ABSTRACT

This article examines the potential of the art-installation as a space for experiential and sensory mediation of non-fiction film. Using the installation Commensal (2017) by Véréna Paravel and Lucien Castaing-Taylor as a case study, I discuss the contribution of contemporary art to discourses on spectatorship and audience experience in non-fiction film. Taking Commensal as a starting point, I will examine how the experience of the visitor to the art installation might differ from that of the audience member at a cinema. How does the space, institutional context and institutional mediation of a non-fiction film installation contribute to the contamination of boundaries between fictional storytelling and objective truth? By comparing Commensal and Caniba (2017), the feature-length theatrical version of the same subject by the same filmmakers, I will propose that presentation and screening in the context of the installation space offers new forms of mediation for some non-fiction film works that are experiential as opposed to spectatorial.

摘要

本文探讨了艺术装置作为非虚构电影的体验和感官调解空间的潜力。我以 Véréna Paravel 和 Lucien Castaing-Taylor 的装置Commensal (2017) 作为个案研究，讨论了当代艺术对非虚构电影中观众身份和观众体验话语的贡献。以Commensal为起点，我将研究艺术装置的参观者的体验与电影院观众的体验有何不同。非虚构电影装置的空间、制度背景和制度调解如何导致虚构故事与客观真实之间界限的污染？通过比较共生和Caniba (2017)，同一电影制作人制作的同一题材的长篇剧场版，我建议在装置空间的背景下进行展示和放映，为一些体验性的非虚构电影作品提供新的调解形式反对观赏性的。