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  • 标题:Postcinema, Motion Perception and Glitch Movies
  • 本地全文:下载
  • 作者:Michael Betancourt ; Michael Betancourt
  • 期刊名称:AM: Art + Media
  • 印刷版ISSN:2217-9666
  • 电子版ISSN:2406-1654
  • 出版年度:2018
  • 卷号:15
  • 页码:202-208
  • DOI:10.25038/am.v0i15.242
  • 语种:English
  • 出版社:Singidunum University. Faculty of Media and Communications
  • 摘要:Assuming that the motion images displaced on screen are stable, discrete units – both the particular shots and the individual frames that form them – is a constant, even axiomatic, belief about motion pictures; works that challenge these beliefs are postcinema. This seeming immobile foundation comes into doubt with the development of digital technology, especially in the possibilities for direct manipulation of the digital files in themselves in those protocols collectively labeled ‘glitch’ that alter the encoded data of ‘movie files’ to eliminate the differentiation between individual frames (for example, by ‘datamoshing’). These structural changes to the encoded data still offer the possibility for motion imagery, but do so in a way that opens up new potentials in a convergence of historical painterly techniques for rendering motion and those developed with kinematography in the 19th century. This recognition informs the movies I make: apparent motion originates in the audience’s cognitive engagement with multiple, fragmentary views of figures/spaces that become recognizable and unitary figures, coherent-in-motion, even through when viewed as stills these ‘frames’ often do not contain or present single coherent figures but clearly fragmentary and incomplete parts juxtaposed in a disorderly fashion. Human consciousness fits these pieces together to produce both the appearance of stable figuration and their animated motio.
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