Century Wenjing and the Ullens Center for Contemporary Art (UCCA) recently jointly launched a series of dialogue activities on "Images and Beyond", combining the tradition of image studies to explore the function and importance of images in different visual media such as film, photography, and painting in the current cross-cultural and cross media diverse and three-dimensional research context.
Wang Yan and Dong Bingfeng, two teachers, have shown us another possibility of film research through Bellman's research on Warburg and Eisenstein. Png'alt='Iconography Film Terminology'/> Although the Soviet Union was atheistic, a civilization could not truly depart from tradition. The 'truth' here, which is the pathos in the title, is a picture. And authenticity generally refers to the "truth" felt by the subject. Although this historical scene is not a documentary, it connects many images through editing to form a strong meaning. You are moved and have a reaction to the historical process. I think Yu Bellman emphasizes more on the practicality of Eisenstein's emotions, that is, when the subject is infected by the image, they participate in history in turn and begin to change it. This kind of "truth" is different from the entire American tradition, as well as the "Handbook of Motion Picture" school and the New Wave (in fact, the New Wave did not follow the Hollywood path, as Truffaut and Godard actually took a different path), emphasizing more on the "truth" of ideas rather than the "truth" of experience or action. Yu Bellman's most important job is to turn this issue into reality. In 2015, he gave three series of lectures, placing this issue in a new century and context, reflecting on how we can re-examine such a classic film and montage. We just emphasized his rational concepts of rhythm and montage, but he also places great emphasis on the emotional and emotional impact of images and imagery. In his article 'Not a Cold Nature', he discussed the visual form or editing methods of music scores. This section is also related to the concept of a "psychological resonance device" between lyricism and scenery in Chapter 3 of the book "Imagery, History, and Poetry", titled "Atmosphere, Imagery, and Vision Dizziness". This exhibition reorganizes Eisenstein's illustrations, theater designs, and films with the popular Soviet Constructivism, photographic montage, architectural planning, and various art movements of the time, attempting to understand Eisenstein's creations and ideas in the avant-garde art movement. In 2019, the Grand Palace in Paris held the "Rouge: Art et utopie au pays des Soviets" exhibition, covering the period from the October Revolution of 1917 to Stalin's death in 1953, exploring the development of art from the relationship between art and politics. In 2017, the Royal Academy of Arts in London held the "Revolution: Russian Art 1917-1932" event. In this exhibition, movies are regarded as the 'most important art of the 1920s'. In 2019, the "L'oeil exterique: Sergue ï Eisenstein, cin é aste à la Crois é e des arts" was held at the Meuse branch of the Pompidou Centre. The exhibition's discussion on the relationship between film and modern art is also very creative. In the research catalogue of this exhibition, scholar Antonio Somaini also compared the relationship between Abi Warburg's "Atlas of the Goddess of Memory" and Eisenstein's film montage. Cn/ycycycj/20260222/ac936d0585f9daf56b7c971788d0f565_9. png 'alt=' Iconography Film Terminology '/> In fact, the "truth" of history does not equal the "truth" of facts, but rather deeply rooted emotions, psychology, and images. This thing constitutes a 'true'. So American movies are business, Soviet movies are philosophy of education or ideological ideas. Although we can learn from each other, the focus is still different. At this time, Yu Bellman's proposal of Eisenstein was actually calling for a critical film theory or visual concept. Now it seems that Valborg's series of works on the "Atlas of the Goddess of Memory" in the 1920s was a huge breakthrough in the study of art history. Because it was in line with the changes in the entire cultural and artistic discipline at that time, including film montage. Later, some scholars regarded it as a montage method that integrates images, knowledge, and vision. In his lecture, Yu Bellman mentioned the connection between the "Goddess of Memory Atlas" and montage methods, which means that it is not only the composition of images under the theme of each plate, but also the connection or variation of visual lines between the images inside each plate. These plates work like cross-sections, running through the long history of the relationship between power and image. "(" The Burning Pain of Memory, "p. 12) Just now, Teacher Wang has talked about many changes in the scenes. During the process of watching this movie again, I focused on observing the details of its image style and visual language. When reflecting on his work in the late 1920s, Eisenstein mentioned that 'The Battleship Potemkin' had a distinct Greek style, while 'October' was Baroque. I find this very interesting and may help us understand the form he adopted, the relationship between the shaping of his images in major scenes and movements in the film. He drew many symbol diagrams himself, and we can see in the continuous stills that the lines of the crowd gathering move rapidly and sharply, forming a spiral scene: mourning, and finally producing a huge emotional and infectious image. The film thus achieves the social significance it intends to convey. Imagery is actually the study and interpretation of images. The things recorded by the lens are very limited, just like a phenomenological machine, it does not mean that it can record 'truth', because 'truth' needs to be interpreted. At this point, you need to go back to that era and culture, and become a historian, anthropologist, and cultural researcher. So Valborg uses cultural science, the science of culture. This type of research must be interdisciplinary and comprehensive. I think the work done by Warburg and Huberman goes far beyond the scope of art history. Yu Bellman used historical anthropology of images. Our art history and media history both focus on artistic carriers, or the abilities of artists. Yu Bellman's work explores how these works have changed the emotions, thoughts, and behaviors of those who watch them, and how these people may have reshaped this period of history. The 'Les Mis é rables' we just talked about is the best example. It is a two-way process, history happens, Hugo wrote it out, and then it is constantly remade into various forms. At the same time, in the dissemination process of these works, they have caused theoretical shock to every generation. The composition and concept of the entire 'Battleship Potemkin' were influenced by Hugo's depiction of the French Revolution in 1832, while Eisenstein also influenced the memories of Russians, Chinese, and people from other countries about that period of history in 1905. I think this process is also known as anthropological research, so images must be interdisciplinary research. Png'alt='Iconography Film Terminology'/>
