ABSTRACT This research examines the apparatus concepts in the last decades of film studies, from the apparatus theory in the 1970s to the revisionist historiography of the early cinema and new media theory after the 1980s. Diagrammatizing the operation of a cinematographic apparatus as a process to make a fold between its machinic sensor and motor embedded in the material assemblages of media culture, it suggests two prototypes of apparatus, namely theater and laboratory, defined respectively by their different ways of enfolding an inside, problematizing the outside, and reassembling them to each other. Apichatpong Weerasethakul’s ethnographic experiment in Mysterious Object at Noon provides an example of the laboratorial apparatus that transforms its operational environments into the assemblages of singular problems, never representable, but only concretize-able by the apparatus’s function to network them.

中文翻译：

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从剧院到实验室：媒体文化的物质组合中的两种设备制度

摘要这项研究研究了电影研究的最后几十年中的设备概念，从1970年代的设备理论到早期电影的修正主义史学和1980年代后的新媒体理论。将电影摄影设备的操作图解为在其机械传感器和嵌入媒体文化的物质组合中的电机之间折叠的过程，它提出了两个设备原型，即剧院和实验室，分别由它们的不同折叠方式定义。内部，对外部进行问题处理，然后将它们重新组装在一起。Apichatpong Weerasethakul在中午的“神秘物体”上的人种学实验提供了一个实验室仪器的示例，该仪器将其操作环境转换为无法解决的奇异问题，