ABSTRACT Contemporary documentary films are faced with the challenge of an oversaturation of certain images that have lost all power. One strategy to address this issue is the employment of artifice, the obvious and unconcealed manipulation of images. Films of what I call Indirect Cinema escalate this strategy by avoiding direct representation altogether. One example of this development is the film Kurz davor ist es passiert (2006) by Anja Salomonowitz about human trafficking in Austria. The film showcases stories of different instances of human trafficking that are not told by the victims themselves; instead, random Austrians recite their statements verbatim while carrying out their everyday tasks. The artifice of the scenes disrupts the reception by emotionally distancing the viewer from the suffering of the victim. Transferring the statements from one medium, and from one body, to another avoids an overwhelming emotional response. The forced dislocation of the viewer allows a space of critical awareness to emerge in which one can reflect upon the politics and boundaries of representation. After a brief overview of Direct Cinema and Cinema Vérité as a point of departure, I give a close analysis of Kurz davor as a paradigmatic example of Indirect Cinema.

中文翻译：

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奥地利的间接电影院。避免在Kurz davor ist es Passiert（2006）中代表

摘要当代纪录片正面临某些图像失去所有力量的过饱和的挑战。解决此问题的一种策略是采用技巧，即对图像进行明显且隐蔽的操纵。我称之为“间接电影”的电影通过完全避免直接代表来提升这种策略。这种发展的一个例子是Anja Salomonowitz的电影“ Kurz davor ist es passiert（2006）”，内容涉及奥地利的人口贩运。电影展示了受害者自己没有讲述的关于不同人口贩运事件的故事；相反，随机的奥地利人在执行日常任务时会逐字背诵他们的陈述。场景的技巧通过使观看者在情感上远离受害者的痛苦而破坏了接待。将陈述从一种媒介，从一种身体转移到另一种身体，可以避免压倒性的情绪反应。观看者的强制性错位允许出现批判性意识的空间，在其中人们可以反思代表的政治和边界。在简要介绍Direct Cinema和CinemaVérité作为出发点之后，我将对Kurz davor作一深入分析，作为Indirect Cinema的范例。