策展作为创作已不是新事,晏斯·霍夫曼在策展研究期刊《展览人》(原意为展示癖)的创刊序言中表达了对《电影手册》的致敬。上世纪50年代,巴赞和特吕弗等在《电影手册》中所倡导的作者理论认为一部电影终极反射了导演的个人视线和创造力,而非背后的制片厂牌或制作团队。在霍夫曼的愿景中,策展人的价值观和趣味体现将超越机构和展品成为一个 Curatorial as a creation is nothing new, and Yennshuffman expressed his tribute to the Film Handbook in the preface to the founding journal of the curatorial research journal Exhibitionist (originally intended for display of addiction). In the 1950s, author theories advocated by Barzan and Truvour et al. In The Film Handbook suggested that a film ultimately reflects the director’s personal vision and creativity rather than the label or production team behind it. In Huffman’s vision, the curator’s values ​​and tastes reflect the transcendence of institutions and exhibits as one