Between 1970 and 1978, while living in New York City, the Brazilian artist Helio Oiticica, working with filmmaker Neville d’Almeida, conceived a series of projected image installations entitled Cosmococas. This essay considers these works in relation to their historical moment, as an alternative conception of expanded cinema, influenced by North American practices but inflected by Oiticica’s own cultural formation and his engagement with the Tropicalia movement. Key to this alternative conception is Oiticia’s use of separate media elements which interrelate via the body of the spectator, and his use of still images, to which, like his Parangoles (capes, banners and tents made from layers of painted fabric and other materials) the spectator-performer brings movement. In contrast to the North American conception of expanded cinema as immersive multimedia, Oiticica theorized his work as ‘quasi-cinema’, a fragmentary form that explodes film into “moment-frames”, negating “the unilateral character of cinema spectacle” in order to create a space for active participation of a kind not normally associated with cinema. Across a variety of his writings, including theoretical texts and personal correspondence, Oiticica repeatedly describes media as ‘devouring’. Writing about the television set included in his Tropicalia installation, he describes a “terrible feeling (…) of being devoured by the work”. The inclusion in the Cosmococas of images of cultural icons who died at the height of their fame – Jimi Hendrix and Marilyn Monroe – resonates with this notion of mass media devoration. The intermedial strategies deployed by Oiticica in his quasi-cinema projects are essentially anthropophagic, absorbing North American media images and forms as a way of preventing the culture of his host nation from devouring him.

中文翻译：

---

吞噬影像：Hélio Oiticica 的食人类准电影

1970 年至 1978 年间，住在纽约市的巴西艺术家 Helio Oiticica 与电影制片人 Neville d'Almeida 合作，构思了一系列名为 Cosmococas 的投影图像装置。本文将这些作品与它们的历史时刻相关联，作为扩展电影的另一种概念，受到北美实践的影响，但受到 Oiticica 自己的文化形成和他对热带运动的参与的影响。这种替代概念的关键是 Oiticia 使用通过观众身体相互关联的独立媒体元素，以及他使用静止图像，例如他的 Parangoles（披风、横幅和帐篷由多层彩绘织物和其他材料制成）观众表演者带来运动。与北美将扩展电影视为沉浸式多媒体的概念相反，Oiticica 将他的作品理论化为“准电影”，这是一种将电影分解为“瞬间帧”的碎片形式，否定“电影奇观的单边特征”，以便为一种通常与电影无关的积极参与创造一个空间。在他的各种著作中，包括理论文本和个人信件，Oiticica 反复将媒体描述为“吞噬”。关于他的 Tropicalia 装置中的电视机，他描述了一种“被工作吞噬的可怕感觉（......）”。在 Cosmococas 中收录了那些在成名时期去世的文化偶像的形象——吉米·亨德里克斯和玛丽莲·梦露——与这种大众媒体狂热的概念产生了共鸣。