{"title":"Review: Eric Smoodin, Paris in the Dark: Going to the Movies in the City of Light, 1930-1950","authors":"Wesley Kirkpatrick","doi":"10.15664/fcj.v19i0.2400","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2400","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132303721","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":"Filmographies as Archives: On Richard Dyer’s List-Making in Gays and Film","authors":"Glyn Davis","doi":"10.15664/fcj.v19i0.2396","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2396","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116794101","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}
[CENSORED] (2018) is a feature-length collage of clips excised from international films by the Australian Film Censorship Board between 1958 and 1971, which historian and artist Sari Braithwaite uncovered in the National Archives of Australia. While the censored clips were archived alphabetically, Braithwaite curates them by motif, capturing the numbness generated by archivists’ and censors’ processes through repetitive bombardment of similar imagery in various categories of sex and violence. Compiling and re-categorising this trove of censored fragments produces a new perspective not only into past practices of censorship but more insightfully, into patterns of gendered dynamics and action in narrative cinema. Through feminist critical practice, Braithwaite deploys a ‘layered gaze’ and expands a critique of censorship to a critique of cinema. Braithwaite’s film mobilizes ‘productive misuse’ (Baron 2020), not for her original goal of damning censorship, but to reflect on cinematic fixations (including female nudity and sexual violence) and spectatorial implication. By suturing the censors’ excisions, Braithwaite draws attention to her own growing feminist ‘disenchantment’ (Elsaesser 2005) with cinema culture as she engages with the censors’ offcuts. [CENSORED] documents an awakening of – and from – the censors’ archive. The film evolves through sensory engagement with this archive, and in doing so, provides insight into the comparable – and sometimes complicit – processes of film spectatorship, censorship, and audio-visual archival research.
{"title":"Awakening the film censors’ archive in [CENSORED] (2018)","authors":"C. Henry","doi":"10.15664/fcj.v19i0.2388","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2388","url":null,"abstract":"[CENSORED] (2018) is a feature-length collage of clips excised from international films by the Australian Film Censorship Board between 1958 and 1971, which historian and artist Sari Braithwaite uncovered in the National Archives of Australia. While the censored clips were archived alphabetically, Braithwaite curates them by motif, capturing the numbness generated by archivists’ and censors’ processes through repetitive bombardment of similar imagery in various categories of sex and violence. Compiling and re-categorising this trove of censored fragments produces a new perspective not only into past practices of censorship but more insightfully, into patterns of gendered dynamics and action in narrative cinema. Through feminist critical practice, Braithwaite deploys a ‘layered gaze’ and expands a critique of censorship to a critique of cinema. Braithwaite’s film mobilizes ‘productive misuse’ (Baron 2020), not for her original goal of damning censorship, but to reflect on cinematic fixations (including female nudity and sexual violence) and spectatorial implication. By suturing the censors’ excisions, Braithwaite draws attention to her own growing feminist ‘disenchantment’ (Elsaesser 2005) with cinema culture as she engages with the censors’ offcuts. [CENSORED] documents an awakening of – and from – the censors’ archive. The film evolves through sensory engagement with this archive, and in doing so, provides insight into the comparable – and sometimes complicit – processes of film spectatorship, censorship, and audio-visual archival research. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"30 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124928045","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}
This paper examines the potential consequences of the loss of raw rushes of historical events on collective memory. It examines two sets of rushes from 21 August 1993 that survived against the odds, of the arrival of the first humanitarian aid convoy in the besieged enclave of east Mostar, Bosnia-Herzegovina. These rushes were compared with edited accounts and examined for elements that, in the words of Dai Vaughan, could generate “meanings oblique, peripheral or even antagonistic to the text as understood.” According to a well-worn maxim, “journalism is the first rough draft of history”. This is certainly true for audio-visual media: typically, archives preserve edited, “finished” films, and rushes often get lost from the record. This highlights a sometimes overlooked form of exclusion from the archive: the selection of footage in the editing room. In commercial news archives economic pressures determine which footage will be digitised, and a diminishing pool of well-known images tend to be re-used in a “feedback loop of historical footage”. Examining the rushes of the aid convoy to Mostar reveals how much the news coverage is coloured by the media spectacle accompanying the convoy. The clear emphasis on the humanitarian aspects of the story downplays the political stakes of the warring parties, and incongruous jokes to the camera provide unexpected glimpses of the pressures and the privileges of the international journalists and aid workers producing the images. These are insights that could only have been gleaned from the raw rushes of the situation, and are an indication of the kind of insights into comparable events that may have been “narrativised” out of the historical record, and lost on the cutting room floor.
