بیگانه‌سازی: دربارهٔ «غریبگی» و تصویر متحرک: تاریخ، دریافت و اهمیت یک مفهوم

Coined by the Russian formalist Victor Shklovsky in 1917, __ostrannenie__, or “making it strange”, has become one of the central concepts of modern artistic practice, ranging over movements that include Dada, postmodernism, epic theater, and science fiction, as well as our response to the arts. Ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the Brechtian concept of __Verfremdung__, the Freudian concept of the uncanny, and Derrida’s concept of __différance__. Striking, provocative, and incisive, the essays of the distinguished film scholars in this volume reveal the range and depth of a concept that for nearly a century has been changing the trajectory of theoretical inquiry. Ostrannenie ('making it strange') has become one of the central concepts of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the 'Russian Formalist' Viktor Shklovsky in 1917, ostrannenie has come to resonate deeply in Film Studies, where it entered into dialogue with the Brechtian concept of Verfremdung, the Freudian concept of the uncanny and Derrida's concept of différance. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry. European Film Studies 'The Key Debates is a new film series from Amsterdam University Press edited by Annie van den Oever (the founding editor), Ian Christie and Dominique Chateau. The editors' ambition is to uncover and track the process of appropriation of critical terms in film theory in order to give the European film heritage the attention it deserves. With contributions from Ian Christie, Yuri Tsivian, Dominique Chateau, Frank Kessler, Laurent Jullier, Miklós Kiss, Annie van den Oever, Emile Poppe, László Tarnay, Barend van Heusden, András Bálint Kovács, and Laura Mulvey, this important study is a wonderful piece of imaginative yet rigorous scholarship Ostrannenie 2 Contents 6 Editorial 8 Acknowledgments 10 Introduction: Ostran(n)enie as an “Attractive” Concept 12 PART I Theory Formation: Ostranenie, the Avant- Garde and The Cinema of Attractions 20 The Gesture of Revolution or Misquoting as Device 22 Ostranenie, “The Montage of Attractions” and Early Cinema’s “Properly Irreducible Alien Quality” 34 Part II Mutations and Appropriations: Alienation Theories and Terminologies 60 Ostranenie, Innovation, and Media History 62 Knight’s Moves: Brecht and Russian Formalism in Britain in the 1970s 82 Ostranenie in French Film Studies: Translation Problems and Conflicting Interests 100 Christian Metz and the Russian Formalists: A “Rendez-vous Manqué”? 112 Part III Cognitive and Evolutionary-Cognitive Approaches to Ostranenie: Perception, Cognitive Gaps and Cognitive Schemes 118 Should I See What I Believe? Audiovisual Ostranenie and Evolutionary-Cognitive Film Theory 120 On Perception, Ostranenie, and Specificity 142 Estrangement and the Representation of Life in Art 158 The Perception of Reality as Deformed Realism 166 Part IV Discussions: On Ostranenie, Différance, and the Uncanny 174 Conversation with András Bálint Kovács 176 Conversation with Laura Mulvey 186 Notes 206 General Bibliography 242 Notes on Contributors 256 Index of Names 260 Index of Film Titles 268 Index of Subjects 270 Summary: Defamiliarisation Or Ostrannenie, The Artistic Technique Of Forcing The Audience To See Common Things In An Unfamiliar Or Strange Way, In Order To Enhance Perception Of The Familiar, Has Become One Of The Central Concept Of Modern Artistic Practice, Ranging Over Movements Including Dada, Postmodernism, Epic Theatre, And Science Fiction, As Well As Our Response To Arts. Coined By The Soviet Literary Critic Victor Shklovskii In 1917, Ostrannenie Has Come To Resonate Deeply In Film Studies, Where It Entered Into Dialogue With The French Philosopher Derrida's Concept Of Difference, Bordering On 'differing' And 'deferring'. Striking, Provocative And Incisive, The Essays Of The Distinguished Film Scholars In This Volume Recall The Range And Depth Of A Concept That Since 1917 Changed The Trajectory Of Theoretical Inquiry. Edited By Annie Van Den Oever. Includes Bibliographical References (p. 241-254) And Indexes. Summary: Defamiliarisation or ostrannenie, the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar, ihas become one of the central concept of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the Soviet literary critic Victor Shklovskii in 1917, ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the French philosopher Derrida's concept of differance, bordering on 'differing' and 'deferring'. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry. 'Leading international film scholars assess the impact and evolution of the concept of ostrannenie, or defamiliarisation, since its original appearance in literary debates in the 1920s.'