51 Paintings

BACKGROUND Current international developments in art films have identified the need to establish complex and emotive ways to represent memory as a reflective and social mirror through the moving image (e.g. Cinema, Memory, Modernity: The Representations of Memory from the Art Film to Transnational Cinema, Russel Kilbourn). While this research recognises the significance of such implications, it moves to acknowledge the role of memory through art and its subsequent impact on how we remember and reconfigure paintings through images of place. CONTRIBUTION The feature length artwork 51 Paintings addresses this role through a seven-year study of medieval religious paintings located in the 1000-year-old St Michaels Church at Schwabisch Hall, Germany. The methodology of such enacted a philosophical perspective that considered the role of memory as a catalyst for the ways in which we articulate and come to terms with the experience of viewing paintings, and how these memories can be mapped into new locations of historical and cultural significance. In doing so, it arrives at a new benchmark for the discipline in understanding how art can bring about a reconfiguration of visual memory, and from this, how such approaches can be instigated within a moving image context. SIGNIFICANCE The significance of this research is that it enabled a long-term study which overcame barriers for visually understanding the implications and limitations of place-orientated memory through art. Its value is attested to by the following indicators: the artwork was selected for screening by the peer reviewed screenings and academic forums at the XII International Image Festival in Manizales, Columbia; included as a case study in the recent PhD thesis House and Home by Malcom Bywaters at the University of Melbourne; and as an article of review by Tom Clift in the prominent Australian film magazine Filmink.

研究背景（BACKGROUND）
当前国际艺术电影领域的发展已明确提出，需通过运动影像（moving image）构建复杂且富有情感的方式，将记忆作为反思性与社会性的镜像进行表征，例如《电影、记忆与现代性：从艺术电影到跨国电影的记忆表征》（Cinema, Memory, Modernity: The Representations of Memory from the Art Film to Transnational Cinema），拉塞尔·基尔伯恩（Russel Kilbourn）著。尽管本研究认可上述研究议题的重要意义，但本研究转而聚焦艺术承载的记忆的作用，及其对我们如何通过场所意象铭记与重构绘画作品的影响。

研究贡献（CONTRIBUTION）
长篇影像艺术作品《51幅绘画》（51 Paintings）针对该研究视角展开研究：以德国施瓦本哈尔（Schwäbisch Hall）拥有千年历史的圣迈克尔教堂（St Michaels Church）内的中世纪宗教绘画为对象，开展了为期七年的研究。该研究采用的方法论秉持哲学视角，将记忆视为我们阐释与接纳观赏绘画体验的催化剂，并探索如何将此类记忆映射至兼具历史与文化价值的新场域。借此，本研究为该学科设立了新的研究基准：既阐明艺术如何实现视觉记忆的重构，也为在运动影像语境中践行此类研究路径提供了可行范式。

研究意义（SIGNIFICANCE）
本研究的核心意义在于，其支撑的长期研究克服了通过艺术视觉化理解场所导向型记忆的内涵与局限的障碍。其学术价值可通过以下佐证得以体现：该作品受邀在哥伦比亚马尼萨莱斯第十二届国际影像节（XII International Image Festival）的同行评审展映单元与学术论坛中展映；被收录为墨尔本大学（University of Melbourne）马尔科姆·拜沃特斯（Malcom Bywaters）新近完成的博士论文《居所与家园》（House and Home）中的案例研究；同时亦被澳大利亚知名电影杂志《Filmink》刊载汤姆·克利夫特（Tom Clift）撰写的评论文章。