{"title":"Haunted Archives: Presence and Absence in the Audio-visual Record of Conflict in Bosnia-Herzegovina","authors":"Lennaart Van Oldenborgh","doi":"10.15664/fcj.v19i0.2385","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2385","url":null,"abstract":"This paper examines the potential consequences of the loss of raw rushes of historical events on collective memory. It examines two sets of rushes from 21 August 1993 that survived against the odds, of the arrival of the first humanitarian aid convoy in the besieged enclave of east Mostar, Bosnia-Herzegovina. These rushes were compared with edited accounts and examined for elements that, in the words of Dai Vaughan, could generate “meanings oblique, peripheral or even antagonistic to the text as understood.” \u0000According to a well-worn maxim, “journalism is the first rough draft of history”. This is certainly true for audio-visual media: typically, archives preserve edited, “finished” films, and rushes often get lost from the record. This highlights a sometimes overlooked form of exclusion from the archive: the selection of footage in the editing room. In commercial news archives economic pressures determine which footage will be digitised, and a diminishing pool of well-known images tend to be re-used in a “feedback loop of historical footage”. \u0000Examining the rushes of the aid convoy to Mostar reveals how much the news coverage is coloured by the media spectacle accompanying the convoy. The clear emphasis on the humanitarian aspects of the story downplays the political stakes of the warring parties, and incongruous jokes to the camera provide unexpected glimpses of the pressures and the privileges of the international journalists and aid workers producing the images. These are insights that could only have been gleaned from the raw rushes of the situation, and are an indication of the kind of insights into comparable events that may have been “narrativised” out of the historical record, and lost on the cutting room floor. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114154628","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}
Home movies are cultural acts and artifacts that have much to teach us about the way we use media technologies to situate ourselves in contemporary and past cultures, and how we use them to store and reshape our images of self, family and community. Archives of personal, family, or community media have always been rich and complex, albeit relatively bound sites of analysis, however when we now upload personal media to video sharing platforms we subject them not only to new economies of scale, but of meaning and audience as well. The prolific use of platforms such as YouTube and TikTok now requires us to take stock of how systems of producing, organizing, and circulating self-made media are impacted by corporate profit motives and backend functionalities. The capacities and uses of digital recording technologies and online file sharing platforms have complicated the status of the category of home movies and necessitate a revision to the analytical frameworks that several scholars of Cinema and Media Studies have offered in the past. Through a discussion of several user-produced media texts on video sharing platforms, I aim to elucidate the ways in which the platform is now apparatus that structures new social and affective relations and how we conceive of and represent our personal worlds, drawing attention to how capital flows through these systems, commodifying images, affect, gestures, expression, movement, sounds, and desire, and how and where existing social biases are reproduced or challenged.
{"title":"Whatever Happened to Home Movies? Self-representation from Family Archives to Online Algorithms","authors":"Lauren Berliner","doi":"10.15664/fcj.v19i0.2381","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2381","url":null,"abstract":"Home movies are cultural acts and artifacts that have much to teach us about the way we use media technologies to situate ourselves in contemporary and past cultures, and how we use them to store and reshape our images of self, family and community. Archives of personal, family, or community media have always been rich and complex, albeit relatively bound sites of analysis, however when we now upload personal media to video sharing platforms we subject them not only to new economies of scale, but of meaning and audience as well. The prolific use of platforms such as YouTube and TikTok now requires us to take stock of how systems of producing, organizing, and circulating self-made media are impacted by corporate profit motives and backend functionalities. The capacities and uses of digital recording technologies and online file sharing platforms have complicated the status of the category of home movies and necessitate a revision to the analytical frameworks that several scholars of Cinema and Media Studies have offered in the past. Through a discussion of several user-produced media texts on video sharing platforms, I aim to elucidate the ways in which the platform is now apparatus that structures new social and affective relations and how we conceive of and represent our personal worlds, drawing attention to how capital flows through these systems, commodifying images, affect, gestures, expression, movement, sounds, and desire, and how and where existing social biases are reproduced or challenged. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126213454","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}
During the first screening of Joseph Cornell’s Rose Hobart at the Julien Levy Gallery in New York City in 1936, the Surrealist painter Salvador Dalí forcefully knocked over the film projector in a rage, accusing Cornell of having stolen the idea for the film from Dalí’s own subconscious. A foundational figure in American surrealism, Cornell had produced a new and startling variation on the compilation film. Rose Hobart represented the first attempt by the filmmaker to produce an intimate psychological exploration through found images drawn from the informal archive of the junk shop, a dramatic break from the compilation filmmakers for whom the archive primarily served an evidentiary role. In this video essay, Stephen Broomer surveys Cornell’s films, focusing on the artist’s relationship to his own rough, provisional archive as a site of psychic provocation. This video essay addresses the oneiric singularity of Cornell's films by visually remixing the films, integrating them alongside compilation, surrealist, and trance films, and in doing so explores Cornell’s use of the hard cut to suggest reaction, contrast and equivalence.
