With the advent of sound film in the early 1930s the German film industry produced so-called multiple-language versions as a part of its internationalisation strategy. These versions were produced for the French, English, and Italian markets (often) with a new cast of actors. Despite the importance of music in these films, a systematic study on the role of music in these multiple-language versions is still lacking. This article offers a first case study on the topic by comparing the German, Italian, and French versions of the sound film-operetta Paprika (1932/1933). It will be illustrated that the music (rather than sound) as well as the use of the musical material in the versions of Paprika differed significantly. Musical adaptation was used as an important means to shape the film’s narrative and to create a distinct aesthetic for each of the film’s versions. Historically, there are evident parallels to the adaptation practice of opera and operetta over the past centuries.
{"title":"Multiple-Music Versions?","authors":"Ingeborg Zechner","doi":"10.3828/msmi.2021.9","DOIUrl":"https://doi.org/10.3828/msmi.2021.9","url":null,"abstract":"\u0000With the advent of sound film in the early 1930s the German film industry produced so-called multiple-language versions as a part of its internationalisation strategy. These versions were produced for the French, English, and Italian markets (often) with a new cast of actors. Despite the importance of music in these films, a systematic study on the role of music in these multiple-language versions is still lacking. This article offers a first case study on the topic by comparing the German, Italian, and French versions of the sound film-operetta Paprika (1932/1933). It will be illustrated that the music (rather than sound) as well as the use of the musical material in the versions of Paprika differed significantly. Musical adaptation was used as an important means to shape the film’s narrative and to create a distinct aesthetic for each of the film’s versions. Historically, there are evident parallels to the adaptation practice of opera and operetta over the past centuries.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48518020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"Ben H. Winters, Liz Greene","doi":"10.3828/msmi.2021.7","DOIUrl":"https://doi.org/10.3828/msmi.2021.7","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47981310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.5749/movingimage.21.1-2.0183
Martino Cipriani, Karen Chan
Abstract:This is an interview with Karen Chan, executive director of the Asian Film Archive (AFA) and president of the Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA). The archive was founded in 2005, aiming to become a hub for Asian cinema, and today presents a collection of 2,534 titles. Focusing on the Southeast Asian context, the interview explores the preservation and digitization policies adopted by the Asian Film Archive and the strategies implemented to “activate” the archive.
{"title":"Martino Cipriani in Conversation with Karen Chan","authors":"Martino Cipriani, Karen Chan","doi":"10.5749/movingimage.21.1-2.0183","DOIUrl":"https://doi.org/10.5749/movingimage.21.1-2.0183","url":null,"abstract":"Abstract:This is an interview with Karen Chan, executive director of the Asian Film Archive (AFA) and president of the Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA). The archive was founded in 2005, aiming to become a hub for Asian cinema, and today presents a collection of 2,534 titles. Focusing on the Southeast Asian context, the interview explores the preservation and digitization policies adopted by the Asian Film Archive and the strategies implemented to “activate” the archive.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88912789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.5749/movingimage.21.1-2.0055
V. Hediger, Didi Cheeka, S. Campanini
Abstract:Taking the recent rediscovery and restoration of Adamu Halilu’s 1976 Hausa-language film Shehu Umar as its point of departure, this article addresses the blind spot in the current debates about restitution: the question of Africa’s film heritage. The article offers a critical discussion of the conceptual framework of the heritage concept and highlights the challenges related to the three layers of African and specifically Nigerian film heritage: films from the colonial period, celluloid films from the early postcolonial period up to the 1990s, and the video- and digital-native films of the so-called Nollywood film industry produced after 1992.
{"title":"Reconfiguring the Audiovisual Heritage: Lessons from Nigeria","authors":"V. Hediger, Didi Cheeka, S. Campanini","doi":"10.5749/movingimage.21.1-2.0055","DOIUrl":"https://doi.org/10.5749/movingimage.21.1-2.0055","url":null,"abstract":"Abstract:Taking the recent rediscovery and restoration of Adamu Halilu’s 1976 Hausa-language film Shehu Umar as its point of departure, this article addresses the blind spot in the current debates about restitution: the question of Africa’s film heritage. The article offers a critical discussion of the conceptual framework of the heritage concept and highlights the challenges related to the three layers of African and specifically Nigerian film heritage: films from the colonial period, celluloid films from the early postcolonial period up to the 1990s, and the video- and digital-native films of the so-called Nollywood film industry produced after 1992.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72706309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.5749/movingimage.21.1-2.0077
Asli Özgen, Elif Rongen-Kaynakçi
Abstract:This article argues for a concept of the transnational archive, which offers the potential to activate moving image artifacts across a wider historical and geographical scope than the national film historiographies. Following Stoler’s description of archives as condensed sites of epistemological and political anxiety, we suggest approaching archives as registers of struggle, confusion, discrepancy, and rupture. As such, the transnational archive holds a plethora of artifacts that may challenge the intact paradigms of former colonialist and imperialist states. We tackle this potential via Ottoman film heritage, focusing on recently discovered footage of Adana, filmed by missionary filmmakers Mulsant and Chevalier in 1909. We take these cinematic images of ruins and rubble as signs of ruination, extending Stoler’s concept to the destruction of cultural heritage for epistemic erasure, as an ongoing phenomenon even after the dissolution of the imperialist or colonialist state.
