ABSTRACT In this conversation, Tom Gunning and Annie van den Oever return to Viktor Shklovsky’s notion of ostrannenie (making strange), a neologism coined in what turned out to become a modern art theory that was developed by the young Shklovsky in the midst of the great popularity of film shows in Russia in 1913. Tom Gunning is a film historian and a theorist who wrote a series of foundational texts about early cinema that helped establish the ‘hermeneutics of wonder’ as a foundational method for a cultural archaeology of media and New Film History.[For more on Gunning’s foundational work on early cinema, see ‘The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde’, ‘An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator’, and his co-authored work with André Gaudreault, ‘Early Cinema as a Challenge to Film History’]. Annie van den Oever is a film scholar who published on defamiliarization and edited Ostrannenie (Amsterdam University Press, 2010), which features an excavation of the seminal Shklovsky text, ‘Art as Technique’, reread within the context of early cinema. Both are Shklovsky enthusiasts and for this special issue they address a series of questions concerning the formal and neoformalist methods, ostrannenie as a method in research and teaching, and ‘wonder’ as a heuristic and creative tool in research and educational practices.

中文翻译：

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Viktor Shklovsky 的 Ostrannenie 和“奇迹的诠释学”

“早期电影是对电影史的挑战”]。Annie van den Oever 是一位电影学者，曾发表过关于陌生化的文章并编辑了 Ostrannenie（阿姆斯特丹大学出版社，2010 年），其中挖掘了具有开创性的 Shklovsky 文本“作为技术的艺术”，并在早期电影的背景下重新阅读。两人都是什克洛夫斯基的狂热爱好者，在本期特刊中，他们解决了一系列关于形式主义和新形式主义方法的问题，作为研究和教学方法的 Ostrannenie，以及作为研究和教育实践中启发式和创造性工具的“奇迹”。