一、讲座题目：Non-cinema: digital, ethics, multitude
二、主讲人：Dr. William Brow，宁波诺丁汉大学
Supercinema: Film-Philosophy for the Digital Age (2013)
Moving People, Moving Images: Cinema and Trafficking in the New Europe (2010)
Deleuze and Film (2012)
A special issue of animation: an interdisciplinary journalon Avatar (2012)
En Attendant Godard (2009)
Common Ground (2012)
China: A User’s Manual (Films) (2012)
Ur: The End of Civilization in 90 Tableaux (2014)
目前他正在撰写一部专著，名为Global Digital Cinema: Non-cinema and the Multitude, forthcoming with Berghahn。
If high-end digital special effects are helping to bring about a ‘supercinema’ (Brown 2013), then what are we to make of filmmaking at the other end of the digital spectrum? That is, what are we to make of work by those who embrace low-end digital cameras, including non-dedicated recording devices such as mobile phones, in order to create films?
In this paper, I should like to propose that we might characterize such works as ‘non-cinema.’ This is not a case simply of the space of cinema, whereby filmmaking migrates out of the theatre and into television, on to the internet and/or into the art gallery (among other spaces). It is also a case of filmmakers embracing non-cinematic formats and forms in order to challenge the aesthetic and political norms of mainstream filmmaking. What is more, as I shall show in this paper, it is also often a case of using these forms to show to us aspects of society and the world that are normally overlooked by the mainstream institution of cinema.
Historical examples of ‘imperfect’ and other cinemas abound (see, for example, Espinosa 1979). However, in this paper I shall engage directly with contemporary filmmakers who engage with digital technology in order directly and explicitly to challenge cinema. These include Wu Wenguang’s exhortation to Fuck Cinema (China, 2006), Filipino director Khavn de la Cruz’s statement that every work he makes ‘is not a film’, and Jafar Panahi’s equally ‘non-cinematic’ masterpiece, This is Not a Film (with Mojtaba Mirtahmasb, Iran, 2011). I shall argue that these examples of ‘non-cinema’ constitute an ethical cinema of the multitude – and that it is perhaps in the ‘non-cinematic’ that we might identify a cinema to come.