Hito Steyerl’s 2007 artist’s film Lovely Andrea is organized around Steyerl’s unlikely search for a lost erotic image of herself taken in the style of Japanese rope bondage (nawa shibari) in 1987, when she was a film student in Japan. Lasting for 30 minutes, the film is shot in a lo-fi documentary style and is replete with images appropriated from across time, space and media. Several of these remixed images are highly charged documents of conflict, and relate most prominently to the so-called ‘War on Terror’, though the film also refers to other global conflicts and inequalities, from gendered violence to transnational histories of policing and wartime imprisonment. Throughout Lovely Andrea, Steyerl refrains from fully representing or contextualizing the violence she evokes: conflict images are deployed fleetingly, flashing up just long enough to be glimpsed. The film’s decontextualized circulation of these images is evocative of the dislocated ways in which conflict images travel within the globalized media landscape, and their brief appearance is similarly redolent of the truncated looks that characterize this saturated terrain, where the viewer’s gaze is pulled between information spread across competing media interfaces and browser tabs. It is this bombarded media environment, much maligned in discussions of violence and visuality, that Steyerl strives to negotiate as she broaches contemporary war.

中文翻译：

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迈向处理冲突图像的新模式：通过 Hito Steyerl 的政治电影瞥见战争

Hito Steyerl 的 2007 年艺术家电影Lovely Andrea围绕 Steyerl 不太可能寻找她在 1987 年以日本绳索束缚 ( nawa shibari )的风格拍摄的丢失的色情图像而组织，当时她还是日本的电影学生。这部电影时长 30 分钟，采用低保真纪录片风格拍摄，充满了来自时间、空间和媒体的图像。这些混合图像中有几张是冲突的高度记录，最突出的是与所谓的“反恐战争”相关，尽管这部电影还提到了其他全球冲突和不平等，从性别暴力到跨国警务历史和战时监禁. 整个可爱的安德里亚, Steyerl 没有完全表现或背景化她所唤起的暴力：冲突图像的部署转瞬即逝，闪现的时间刚好足以让人一瞥。影片对这些图像的去语境化循环唤起了冲突图像在全球化媒体景观中传播的错位方式，它们的短暂出现同样让人联想到这种饱和地形的截断外观，观众的目光在信息传播之间被拉扯跨竞争媒体界面和浏览器选项卡。正是这种被轰炸的媒体环境，在讨论暴力和视觉形象时备受诟病，Steyerl 在谈到当代战争时努力进行谈判。