Abstract From the perspective of film festival studies and on the basis of my first-hand experience at the Venice Film Festival, this article sheds some light on how the works of Tsai Ming-liang, Zhao Liang, and Wang Bing elucidate the interplay between the art exhibition and film festival circuits. These artist-filmmakers have contributed to and taken advantage of the porosity between the two circuits. Taking the Venice Film Festival as a vantage point of observation, this article discusses how their works have been able to move in and out the festival circuit to reach art exhibition spaces. Against a changing production and exhibition back-drop, they have fruitfully expanded their activities, reached a broader audience and expanded their production and exhibition network. What are the advantages and limitations of such porous systems? What is to be found that facilitates the dissemination of certain works across the two circuits? How do reputation and international prestige – here read as an expansion of Bourdieu’s “cultural capital” – translate into more production and exhibition opportunities? This organic discussion by taking into account the changes in the political economy of film production and exhibition in relation to certain aesthetic features, investigates the contrasting ways in which the festival and art circuits provide their own specific framing, produce different modes of meaning-making and result in quite different audience receptions. Furthermore, some observations on the works of the three artist-filmmakers suggest that festivals have progressively included these “festival and gallery films” in their regular programmes despite the challenges they present. This reinforces the idea of a virtuous circuit of increasing crossovers through which, artist-filmmakers capitalize on the reputation and prestige earned in one of the two circuits and invest it in the other. At the same time, film festivals have to take up new challenges, programming works with unconventional features that can be slower paced and of longer duration compared to what a festival audience is used to.

中文翻译：

---

多孔电路：威尼斯国际电影节上的蔡明良，赵亮和王冰，以及电影节和艺术展电路之间的相互作用

摘要从电影节研究的角度以及我在威尼斯电影节的第一手经验的基础上，本文揭示了蔡明良，赵亮和王冰的作品如何阐明电影节之间的相互作用。艺术展览和电影节巡回演出。这些艺术家制片人为两个电路之间的孔隙率做出了贡献并加以利用。本文以威尼斯电影节为视角，讨论了他们的作品如何能够在电影节巡回演出中进出艺术展览空间。面对不断变化的生产和展览背景，他们有效地扩大了活动范围，扩大了受众范围，扩大了生产和展览网络。这种多孔系统的优点和局限性是什么？有什么发现可以促进某些作品在两个巡回演出中的传播？声誉和国际声望（这里是布迪厄“文化之都”的扩展）如何转化为更多的制作和展览机会？通过考虑电影制作和放映的政治经济与某些美学特征有关的变化，这种有机讨论探讨了节日和艺术电路提供其自身特定框架，产生不同的意义表达和表达方式的对比方式。导致观众的接待截然不同。此外，对这三位艺术家电影制作人的作品的一些观察表明，尽管节日充满了挑战，但节日已将其“节日和画廊电影”逐步纳入其常规节目中。这加强了分频器的良性循环的想法，艺术家电影制片人通过这种循环利用在两个循环中的一个获得的声誉和声望，并在另一个循环中进行投资。同时，电影节必须面对新的挑战，与非传统功能相比，编排节目具有非常规的功能，与节假日观众所习惯的相比，其节奏较慢且持续时间更长。艺术家电影制片人利用在这两个电路之一中获得的声誉和声望，并在另一个电路中进行投资。同时，电影节必须面对新的挑战，与非传统功能相比，编排节目具有非常规的功能，与节假日观众所习惯的相比，其节奏较慢且持续时间更长。艺术家电影制片人利用在这两个电路之一中获得的声誉和声望，并在另一个电路中进行投资。同时，电影节必须面对新的挑战，与非传统功能相比，编排节目具有非常规的功能，与节假日观众所习惯的相比，其节奏较慢且持续时间更长。