Video Scratching Works of Martin Arnold

碩士 === 國立高雄師範大學 === 美術學系 === 102 === Video Scratching Works of Martin Arnold Abstract Early works of video art involved conceptual art, performances, motions, and experimental films. This thesis takes its point of departure from found footage, or found-footage film, within the genre of experimenta...

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Main Authors: HSU Yu-Hsun, 許妤旬
Other Authors: CHEN Chiao
Format: Others
Language:zh-TW
Published: 2014
Online Access:http://ndltd.ncl.edu.tw/handle/73239207322449220997
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spelling ndltd-TW-102NKNU52330512015-10-13T23:50:01Z http://ndltd.ncl.edu.tw/handle/73239207322449220997 Video Scratching Works of Martin Arnold 馬丁‧ 阿諾德刮盤錄像作品研究 HSU Yu-Hsun 許妤旬 碩士 國立高雄師範大學 美術學系 102 Video Scratching Works of Martin Arnold Abstract Early works of video art involved conceptual art, performances, motions, and experimental films. This thesis takes its point of departure from found footage, or found-footage film, within the genre of experimental/avant-garde films. The research objects are the duplicate films that Martin Arnold (1959- ), an Austrian video artist, produced with self-made optical printer by capturing and reworking footage from Hollywood black-and-white movie. Using Henri Bergson’s conception of time and Gilles Deleuze’s film theory and idea of repetition and difference as the theoretical references, this study examined three scratch videos produced by Martin Arnold during 1989-1998 to investigate the way in which he played videos forward and backward, and the aesthetics of repetition and differences in videos. This research also reflects on the intertextuality between operation mechanisms of scratch videos and film texts, and finally on the production of their meanings. This thesis consists of five chapters. Chapter one provides the introduction and the research motivation, scope and problematic. Chapter two introduces the reworking of found-footage films as well as their duration and sensory experience of speed. In chapter three, the style of three scratch videos produced by Martin Arnold are examined and discussed: Pièce Touchée (1989), Passage à l’acte (1993), and Alone.Life Wastes Andy Hardy (1998); the definition of scratching, mechanical repetition and motion aesthetics of the videos are also analyzed in this chapter. Chapter four compares the relevant works which have loop characteristics caused by repetition in scratching. The conclusion is presented in the last chapter. This study provides a deeper understanding of scratch videos art of Martin Arnold in the hope of serving as reference for future studies. Key Words:Found-footage Film、Optical printer、Video Scratching、forward and backward、loop。 CHEN Chiao CHEN Ming-huei 陳蕉 陳明輝 2014 學位論文 ; thesis 95 zh-TW
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language zh-TW
format Others
sources NDLTD
description 碩士 === 國立高雄師範大學 === 美術學系 === 102 === Video Scratching Works of Martin Arnold Abstract Early works of video art involved conceptual art, performances, motions, and experimental films. This thesis takes its point of departure from found footage, or found-footage film, within the genre of experimental/avant-garde films. The research objects are the duplicate films that Martin Arnold (1959- ), an Austrian video artist, produced with self-made optical printer by capturing and reworking footage from Hollywood black-and-white movie. Using Henri Bergson’s conception of time and Gilles Deleuze’s film theory and idea of repetition and difference as the theoretical references, this study examined three scratch videos produced by Martin Arnold during 1989-1998 to investigate the way in which he played videos forward and backward, and the aesthetics of repetition and differences in videos. This research also reflects on the intertextuality between operation mechanisms of scratch videos and film texts, and finally on the production of their meanings. This thesis consists of five chapters. Chapter one provides the introduction and the research motivation, scope and problematic. Chapter two introduces the reworking of found-footage films as well as their duration and sensory experience of speed. In chapter three, the style of three scratch videos produced by Martin Arnold are examined and discussed: Pièce Touchée (1989), Passage à l’acte (1993), and Alone.Life Wastes Andy Hardy (1998); the definition of scratching, mechanical repetition and motion aesthetics of the videos are also analyzed in this chapter. Chapter four compares the relevant works which have loop characteristics caused by repetition in scratching. The conclusion is presented in the last chapter. This study provides a deeper understanding of scratch videos art of Martin Arnold in the hope of serving as reference for future studies. Key Words:Found-footage Film、Optical printer、Video Scratching、forward and backward、loop。
author2 CHEN Chiao
author_facet CHEN Chiao
HSU Yu-Hsun
許妤旬
author HSU Yu-Hsun
許妤旬
spellingShingle HSU Yu-Hsun
許妤旬
Video Scratching Works of Martin Arnold
author_sort HSU Yu-Hsun
title Video Scratching Works of Martin Arnold
title_short Video Scratching Works of Martin Arnold
title_full Video Scratching Works of Martin Arnold
title_fullStr Video Scratching Works of Martin Arnold
title_full_unstemmed Video Scratching Works of Martin Arnold
title_sort video scratching works of martin arnold
publishDate 2014
url http://ndltd.ncl.edu.tw/handle/73239207322449220997
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