美術館思考電影所創造之物 從投映到展示的「當代性」

Abstract

In the recent couple of years, a brand new phenomenon has appeared in the domain of contemporary western arts. Art Museums, through planning or actively inviting film directors, have brought films into their own exhibition halls. They separate constituents of the films, and with montage techniques, display dynamic sounds and images by "suspension" or multiple projections. Thus, instead of providing exhibition halls for placing and exhibiting static art works, the art museums, through actions of showing films, have become a revue of contemplation for the articulation with the audiences.

Articulation between cinema and the art museum began in the 1930's with the active film collation activities of the New York Modern Art Museum, after that, the art museum has become the world film describe; these explain their subtle historic and aesthetic relationship. And the 'cinematic exposition' of the art museum especially reveals a cinematic topic that needs to be theorized—a topic brought about by art museum exhibition and film collection: As tangible films, how to make art museum write an alternative kind of cinematic theories at the same time of their exhibition and collection. 'Cinema exposition' no longer contemplates films from the original perspective of cinema historians. Instead, it preserves, inscribes, and displays the theoretic cinema history in the form of the display of sounds and images themselves. Furthermore, this in-values the issue of how art museum present film as special and differential art form and its relationship with other forms of arts established during the exhibition. The idea of this former and later issue thus constitutes, the theoretical aspect of this essay in its overall contemplation of the 'objectivity' and 'subjectivity' of the articulation between art museums and the cinema, as well as the practical level of interpretation intention and operations actively expressed by the museum through the 'cinema exposition' of creative artistes and exhibition planners.