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題名 | 再生再製的回收電影:探索「舊片衍用」的創作模式=Recyclage Cinema: Probing the Mode of Found Footage Artistic Creation |
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作者 | 游正裕; 游正裕; Yu, Cheng-yu; Yu, Yu-cheng; |
期刊 | 康大學報 |
出版日期 | 20160600 |
卷期 | 6 2016.06[民105.06] |
頁次 | 頁135-147 |
分類號 | 987.01 |
語文 | chi |
關鍵詞 | 達達主義; 舊片衍用; 實驗電影; 錄像藝術; 現成物; Dadaism; Found footage; Experimental film; Ready-made; Video art; |
中文摘要 | 一百多年前20 世紀初,在瑞士蘇黎世,一場串連視覺藝術、詩文學、戲劇和美術設計等領域的藝文運動悄悄展開,被藝術史譽為顛覆、摧毀舊有歐洲社會文化秩序的革命性思潮,名為達達主義(Dadaism)。達達主義所傳達的運用「現成物創作」的觀念,時至40年代電影底片媒材逐漸穩定,也影響了實驗電影「舊片衍用」的創作模式探索,其中最具代表性的是Bruce Conner,當時他便慣以舊膠捲加工、拼貼既有膠卷來做實驗片,從現成被遺棄不用的膠片素材再生,試圖賦予這些被人們視為沒有價值的棄物一個嶄新的藝術價值。本研究將以筆者「舊片衍用」的實踐創作為起點,深入探索實驗電影百年發展以來對於影片現成物再製再生的風格,以及衍生的創作課題。 |
英文摘要 | In the early 20th century, an art movement of the European avant-garde was born that involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design. This avant-garde movement was regarded as a revolutionary thought that destroyed the traditional European social and cultural order, named Dada (Dadaism). A concept of "ready-made" from Dada affected the experimental film "found footage" creative mode due to film negatives media gradually stabilized in 1940s. Bruce Conner is the most representative film artist. His avant-garde film always displayed and created a brand new artistic value from many discard films or existing film materials. The thesis will research "found footage" concept from researcher's experimental film artwork and explore "ready-made" style and "recyclage" mode from some classic avant-garde films, as well as the artistic creation issues. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。