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Dialogic media: Theatrical and filmi...

Bell, Phaedra Daley.

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Dialogic media: Theatrical and filmic images in conversation (Laura Falabough, Henri Bergson).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Dialogic media: Theatrical and filmic images in conversation (Laura Falabough, Henri Bergson)./
作者:	Bell, Phaedra Daley.
面頁冊數:	157 p.
附註:	Adviser: Charles R. Lyons.
Contained By:	Dissertation Abstracts International60-08A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9943623
ISBN:	0599452919

Dialogic media: Theatrical and filmic images in conversation (Laura Falabough, Henri Bergson).
Bell, Phaedra Daley.

Dialogic media: Theatrical and filmic images in conversation (Laura Falabough, Henri Bergson). - 157 p.

Adviser: Charles R. Lyons.

Thesis (Ph.D.)--Stanford University, 1999.

This dissertation theorizes the practice of using film and video on stage. It proposes a taxonomy of combined media that accounts for a phenomenon I call “dialogic media.” Dialogic media productions differ from other combined media productions in that the live performers and the recorded images appear to communicate directly with one another.

ISBN: 0599452919Subjects--Topical Terms:

854529
Cinema.

Dialogic media: Theatrical and filmic images in conversation (Laura Falabough, Henri Bergson).
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245 1 0 $a Dialogic media: Theatrical and filmic images in conversation (Laura Falabough, Henri Bergson).
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502 $a Thesis (Ph.D.)--Stanford University, 1999.
520 $a This dissertation theorizes the practice of using film and video on stage. It proposes a taxonomy of combined media that accounts for a phenomenon I call “dialogic media.” Dialogic media productions differ from other combined media productions in that the live performers and the recorded images appear to communicate directly with one another.
520 $a When they converse like this, neither performance nor film behaves as most critics predict it will. Film and video disrupt the “liveness” and “presence” supposedly intrinsic to theatre. Theatre interferes with the scopic regime classically attributed to narrative cinema. Dialogic media productions Bodily <italic>Concessions</italic> by Laura Farabough, <italic> Odysseus</italic> by Laterna Magika, and <italic>Brace Up</italic>! by the Wooster Group demonstrate the havoc each medium wreaks upon the other under these combinatory circumstances.
520 $a One critic's description of cinema does manage to describe that medium in terms that account for it even when combined dialogically with live performance. Gilles Deleuze's model of cinema continues to function because it operates through Henri Bergson's epistemology of flow rather than the representation-based epistemologies of nearly all other descriptions of film. The dissertation proposes a Bergsonian model of performance to accompany Deleuze's account of film in order to establish a vocabulary for the further discussion of this hybrid form.
520 $a This Bergsonian approach reveals that the film and the performance elements of dialogic media periodically exchange functions. When the screens and monitors appear to converse with the live performers, they take on the status of human bodies with the capacity for freedom of perception (e.g. listening) and action (e.g. speaking). Simultaneously, the screens and monitors infect the live performers with their flatness by forcing the live performers to abandon their personal sense of duration for the absolute digital time signature of video. The performers can endow the screens with subjectivity. The screens can reduce the performers to predictable moving images, objects of the screens' gaze. Dialogic media productions illustrate the interchageability of supposedly discrete categories such as subject/object and center/margin.
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