1936年，在纽约的朱利安·利维画廊(Julien Levy Gallery)首次放映约瑟夫·康奈尔(Joseph Cornell)的《 罗斯·霍伯特 》( Rose Hobart )时，超现实主义画家萨尔瓦多·Dalí愤怒地强行打翻了电影放映机，指责康奈尔从Dalí自己的潜意识中窃取了电影的创意。作为美国超现实主义的奠基人，康奈尔在剪辑电影的基础上制作了一部令人吃惊的新版本。 Rose Hobart 代表了电影人第一次尝试通过从旧货商店的非正式档案中找到的图像来进行亲密的心理探索，这是一个戏剧性的突破，从汇编电影制片人那里，档案主要是作为证据的角色。在这篇视频文章中，斯蒂芬·布鲁姆(Stephen Broomer)调查了康奈尔的电影，重点关注这位艺术家与他自己粗糙的临时档案之间的关系，这些档案是一种精神上的挑衅。这篇视频文章通过在视觉上重新混合电影，将它们与汇编电影、超现实主义电影和迷幻电影结合起来，阐述了康奈尔电影的奇异性，并在此过程中探索了康奈尔对硬剪辑的使用，以暗示反应、对比和对等。
{"title":"Borrowed Dreams: Joseph Cornell and the Archive as Psychic Imprint","authors":"Stephen Broomer","doi":"10.15664/fcj.v19i0.2391","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2391","url":null,"abstract":"During the first screening of Joseph Cornell’s Rose Hobart at the Julien Levy Gallery in New York City in 1936, the Surrealist painter Salvador Dalí forcefully knocked over the film projector in a rage, accusing Cornell of having stolen the idea for the film from Dalí’s own subconscious. A foundational figure in American surrealism, Cornell had produced a new and startling variation on the compilation film. Rose Hobart represented the first attempt by the filmmaker to produce an intimate psychological exploration through found images drawn from the informal archive of the junk shop, a dramatic break from the compilation filmmakers for whom the archive primarily served an evidentiary role. In this video essay, Stephen Broomer surveys Cornell’s films, focusing on the artist’s relationship to his own rough, provisional archive as a site of psychic provocation. This video essay addresses the oneiric singularity of Cornell's films by visually remixing the films, integrating them alongside compilation, surrealist, and trance films, and in doing so explores Cornell’s use of the hard cut to suggest reaction, contrast and equivalence.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"255 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116169250","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}
This essay adopts a practice-based methodology to examine works that use copy machine as a tool of archiveology. Case studies are two of my animated films, collectively titled Recycled Series (2016-2017), and other examples of copy art, in which a series of (original and archival) images/films are degenerated with a black-and-white copy machine. I frame the degenerated images in these works as ruined images – anarchives that copy machines can produce for sensory experiences. I place these works in the context of archiveology (Russell 2018) to highlight two aspects in the ruined images: first, how the use of degeneration techniques in archiveology engenders urban imaginary; second, how archiveology as a mode of media art challenges the norms of authenticity and media specificity and unfolds the agency of recycling tools such as copiers. Using a copy machine to recycle film images, archiveology couples the practices of storytelling with the (re)discovery of the technologies of archives.
