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首页> 外文学位 >Memory and power: Reflections on history, memory, and Auschwitz in contemporary art and film.
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Memory and power: Reflections on history, memory, and Auschwitz in contemporary art and film.

机译：记忆与力量：对当代艺术和电影中的历史，记忆和奥斯威辛的反思。

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摘要

This project aims to explore the connection between history, memory, political power, and visual art. It aims to contribute insight to how contemporary visual artists, like the filmmaker Jean Luc Godard, and the installation artist Christian Boltanski, confront politics through the reformation of collective memory. In their case the memory and history that they evoke are connected to Second War World and the Holocaust. In a very schematic way I will try to describe their role as a provider of a sight a sight of the political struggle. I structured our investigation of Boltanski and Godard's works around three general questions on art, history and power. These questions provided a point of departure for my exploration, and helped with the formation of my arguments. At first, I tried to understand the presence of history in both Boltanski's and Godard's works. As I explained in this project, their motivations come from different reasons and events. Above all, as I have presented in this project, these artists use history in order to understand the conditions of the present moment. Therefore, I will argue that both Boltanski and Godard are historians of the present. Secondly, it was important for me to understand their specific use of the Holocaust and Auschwitz in their works. Here we notice how this event is perceived, as a reflection of social structures, and our understanding of the way power operates has grown accordingly. In this respect, Boltanski and Godard's works fall, both directly and indirectly, under the theoretical framework formulated by Michel Foucault, Adi Ophir, and Giorgio Agamben. The third question relates specifically to the art world and art practice, focusing on the attempt to expose how artistic methods and technique function as apparatuses of power. In other words, I wanted to understand and expose how power suffuses art through artistic practices. Here, I followed Godard's own investigation of cinematic montage, and Boltanski's challenges of archival practice. Therefore, it was through their paradigms that I was able to consider alternatives.
机译：该项目旨在探索历史，记忆，政治权力和视觉艺术之间的联系。它旨在为洞见，例如电影制片人让·卢克·戈达尔（Jean Luc Godard）和装置艺术家克里斯蒂安·博尔坦斯基（Christian Boltanski）等当代视觉艺术家通过集体记忆的改革如何对抗政治做出贡献。在他们看来，他们所唤起的记忆和历史与第二次世界大战和大屠杀息息相关。我将以一种非常示意性的方式来描述他们作为政治斗争视线的提供者的角色。我围绕关于艺术，历史和权力的三个一般性问题，对博尔坦斯基和戈达尔的作品进行了调查。这些问题为我的探索提供了出发点，并帮助形成了我的论点。起初，我试图理解历史在博尔坦斯基和哥达的作品中的存在。正如我在这个项目中解释的那样，他们的动机来自不同的原因和事件。最重要的是，正如我在这个项目中介绍的那样，这些艺术家利用历史来了解当下的状况。因此，我将论证Boltanski和Godard都是当下的历史学家。其次，对我来说重要的是要了解他们在作品中对大屠杀和奥斯威辛集中营的具体用法。在这里，我们注意到这一事件是如何被视为社会结构的反映，并且我们对权力运作方式的理解也相应增加。在这方面，Boltanski和Godard的作品直接或间接地落在Michel Foucault，Adi Ophir和Giorgio Agamben提出的理论框架下。第三个问题专门与艺术界和艺术实践有关，着重于试图揭示艺术方法和技术如何发挥力量装置的作用。换句话说，我想了解并揭示力量如何通过艺术实践使艺术窒息。在这里，我关注了戈达德对电影蒙太奇的调查，以及博尔坦斯基对档案实践的挑战。因此，正是通过他们的范例，我才能够考虑替代方案。

著录项

  • 作者

    Shevi, Orly.;

  • 作者单位

    University of California, San Diego.;

  • 授予单位 University of California, San Diego.;
  • 学科 Art Criticism.Cinema.Holocaust Studies.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 249 p.
  • 总页数 249
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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