# Tom Smith (2016). *The Representation of Subjectivity in the Diary Films and Videos of Jonas Mekas*. : University of Edinburgh. Author(s): [[Authors/Tom Smith]] Zotero Link: [The Representation of Subjectivity in the Diary Films and Videos of Jonas Mekas](zotero://select/items/@smith_representation_2016) Index: ### Related ### Summary: ### Notes: Marjorie Keller > “Barthes distinguishes between the subject of the speech-act and the one who conducted the actions being reconstructed in language, arguing that, “when a narrator recounts what has happened to him, the I who recounts is no longer the same I as the one that is recounted.” ^[Roland Barthes, “To Write: An Intransitive Verb?’ in The Structuralist Controversy: Languages of Criticism, ed. Richard Macksey and Eugenio Donato (Baltimore: Johns Hopkins University Press, 1972), 140–1.] > “There is a difference between the “I” that acts and the “I” that represents that experience in thought, speech, or writing, with there also being another remove of the “I” that edits those words days, weeks or years later. The speech-act is an illusion of unity because each person is comprised of many ‘subjects’ within one body.” [[References/Authors/Jonas Mekas|Mekas]]에 대한 해석은 크게 두가지가 있을 수 있는데 하나는 [[P. Adams Sitney]]의 경우처럼 [[References/Authors/Jonas Mekas|Mekas]]의 작업을 [[Romanticism]]과 연결시킨다. 두번째의 경우는 사회적 구조 안에서 그의 영향을 분석하는 경향으로 [[David E. James]]가 그의 책 [To Free the Cinema: Jonas Mekas and the New York Underground](@james_free_1992) 에서 [[References/Authors/Jonas Mekas|Mekas]]의 여러 activities (as poet, archivist, exhibitor, film critic, and filmmaker)를 분석했다. ^a0ba57 Romanticism에서는 all [[avant-garde]]의 작업은 Connected to [[Romanticism]] who acutely aware of film traditions 필름의 전통을 인지하고 그 안에 존재하는 representation의 문제점을 통해서 creating cogerent representations of their internal states. > P. Adams Sitney has connected this practice to Romanticism, where authorship refers to the communication of an individual’s inner state. ([[@sitney_visionary_2002]], 339) [[P. Adams Sitney|Sitney]] refers to Mekas’ diary films as “exercises in Romantic Autobiography,” as he views all avant-garde filmmakers as acutely aware of film traditions and that they are attempting to work through the problems of representation within this tradition, creating coherent representations of their internal states.” > “And, as Sitney points out, much of the theorizing within the [[avant-garde]] came from artists themselves: Deren, Brakhage, Mekas (1972), Frampton and Kubelka.” ([[@opray_persistence_2008]], 337)“ 이런 [[Romanticism]]적 해석은 비판을 받기도 했는데 그것은 작가의 의미를 for classifying a unified subjective voice acting directly on the audience. criticising from a post-structuralist perspective by Lauren Rabinowitz as it “placed textual meaning in the author’s statements,”” 로맨틱 관점과 정 반대의 [[Lauren Rabinowitz]] > “This was criticised from a post-structuralist perspective by Lauren Rabinowitz as it “placed textual meaning in the author’s statements,” ([[@rabinovitz_points_2003]], 19) > “Rabinowitz engages with the [[avant-garde]] by using Barthes idea that the author does not precede the text, but is “born simultaneously”” 혹은 다큐멘터리로 볼 수도 있다. ^36b49e > “The most influential essay from James’ book on this thesis is Michael Renov’s, which connects Mekas’ [[avant-garde]] strategies to documentary practice.” ([[@renov_lost_1992]], 216.) 다큐멘터리 관점의 경우 메카의 작업에 “essay film”이란 라벨을에 붙이며 두가지 시선의 tension이 존재 한다. 1. 하나는 밖을 향하는 “outward gaze”로 사회적 reality와 2. 그 material을 통해 둘을 통한 introspection 과 “self-examination”을 진행한다. 이러한 방식은 16세기의 [[michel de Montaigne]]와 parallels 하며 이는 “the measure of sight”와 “the measure of things”을 한 쌍으로 한다. ^[Michael Renov, “Lost, Lost, Lost: Mekas as Essayist,” in To Free the Cinema: Jonas Mekas and the New York Underground, ed. David E. James (Princeton: Princeton University Press, 1992), 216] [[Catherine Russel]]의 경우는 [[post-structuralism]]적 관점에서 [[autoethnography]]란 term을 사용해 역사적으로 위치된 주제를 강조한다. Autobiography는 아티스트가 그들의 개인적 역사가 더 커다란 사회적 구성과 역사적 과정의 한 부분이라는 것을 깨닳는 순간 ethnographic가 된다. ^[Catherine Russell, “Autoethnography: Journeys of the Self,” in [[@russell_experimental_1999]], 276.] ^c6c05d ### Ch 5 online pracitce 글쓴이는 온라인 activities가 “acquiring and maintaining online identities make up the core activities of many users.” ^[Anna Poletti and Julie Rak, “Introduction: Digital Dialogues,” in Identity Technologies: Constructing the Self Online, ed. Anna Poletti and Julie Rak (Madison: The University of Wisconsin Press, 2014), 3.] 라는 [[Anna Poletti]] [[Julie Rak]]의 주장을 들어 온라인의 platforms가 practice has its roots in the [[avant-garde]]이며 online platforms have realised many of the key aims of the New American Cinema group, particularly the presentation of individual works without the need of institutional interference. This means that [[David E. James]]’s theorisation of the diary film being marked by the tension between private (film diary) and public footage (diary film), cannot be applied to new diaristic practices, as new production methods are dismantling these boundaries. ([[@james_film_1992]], 145-179.) ![[Drawing 2022-02-24 17.48.23.excalidraw]]