ABSTRACT

The emergence of post-media aesthetics and hybrid media culture marked by media convergence as well as diachronic and synchronic hybridization has resulted in an ongoing re-evaluation, re-contextualization and re-mobilization of the city symphony film’s practices, which offer novel cinematic experiences by abandoning the genre’s traditional narrative trajectory or editing patterns and replacing them with new digital forms. Following this trend, I analyze the ways in which Tracing the Decay of Fiction: Encounters with a Film by Pat O’Neill and Man With A Movie Camera: The Global Remake operate within the post-digital sublime and database documentary framework, and consequently play with or critique the standard city symphony format and message centered around the concept of decay or kino-eye. Particularly, both works oppose the genre’s traditional montage and postmodern aesthetics by means of database and interactive storytelling, and instead rely on the mutability of the digital image and image-altering software, which seemingly lacks or merely imitates the sublime. To counteract this effect, the post-digital sublime takes a participatory form and is based on enquiry and discovery (Tracing) or novelty, invention and surprise (The Global Remake) rather than boredom and repetition traditionally associated with an unbounded potential of technology and the banal.

摘要

以媒体融合，历时性和共时性混合为特征的后媒体美学和混合媒体文化的出现，导致对城市交响电影实践的不断重新评估，重新情境化和重新动员，从而提供了新颖的电影体验通过放弃该类型的传统叙事轨迹或编辑模式，并以新的数字形式替换它们。顺着这一趋势，我分析了追踪小说的衰落的方式：电影中的相遇：帕特·奥尼尔（Pat O'Neill）和电影《带摄像机的人：全球翻拍》在后数字升华和数据库文档框架内运行，因此，以“衰败”或“眨眼”概念为中心，玩弄或批评标准的城市交响曲格式和消息。特别是，这两部作品都通过数据库和交互式故事讲述来反对该类型的传统蒙太奇和后现代美学，而是依靠数字图像和图像更改软件的可变性，它们似乎缺乏或仅仅模仿了崇高的风格。为了抵消这种影响，数字化后的崇高采取了参与式形式，其基础是探究和发现（Tracing）或新颖性，发明和惊奇（The Global Remake），而不是传统上无聊和重复的技术和无限潜力平庸的。