Intercultural Cinema：Depend on Things, Entangled Objects, Image-Matter-Flow

Principle Investigator：LIN, Hsin-I, Associate Professor, Department of Arts & Design ,National Tsing Hua University(2020-2022)

Principle Investigator：LIN, Hsin-I, Associate Professor, Department of Arts & Design ,National Tsing Hua University(2020-2022)

In recent years, “entanglement” has been a method of frequent discussions for scholars immersed in intercultural studies and anthropological research. This method values the power of culture to transcend space and time, and the impact of movement and imbalances. “Entanglement” involves matter and non-matter composition. We must trace the workings of fortuity, complex systems, and trajectories within this entangling matter flow. The focus of “Entanglement” is not only fortuity, interactivity, and distribution, but also emphasizes the enmeshed or interwoven of cultural relationships between human and matter flow. When we discuss the concept of interculturalism, simultaneous discussions must also take place about what type of matter flow is entangled with the heterogeneous identities of human beings. Moreover, how do we renew our understanding of intercultural issues in such entanglement?
By touching and manipulating matters with identity characteristics such as memory objects and personal objects, intercultural cinema summons sensory memories to compose a type of “image-matter-flow”. This “matter-flow” is a type of personal experience (cultural matters) carried by detached individuals. From this perspective, “hearing sensory”, “haptic visuality”, and “cultural matters” within intercultural cinema is the entanglement of human and matters as well as the sensory of things, and its attempt to summon another type of memory, another imaging component of overflowing “visual sensory”.
This research will focus on, does the “intercultural subject” still exist in the globalization of languages? Within the society of the Cloud-Spectacle, how do we produce disagreement of meaning, and decipher the cultural subject’s differentiation or identification? In the framework of “visual sensory”, has the “matter-flow” in intercultural imagery diluted inter-matter characteristics and the possibility of narration dominating entangled sensibility?