Cartwright Lisa
University of California at San Diego, USA.
Sci Context. 2011 Sep;24(3):443-64. doi: 10.1017/s0269889711000184.
This essay considers the work of projection and the hand of the projectionist as important components of the social space of the cinema as it comes into being in the nineteenth century and the early decades of the twentieth. I bring the concept ofMaurice Merleau-Ponty on the place of the body as an entity that applies itself to the world "like a hand to an instrument" into a discussion of the pre-cinematic projector as an instrument that we can interpret as evidence of the experience of the work of the projectionist in the spirit of film theory and media archaeology, moving work on instrumentation in a different direction from the analysis of the work of the black box in laboratory studies. Projection is described as a psychological as well as a mechanical process. It is suggested that we interpret the projector not simply in its activity as it projects films, but in its movement from site to site and in the workings of the hand of its operator behind the scenes. This account suggests a different perspective on the cinematic turn of the nineteenth century, a concept typically approached through the study of the image, the look, the camera, and the screen.
本文将放映工作以及放映员的手视为电影社会空间的重要组成部分，电影社会空间于19世纪及20世纪头几十年形成。我将莫里斯·梅洛 - 庞蒂关于身体作为一个像“手之于工具”一样作用于世界的实体的地位的概念引入对电影放映机前时代的放映机的讨论，这种放映机可被视为电影理论和媒介考古学意义上放映员工作体验的证据，从而使仪器研究朝着与实验室研究中黑箱工作分析不同的方向发展。放映被描述为一个心理过程和机械过程。我们不仅应从放映机放映影片时的活动来解读它，还应从它从一个地点到另一个地点的移动以及幕后操作员手部的操作来解读它。这种解读为19世纪的电影转向提供了一个不同的视角，这一概念通常是通过对图像、目光、摄影机和银幕的研究来探讨的。
