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| expanded cinema ： ウィキペディア英語版 |
expanded cinema
''Expanded Cinema'' by Gene Youngblood (1970), the first book to consider video as an art form, was influential in establishing the field of media arts.〔Manovich, Lev. 2002. "Ten Key Texts on Digital Art: 1970–2000". Leonardo. 35 (5): 567–569.〕 In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilizing new technology, including film special effects, computer art, video art, multi-media environments and holography.
== "Part One: The Audience and the Myth of Entertainment" ==
In the first part of the book, Youngblood attempts to show how ''expanded cinema'' will unite art and life. "Television's elaborate movie-like subjective-camera ''simulation'' of the first moon landing" (p46) showed a generation that reality was not as real as simulation. He says that he is writing "at the end of the era of cinema as we've known it, the beginning of an era of image-exchange between man and man" (p. 49). The ''future shock'' of the ''Paleocybernetic Age'' will change fundamental concepts such as intelligence, morality, creativity and the family (pp. 50–53). The ''Intermedia network'' of the mass media is contemporary man's environment, replacing nature. He uses recent scientific research into cellular memory and inherited memory to support his claim that this network conditions human experience. The ''Noosphere'' (a term Youngblood borrows from Teilhard de Chardin) is the organizing intelligence of the planet—the minds of its inhabitants. "Distributed around the globe by the intermedia network, it becomes a new ''technology'' that may prove to be one of the most powerful tools in man's history" (p. 57). He defends the universality of art against the localism of entertainment:
The intermedia network has made all of us artists by proxy. A decade of television-watching is equal to a comprehensive course in dramatic acting, writing, and filming...the mystique is gone—we could almost do it ourselves. Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry.
:— p. 58
This is what forces cinema to expand and become more complex. Mass media entertainment dulls people's minds. It is a closed, entropic system, adding nothing new. (pp. 59–65) Entertainment dwells on the past. We live in ''future shock'' so art should be an invention of a future (pp. 66–69). New systems need to be designed for old information. The artist is a ''design scientist''.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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