ABSTRACT

In film studies in recent years, we have seen the (re)emergence of two fields of enquiry, both of which concern this essay. (1) The interest in what we have termed ‘client-sponsored, instructional and governmental filmmaking existing outside the conventional theatrical contexts by which cinema is usually defined’. We have seen a number of conferences and anthologies appear that attest to this. (2) The reconsideration of the notion of the dispositif, that emerged due to the translation of Jean-Louis Baudry’s seminal work in the 1970s. For us, research into what we term utilitarian filmmaking has been advantaged by the return to the dispositif, to what Adrian Martin calls ‘the social machine’ as well as Baudry’s basic cinematic apparatus. After defining the characteristics of the utilitarian film, we will explore the particular considerations for audiences and spectatorship as they pertain to utilitarian film. We discuss the resonances of these conceptions for genre, including documentary studies, and spectatorial pleasure.

摘要

在近年来的电影研究中，我们看到了两个研究领域的（重新）出现，这两个领域都与本文有关。(1) 对我们所说的“存在于通常定义电影的传统戏剧环境之外的客户赞助、指导和政府电影制作”的兴趣。我们已经看到许多会议和选集证明了这一点。(2) 对 dispositif 概念的重新考虑，这是由于 1970 年代让-路易斯·博德里 (Jean-Louis Baudry) 的开创性著作的翻译而出现的。对我们来说，回归到装置，回归到阿德里安·马丁所说的“社会机器”以及博德里的基本电影装置，对我们称之为功利主义电影制作的研究得到了好处。在界定了功利电影的特征之后，我们将探讨与功利电影有关的观众和观众的特殊考虑。我们讨论了这些概念对流派的共鸣，包括纪录片研究和观赏乐趣。