{"title":"Recycling Destroyed Cities: Ruined Archives in Copy Art","authors":"Maryam Muliaee","doi":"10.15664/fcj.v19i0.2387","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2387","url":null,"abstract":"This essay adopts a practice-based methodology to examine works that use copy machine as a tool of archiveology. Case studies are two of my animated films, collectively titled Recycled Series (2016-2017), and other examples of copy art, in which a series of (original and archival) images/films are degenerated with a black-and-white copy machine. I frame the degenerated images in these works as ruined images – anarchives that copy machines can produce for sensory experiences. I place these works in the context of archiveology (Russell 2018) to highlight two aspects in the ruined images: first, how the use of degeneration techniques in archiveology engenders urban imaginary; second, how archiveology as a mode of media art challenges the norms of authenticity and media specificity and unfolds the agency of recycling tools such as copiers. Using a copy machine to recycle film images, archiveology couples the practices of storytelling with the (re)discovery of the technologies of archives. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132607744","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}
Yours in Sisterhood is an iterative, multimodal media project that includes a 2018 feature length performative documentary, produced and directed by filmmaker Irene Lusztig, and a digital archive co-created by Lusztig and digital media scholar-artist Fabiola Hanna that is currently in production. While the digital YiS archive is still a work in progress, we put forward our work on this large-scale interactive project as a case study for considering methodologies and practices of archival translation as we move from original paper documents in an interface of folders and boxes to video footage to a browser-based digital archive. These multiple YiS translations provide a compelling case study because of their significant shifts in interpretation: from the librarian’s interface work of cataloguing, preserving, and organising the letters in folders and boxes, to the filmmaker’s interface work of editing the video readings into the form of a documentary, and finally to the current collaborative interface work of designing the video database and its query system that populates the online project. Such critical and scholarly attention to the translation of archives at the interface level will facilitate analysis and assessment of the labour, the decisions, and losses and gains of these types of translations.
{"title":"Translating Interfaces in the Ms. Magazine Archive","authors":"Fabiola Hanna, Irene Lusztig","doi":"10.15664/fcj.v19i0.2386","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2386","url":null,"abstract":"Yours in Sisterhood is an iterative, multimodal media project that includes a 2018 feature length performative documentary, produced and directed by filmmaker Irene Lusztig, and a digital archive co-created by Lusztig and digital media scholar-artist Fabiola Hanna that is currently in production. While the digital YiS archive is still a work in progress, we put forward our work on this large-scale interactive project as a case study for considering methodologies and practices of archival translation as we move from original paper documents in an interface of folders and boxes to video footage to a browser-based digital archive. These multiple YiS translations provide a compelling case study because of their significant shifts in interpretation: from the librarian’s interface work of cataloguing, preserving, and organising the letters in folders and boxes, to the filmmaker’s interface work of editing the video readings into the form of a documentary, and finally to the current collaborative interface work of designing the video database and its query system that populates the online project. Such critical and scholarly attention to the translation of archives at the interface level will facilitate analysis and assessment of the labour, the decisions, and losses and gains of these types of translations. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130784708","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}
In his recent immersive media art project titled Machine Hallucinations, artist Refik Anadol collected over 100 million images of New York City from social media and, using machine learning, created a 30-minute immersive experimental cinema experience that visualized the database. On his website, Anadol explains that computation allows “a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques.” With this project, Anadol demonstrates a tendency shared by a group of contemporary media artists who work at the intersection of cinema and the digital archive and who use machine learning and generative adversarial networks to render specific somatic experiences in relation to thousands of images. This essay discusses this shared focus by examining projects by three artists who use computational processes to assemble, manipulate, and then exhibit an archive of images as a part of their practice and output, translating the archival into the cinematic. The projects are significant in their evocation of what has been named by Ingrid Hoelzl the “soft-image” or “post-image,” shifting from the single image as a solid, stable representation within a collection of similarly single images, to that of the distributed, in-process experiential image. Further, each example approaches the creation of the collection with varied intentions; and each presents the material in disparate modalities that, while deeply connected to the cinematic, produce very different sensory experiences. Together, the examples offer a perspective on the archive in our current moment’s transition from representation to computation.