{"title":"The Transnational Archive as a Site of Disruption, Discrepancy, and Decomposition: The Complexities of Ottoman Film Heritage","authors":"Asli Özgen, Elif Rongen-Kaynakçi","doi":"10.5749/movingimage.21.1-2.0077","DOIUrl":"https://doi.org/10.5749/movingimage.21.1-2.0077","url":null,"abstract":"Abstract:This article argues for a concept of the transnational archive, which offers the potential to activate moving image artifacts across a wider historical and geographical scope than the national film historiographies. Following Stoler’s description of archives as condensed sites of epistemological and political anxiety, we suggest approaching archives as registers of struggle, confusion, discrepancy, and rupture. As such, the transnational archive holds a plethora of artifacts that may challenge the intact paradigms of former colonialist and imperialist states. We tackle this potential via Ottoman film heritage, focusing on recently discovered footage of Adana, filmed by missionary filmmakers Mulsant and Chevalier in 1909. We take these cinematic images of ruins and rubble as signs of ruination, extending Stoler’s concept to the destruction of cultural heritage for epistemic erasure, as an ongoing phenomenon even after the dissolution of the imperialist or colonialist state.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75641742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.5749/movingimage.21.1-2.0163
Nina Rao
Abstract:When the artist Mildred Thompson passed away in 2003, she left behind a broad but little-known legacy. Known as a painter and sculptor, Thomson also created elaborate electronic soundscapes that mirrored her visual explorations of magnetic fields, cosmic space, and unseen phenomena; however, the recordings of these compositions, held at Emory University, were largely inaccessible until digitized in coordination with a 2019 exhibition at the Spelman College Museum of Fine Art. The role of digitization and an engaged stakeholder community in activating the collection and enriching the understanding of Thompson’s life and work is explored as an iterative endeavor, in which achieving a more inclusive access to audiovisual heritage is not a linear process but rather the product of sustained dialogue between archive and community, combining institutional and collective knowledge and resources.
{"title":"“I Have Something to Say That’s Peculiar”: Activating the Experimental Sound Recordings of Mildred Thompson","authors":"Nina Rao","doi":"10.5749/movingimage.21.1-2.0163","DOIUrl":"https://doi.org/10.5749/movingimage.21.1-2.0163","url":null,"abstract":"Abstract:When the artist Mildred Thompson passed away in 2003, she left behind a broad but little-known legacy. Known as a painter and sculptor, Thomson also created elaborate electronic soundscapes that mirrored her visual explorations of magnetic fields, cosmic space, and unseen phenomena; however, the recordings of these compositions, held at Emory University, were largely inaccessible until digitized in coordination with a 2019 exhibition at the Spelman College Museum of Fine Art. The role of digitization and an engaged stakeholder community in activating the collection and enriching the understanding of Thompson’s life and work is explored as an iterative endeavor, in which achieving a more inclusive access to audiovisual heritage is not a linear process but rather the product of sustained dialogue between archive and community, combining institutional and collective knowledge and resources.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90270721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.5749/movingimage.21.1-2.0145
Rick Prelinger
Abstract:The article advocates for moving “beyond the idea of archival access itself,” which the author suggests is an outdated form of noblesse oblige, to consider a new archival model, “a community right,” to engage archives and their many publics. Noting that Indigenous communities are sometimes unable to access the very documents and objects they have originally created, and which are now removed from the communities as well as inadequately described and preserved by non-native-language-based (often English) archival enclosures, the author defines the community right as “first, the right to see, hear, reuse, and make derivative works from the archival record and, second, respect for cultural sovereignty, autonomy, and tradition.” Archives, then, as such, can become active sites of social justice as opposed to passive repositories “that reproduce exclusion and oppression.”
