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The euphoric film: Ivan Vyrypaev’s Euphoria, metacinema and affect
Studies in Russian and Soviet Cinema Pub Date : 2018-09-02 , DOI: 10.1080/17503132.2018.1511262
Volha Isakava 1
Affiliation  

ABSTRACT This article examines Ivan Vyrypaev’s debut feature film Euphoria (2006) from the perspectives of phenomenological approaches to film and affect theory. The essay situates Euphoria in the context of Vyrypaev’s aesthetics and the New Drama movement. It explores how the film interrogates cultural conventions and viewer expectations, dismantling our habitual notions of cinematic experience. Building on Laura Marks’s theory of haptic visuality and Jennifer Barker’s theorization of the film body, this essay investigates cinematic form, sound and camera work in Euphoria to argue that the film actively seeks to establish an affective and embodied relationship with the viewer.

中文翻译:

欣快电影:伊万·维里帕耶夫 (Ivan Vyrypaev) 的欣快感、后电影和情感

摘要 本文从电影和情感理论的现象学方法的角度考察了伊万·维里帕耶夫的处女作《幸福感》(2006)。这篇文章将 Euphoria 置于 Vyrypaev 的美学和新戏剧运动的背景下。它探讨了电影如何质疑文化习俗和观众期望,打破我们对电影体验的习惯性观念。本文以劳拉·马克斯的触觉视觉理论和詹妮弗·巴克的电影主体理论为基础,调查了《幸福感》中的电影形式、声音和摄影工作,论证电影积极寻求与观众建立情感和具身关系。
更新日期:2018-09-02
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