Video Art, Rethinking the Narratives - From Anna Sanders Films towards the In-between Narratives

• Main Authors: Hsu Chia-Wei, 許家維
• Other Authors: Huang Chien-Hung
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/54061332289475629929

碩士 === 國立臺灣藝術大學 === 造形藝術研究所 === 98 === In 1997, the foundation of Anna Sanders Films stated clearly the development of relationship between cinema and plastic art. This company was composed by several French artists lively in 90s. They applied cinema narratives into their works, and attempted to refresh the debate on video installation and cinema. In this essay, I deliberate works produced by these artists as a main object, and discuss their practices in in-between narrative which cross both plastic art and cinema field. Based on their doubt on video installation, using Structuralism as an analyzing method, I approach to the in-between narrative, and expound its logic expanded field. Furthermore, it advances into three concepts: mise en abyme, l’hors-champ, actualism, a more complicated internal dispatch in narratives. Through this description, it also becomes a new possibility in contemporary narratives. Anna Sanders Films’ artists constantly work on theme between diegesis and reality, which gives narratives itself diversities and a whole new life. On the one hand, the in-between narratives succeed to the critique attitude originated from video installation. And with the power of images, the extended space could be everywhere outside museums. On the other hand, it also suggests a possibility to get involve into politics. In the end part of this essay, the discussion turns to question on how the in-between narratives functions in complex local politics. At the same time, returning to my works, “The Story of Hoping Island” and “Huatung Village” as examples, I continue preceding discussion, and it’s also a possible response to the subject, locality.