Notice bibliographique
Résumé
In this paper, I explore how the Harun Farocki’s late cinematic essays engage with a variety of computer-synthesised images to critically interrogate cultural anxieties regarding the waning of the index and the ostensible ‘loss’ of the real in the era of digital filmmaking. Applying close textual analysis to the projects Serious Games (2009-2010) and Parallel I-IV (2012-2014), I demonstrate that Farocki’s sustained engagement with ex nihilo images extends the filmmaker’s career-long interest in deconstructing the technical, ideological and economic aspects of ‘operational’ imagery to the specific context of advanced digital animation. In these cinematic essays, I argue, Farocki repurposes a range of digitally simulated images extracted from different sources, including footage extracted from popular video games, 3D architectural models, and military training programs, to investigate both the aesthetic qualities of computer animation and the role they play in wider social and institutional processes. Before I examine Farocki’s late work in depth, I first address the scholarly discourse surrounding the development of digital filmmaking, which treats the split between analogue and new media in terms of a straightforward conflict between the inherent trustworthiness of the former and the unreliability of the latter. According to such a viewpoint, the fact that analogue media is based on pro-filmic light values being physically imprinted onto a photochemical surface creates an immediate isomorphic link between the referent and its cinematic record, which means that analogue footage can be relied on to function as a ‘trace’ of the real. Having established this as background, I then examine the essayistic strategies mobilized by Farocki in his late digital works to challenge the ‘truth status’ of cinematic images and encourage the viewer to think carefully about the process of production which created the image and the social context in which it was circulated. Applying close textual analysis of the projects Serious Games and Parallel I-IV, I illustrate that Farocki’s late cinematic essays offer a sophisticated examination of the nature of realism, materiality and epistemological uncertainty in the digital era. It is my contention that, instead of communicating a single, objective ‘truth’ to the viewer, Farocki’s cinematic essays reflexively call into question the truth status of the images they place under scrutiny, therefore pointing to the ways in which images may be manipulated, falsified and inflected with bias. Farocki, therefore, mobilizes essayistic strategies to realize the epistemological potential of synthesized images which hold no direct indexical connection to pro-filmic events by subjecting them to a rigorous process of critical reframing. In exploring the function, formal design, and technological constitution of contemporary simulated images, Farocki expands and reconfigures classical notions of ‘truth value’ in nonfiction cinema based on the values on transparency, objectivity and photographic indexicality.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».