The place of artists' cinema: Space, site and screen.

Connolly, M. (2009). The place of artists' cinema: Space, site and screen. Intellect.

电影作为一种过时的交流形式出现，一种可能具有救赎力量的过时技术。道格拉斯对电影的使用将其视为一种古老的媒介，但这样做是为了开辟一种新的移动影像实践，这种实践可能会反映出新颖与过时、主观性与技术之间的相遇，这标志着我们的时代。

电影在艺术空间中重塑。尽管在电影研究学科中很少被探索，但当代艺术中移动影像的爆炸式增长构成了近几十年来电影概念被重新谈判和重新定义的主要场所。

新的电子媒体的霸权日益巩固，当代艺术中电影作为一种新媒介的动员在很大程度上参与了其运动。它打破了电影和艺术图像制度之间曾经相对僵化的界限，并象征着数字化后移动图像的新可变性和可传播性。

在上个世纪的大部分时间里，许多艺术家都坚定地努力消除他们对移动影像的使用与电影的大众文化机构之间的任何关系。从事电影和录像工作的艺术家倾向于拒绝幻觉和叙事，而是与其他媒体（如雕塑和表演）建立联盟。

人们目睹了电影比喻和惯例的明显培养，如布景、蒙太奇、奇观、叙事、幻觉和投影。

谈论电影新的本体论的不稳定性可能会冒着历史盲目性的风险，因为很明显，电影的本体论一直是多样化和可变的，从一个无声的技术奇迹发展到CinemaScope的史诗奇观和大片的出现，再到电视广播和VCR平台的小屏幕。然而，可以肯定的是，自20世纪90年代以来，广泛的数字化引发了对电影材料和电影制度命运的各种明显的焦虑。

当代不仅仅是一个融合的时刻，也是一个释放多种媒介特性的时刻，这些特殊性将电影的概念分散在不同的概念和材料空间中。

电影语言的更迭基于新旧媒体的交替。

Film emerged as an outdated form of communication, an outdated technology that might have redemptive power. Douglas's use of film sees it as an ancient medium, but does so to open up a new practice of moving imaging that might reflect the encounter between novelty and obsoleteness, subjectivity and technology, that marks our time. The film is reshaped in the art space. Although rarely explored in the discipline of film studies, the explosion of the moving image in contemporary art constitutes a major venue where the concept of film has been renegotiated and redefined in recent decades. The hegemony of the new electronic media is increasingly consolidated, and the mobilization of film as a new medium in contemporary art is largely involved in its movement. It broke down the once relatively rigid boundaries between cinema and the art image system, and symbolized the new variability and transmittability of moving images after digitization. For much of the last century, many artists made a determined effort to eliminate any relationship between their use of moving images and the mass cultural institutions of film. Artists who work in film and video tend to reject illusion and narrative and instead build alliances with other media, such as sculpture and performance. One witnessed the apparent cultivation of cinematic tropes and conventions, such as sets, montage, spectacle, narrative, illusion, and projection. To talk about the instability of cinema's new ontology risks historical blindness, as it is clear that the ontology of cinema has always been diverse and variable, evolving from a silent technological marvel to the epic wonders and blockbuster appearances of CinemaScope to the small screens of television broadcasts and VCR platforms. What is certain, however, is that since the 1990s, widespread digitization has triggered a variety of palpable anxieties about the fate of film materials and film institutions. The contemporary is not only a time of convergence, but also a time to release the characteristics of multiple media, which disperse the concept of film in different conceptual and material Spaces. The change of film language is based on the alternation of old and new media.

“It would risk historical blindness to speak of a new ontological instability of cinema, for it is clear that the cinema’s ontology has always been diverse and variable, developing from a mute technological marvel through the epic spectacles of CinemaScope and the advent of the blockbuster, to the small screens of television broadcasting and VCR platforms. However, it is certain that since the 1990s, widespread digitization has sparked diverse and palpable anxieties concerning the fates of both the material of film and the institution of cinema”

“cinema of exhibition”

“gallery film”