ABSTRACT

At the turn of the twentieth century, ideas and technologies coalesced around the realisation of what Kim Timby calls the integral-image utopia: the complete simulation of the natural world. Later described as total cinema in the 1940s by André Bazin and René Barjavel, attention was placed on materially representing the sensible world through moving-image photography, sound, colour and depth. Yet only brief consideration was given to the flesh of the viewer, their embodied engagement with and subjective approach to this perceptual realism. It was the written word, arguably the most immaterial and least sensibly manifest media, that made the case for the role of the body. At the same time that experiments towards the integral-image utopia – particularly sound, colour and stereoscopic depth – became as known for their failures and intermittent uptake as their success, 1930s science fiction literature was able to develop the integral-image utopia through descriptions of proto virtual reality (VR) systems that centred the human body. Rather than a linear flow wherein literature adapted the ideas of technological experimentation, or technological realisation adapted and responded to ideas proposed in literature, cross-fertilising cyclical models of exchange between literature and audiovisual technologies took place.

摘要

在 20 世纪之交，想法和技术围绕实现 Kim Timby 所说的整体形象乌托邦：对自然世界的完全模拟。后来在 1940 年代被安德烈·巴赞 (André Bazin) 和勒内·巴哈维尔 (René Barjavel) 描述为整体电影，注意力集中在通过运动图像摄影、声音、色彩和深度来物质性地呈现可感世界。然而，只对观众的肉体、他们对这种感知现实主义的具体参与和主观方法给予了简短的考虑。正是文字，可以说是最非物质和最不明显的媒体，为身体的作用提供了理由。与此同时，对整体形象乌托邦的实验——尤其是声音，色彩和立体深度——因其失败和间​​歇性吸收而闻名于世，1930 年代的科幻文学能够通过对以人体为中心的原始虚拟现实 (VR) 系统的描述来发展整体图像乌托邦。与文学适应技术实验思想的线性流动，或技术实现适应并回应文学中提出的思想的线性流程不同，文学和视听技术之间的交叉循环交流模型发生了。