服务于一种更激进的自由意义游戏形式，这种形式不会导致关闭。Greenaway还采用了艺术电影的非逻辑叙事结构和空间模式，例如《去年在马里恩巴德》。
Lyotard, J. F. (1994). The postmodern condition. The postmodern turn: new perspectives on modern theory, 27-38.
In The Postmodern Condition, Lyotard called for an
abandonment of those “truths” or “metanarratives” that have guided Western thinking—such as the Enlightenment notion of human liberation or the
Marxist totalizing account of history.“Simplifying to extreme,” says Lyotard,
“I define postmodern, as incredulity towards metanarratives” (xxiv). It must be
acknowledged, however, that the suspicion of the existence of an objective and identifiable truth is already present in modernism.
在《后现代状况》一书中，利奥塔呼吁抛弃那些指导西方思想的“真理”或“元叙事”——比如启蒙运动关于人类解放的观念或马克思主义对历史的总体描述。“简化到极端，”利奥塔说，“我将后现代定义为对元叙事的怀疑”(xxiv)。然而，必须承认，对客观和可识别的真理存在的怀疑已经存在于现代主义中。
Brechtian cinema：
Brechtian cinema is a style of filmmaking and presentation influenced by the theory and practice of the German dramatist Bertolt Brecht. Brecht, one of the most influential playwrights of the 20th century, developed theories and methods known as "Brechtian Theatre" or "Brechtian performance style," which emphasized active audience participation, dramatic subversion, and social critique.
In the film, the Brechtian style borrows from Brecht's theories in an attempt to break the audience's passivity towards the film and stimulate their thinking and participation. Here are some characteristics of Brechtian cinema:
Self-awareness and alienation: Brechtian cinema emphasizes that the audience should be aware that they are watching a film, and deliberately creates a sense of alienation from the plot of the film in order to lead the audience to think and question what is seen.
Direct dialogue and interjected interventions: Sometimes Brechtian cinema breaks the fourth wall and characters speak directly to the audience or insert explanatory interventions into the film to lead the audience to think about the events in the film.
Social Criticism and political consciousness: Similar to Brechtian Theatre, Brechtian cinema tends to express criticism of social issues through film, emphasizing class, politics, and power relations.
Use of dramatic devices: Brechtian cinema may employ dramatic devices, such as the performer's performance style, stage design, and music, to emphasize its social and political themes.
In general, Brechtian cinema attempts to break the immersive experience of traditional cinema by guiding and intervening the audience, as well as exploring social and political issues, and encouraging the audience to think critically about what they see.
Brechtian cinema是一种电影制作和表现风格，受到了德国戏剧家贝托尔特·布莱希特（Bertolt Brecht）的理论和实践的影响。布莱希特是20世纪最具影响力的剧作家之一，他提出了被称为“布莱希特剧场”或“布莱希特演出风格”的理论和方法，这些理论和方法强调观众的主动参与、戏剧性的颠覆和社会批判。
在电影中，Brechtian风格借鉴了布莱希特的理论，试图打破观众对电影的 passivity（被动性），激发他们的思考和参与。以下是一些Brechtian cinema的特征：
Smart, B. (2013). The life of galileo and brechtian television drama. Journal of British Cinema and Television, 10(1), 112-129. https://doi.org/10.3366/jbctv.2013.0125
自我意识和疏离感： Brechtian cinema强调观众应该意识到他们正在观看一部电影，并且刻意制造一种与电影情节的疏离感，以引导观众思考和质疑所看到的内容。
直接对话和插入干预： 有时Brechtian cinema会打破第四面墙，角色会直接向观众说话，或者在电影中插入解释性的干预，以引导观众对电影中的事件进行思考。
社会批判和政治意识： 类似布莱希特剧场的做法，Brechtian cinema倾向于通过电影来表达对社会问题的批判，强调阶级、政治和权力关系。
使用戏剧性手法： Brechtian cinema可能采用一些戏剧性的手法，如表演者的表演风格、舞台设计和音乐，来强调其社会和政治主题。（Smart，2013）
总的来说，Brechtian cinema试图通过对观众的引导和干预，以及对社会和政治议题的探讨，打破传统电影的沉浸式体验，鼓励观众以批判性的视角思考所看到的内容。
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