Journal: Arts Studies and Criticism DOI: 10.32629/asc.v7i3.5352
Abstract
This study aims to explore the effects of the Exquisite Corpse movement on experimental movies, especially participatory and tactile movies. In analyzing how the director utilizes the collective creation and contingency elements of the Exquisite Corpse, it reveals how the audience can become story co-creators. It also analyzes how modern digital platforms and sensing technologies provide technical support for this interaction. This study endeavors to fill the gap in understanding the impact of Exquisite Corpse on film narration and audience participation through case studies, narrative analysis, and audience participation studies, and provide theoretical insights and practical significance for film production.
Keywords
exquisite corpse, experimental movies, digital platforms, audience participation, collective creation
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[3] Kochhar-Lindgren, K (2009). The Exquisite Corpse[M]. London, UNIVERSITY OF NEBRASKA PRESS.
[4] Burger, P. (1984). Theory of the Avant-Garde. Translated by Shaw, Minneapolis: University of Minnesota Press.
[5] Deleuze, G. (1993). The Fold: Leibniz and the Baroque. London: The Athlone Press.
[6] McShane, M.C. (2000). ‘Exquisite corpses: Representations of violence in the collective surrealist unconscious’, Paroles gelées, 18(2), pp. 113-130. doi: 10.5070/PG7182003113.
[7] Currie, M. (1998). Postmodern Narrative Theory. Basingstoke: Macmillan Education UK.
[8] Burroughs, W. S. (1959). Naked Lunch. Paris: Olympia Press; New York: Grove Press.
[9] Chester, A. (1967). The Exquisite Corpse. New York: Simon & Schuster.
[10] Kaitavuori, K. (2018). The Participator in Contemporary Art: Art and Social Relationships. London and New York: I.B. Tauris & Co. Ltd.
[11] Marchessault, J. (1995). Reflections on the dispossessed: Video and the "Challenge for Change" experiment. Screen, 36(2), pp. 137.
[12]Hou, H., Ning, K., and Wang, Z. (2018). The realistic construction, developmental symptoms, and reflections of interactive documentaries—From the perspective of the 'practical paradigm' in media studies. Modern Communication (Journal of Communication University of China), 40(4), pp. 114-118.
[13] Manuel, J. & Vigar, G. (2021). ‘Enhancing citizen engagement in planning through participatory film-making’, Environment and Planning B: Urban Analytics and City Science, 48(6), pp. 1558-1573.
[14] Marks, L.U. (2000). The skin of the film: Intercultural cinema, embodiment, and the senses. Durham, NC: Duke University Press.
[15] Fan, H. (2024). Empathy: The Bodily Interface and Haptic Criticism of Haptic Cinema. Journal of Beijing Film Academy, 4, pp. 208.
[16] Chenzira, A. (2011). Haptic Cinema: An Art Practice on the Interactive Digital Media Tabletop. Doctoral dissertation, Georgia Institute of Technology, Atlanta, GA.
[17] Murray, J. (1998). Hamlet on the holodeck: The future of narrative in cyberspace. Cambridge, MA: MIT Press.
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