{"title":"Beyond Noblesse Oblige","authors":"Rick Prelinger","doi":"10.5749/movingimage.21.1-2.0145","DOIUrl":"https://doi.org/10.5749/movingimage.21.1-2.0145","url":null,"abstract":"Abstract:The article advocates for moving “beyond the idea of archival access itself,” which the author suggests is an outdated form of noblesse oblige, to consider a new archival model, “a community right,” to engage archives and their many publics. Noting that Indigenous communities are sometimes unable to access the very documents and objects they have originally created, and which are now removed from the communities as well as inadequately described and preserved by non-native-language-based (often English) archival enclosures, the author defines the community right as “first, the right to see, hear, reuse, and make derivative works from the archival record and, second, respect for cultural sovereignty, autonomy, and tradition.” Archives, then, as such, can become active sites of social justice as opposed to passive repositories “that reproduce exclusion and oppression.”","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82513854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.5749/movingimage.21.1-2.0156
Luca Antoniazzi
Abstract:This article argues that film heritage scholarship might benefit from a stronger engagement with cultural policy studies. This scholarship offers both critical and instrumental tools to further improve the already rich contributions on the topic of the accessibility of film collections. Particularly relevant in this respect is the debate on cultural value and the so-called capabilities approach. Such an approach was developed by feminist philosopher Martha Nussbaum and economist Amartya Sen and is now debated in cultural policy and media studies in relation to concepts like cultural democracy, social justice, and well-being. The article also sketches the ways in which this approach might be applied to film heritage research.
{"title":"Cultural Policy Studies and the Capabilities Approach Have Much to Offer Film Heritage","authors":"Luca Antoniazzi","doi":"10.5749/movingimage.21.1-2.0156","DOIUrl":"https://doi.org/10.5749/movingimage.21.1-2.0156","url":null,"abstract":"Abstract:This article argues that film heritage scholarship might benefit from a stronger engagement with cultural policy studies. This scholarship offers both critical and instrumental tools to further improve the already rich contributions on the topic of the accessibility of film collections. Particularly relevant in this respect is the debate on cultural value and the so-called capabilities approach. Such an approach was developed by feminist philosopher Martha Nussbaum and economist Amartya Sen and is now debated in cultural policy and media studies in relation to concepts like cultural democracy, social justice, and well-being. The article also sketches the ways in which this approach might be applied to film heritage research.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78048935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.5749/movingimage.21.1-2.0001
Floris Paalman, G. Fossati, E. Masson
{"title":"Introduction: Activating the Archive","authors":"Floris Paalman, G. Fossati, E. Masson","doi":"10.5749/movingimage.21.1-2.0001","DOIUrl":"https://doi.org/10.5749/movingimage.21.1-2.0001","url":null,"abstract":"","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78047763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.5749/movingimage.21.1-2.0118
Nicholas Avedisian-Cohen
Abstract:This article is the first of its kind to critically assess the Syrian Archive, a born-digital video archive that preserves footage of war and political violence. It does so with an eye toward classical archival theory, contemporary geopolitics, and theories of representation in documentary cinema. It also analyzes nonfiction moving images as objects gathered and mobilized for imperialism, examining the use of violent and abject images within databases as a very particular discourse of power. It contrasts the approach taken by the Syrian Archive with bak.ma, a video database that emerged out of the Gezi Park protests in Turkey. As a theoretical intervention, this article suggests that moving image archives produced, preserved, and purveyed through recent forms of online activism will become increasingly central within archival studies.
{"title":"Embedded Archives: Video Evidence and Database Memory of War in Syria","authors":"Nicholas Avedisian-Cohen","doi":"10.5749/movingimage.21.1-2.0118","DOIUrl":"https://doi.org/10.5749/movingimage.21.1-2.0118","url":null,"abstract":"Abstract:This article is the first of its kind to critically assess the Syrian Archive, a born-digital video archive that preserves footage of war and political violence. It does so with an eye toward classical archival theory, contemporary geopolitics, and theories of representation in documentary cinema. It also analyzes nonfiction moving images as objects gathered and mobilized for imperialism, examining the use of violent and abject images within databases as a very particular discourse of power. It contrasts the approach taken by the Syrian Archive with bak.ma, a video database that emerged out of the Gezi Park protests in Turkey. As a theoretical intervention, this article suggests that moving image archives produced, preserved, and purveyed through recent forms of online activism will become increasingly central within archival studies.","PeriodicalId":41714,"journal":{"name":"Music Sound and the Moving Image","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81571852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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