{"title":"Images Big and Soft: The Digital Archive Rendered Cinematic","authors":"Holly Willis","doi":"10.15664/fcj.v19i0.2379","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2379","url":null,"abstract":" In his recent immersive media art project titled Machine Hallucinations, artist Refik Anadol collected over 100 million images of New York City from social media and, using machine learning, created a 30-minute immersive experimental cinema experience that visualized the database. On his website, Anadol explains that computation allows “a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques.” With this project, Anadol demonstrates a tendency shared by a group of contemporary media artists who work at the intersection of cinema and the digital archive and who use machine learning and generative adversarial networks to render specific somatic experiences in relation to thousands of images. This essay discusses this shared focus by examining projects by three artists who use computational processes to assemble, manipulate, and then exhibit an archive of images as a part of their practice and output, translating the archival into the cinematic. The projects are significant in their evocation of what has been named by Ingrid Hoelzl the “soft-image” or “post-image,” shifting from the single image as a solid, stable representation within a collection of similarly single images, to that of the distributed, in-process experiential image. Further, each example approaches the creation of the collection with varied intentions; and each presents the material in disparate modalities that, while deeply connected to the cinematic, produce very different sensory experiences. Together, the examples offer a perspective on the archive in our current moment’s transition from representation to computation.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"10 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133059169","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}
In 1908, Georg Thilenius, director of the Hamburg Museum für Völkerkunde, sent a group of researchers on an expedition to the then-German colonies in Melanesia and Micronesia. The team was also equipped with a film camera. In comparison to the several thousand photographs, sketches, and notes the quantity of film produced was very low: only around eleven minutes could be shot on 35mm footage. This footage, transferred to 16mm film in the 1940s and digitised in 2018-19, is analysed both as an event of early ethnographic filmmaking and as a specific archival object: to date the object biography of the Hamburg films shows significant changes of their materiality and no less important ruptures concerning their preserving archives. This featurette raises questions about the significance of film recordings for ethnographic research, the role of archives and museums in their preservation or digitisation, and, not least, their entanglement in German colonial politics. It reconstructs the object biography of the Hamburg films based on signatures, inventory lists, and descriptions of the expedition members to shed light on this entanglement and to question its status as an archival object. In doing so it argues for a relational understanding of ethnographic filmmaking and its preservation that accounts for the responsibilities, constraints, and different interests of the people and institutions involved in capturing, distributing, and transforming moving images into an archival object.
1908年，汉堡博物馆 r Völkerkunde馆长乔治·蒂勒纽斯(Georg Thilenius)派遣一组研究人员前往当时德国在美拉尼西亚和密克罗尼西亚的殖民地进行考察。科考队还配备了一台胶片摄像机。与几千张照片、草图和笔记相比，制作的胶片数量非常少:35毫米胶片只能拍摄大约11分钟。这段镜头在20世纪40年代被转移到16毫米胶片上，并于2018-19年进行了数字化，作为早期民族志电影制作的事件和特定的档案对象进行了分析:迄今为止，汉堡电影的对象传记显示了它们的物质上的重大变化，以及它们保存档案方面同样重要的断裂。这篇专题文章提出了一些问题，包括电影记录对民族志研究的意义、档案馆和博物馆在保存或数字化方面的作用，以及它们与德国殖民政治的纠缠。它根据签名、库存清单和探险队成员的描述重建了汉堡电影的对象传记，以阐明这种纠缠，并质疑其作为档案对象的地位。在此过程中，它论证了对民族志电影制作及其保存的一种关系理解，这种理解说明了参与捕捉、分发和将运动图像转换为档案对象的人和机构的责任、约束和不同利益。
{"title":"Double Vision: Encountering Early Ethnographic Films in the Digital Archive","authors":"Petra Löffler","doi":"10.15664/fcj.v19i0.2390","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2390","url":null,"abstract":"In 1908, Georg Thilenius, director of the Hamburg Museum für Völkerkunde, sent a group of researchers on an expedition to the then-German colonies in Melanesia and Micronesia. The team was also equipped with a film camera. In comparison to the several thousand photographs, sketches, and notes the quantity of film produced was very low: only around eleven minutes could be shot on 35mm footage. This footage, transferred to 16mm film in the 1940s and digitised in 2018-19, is analysed both as an event of early ethnographic filmmaking and as a specific archival object: to date the object biography of the Hamburg films shows significant changes of their materiality and no less important ruptures concerning their preserving archives. This featurette raises questions about the significance of film recordings for ethnographic research, the role of archives and museums in their preservation or digitisation, and, not least, their entanglement in German colonial politics. It reconstructs the object biography of the Hamburg films based on signatures, inventory lists, and descriptions of the expedition members to shed light on this entanglement and to question its status as an archival object. In doing so it argues for a relational understanding of ethnographic filmmaking and its preservation that accounts for the responsibilities, constraints, and different interests of the people and institutions involved in capturing, distributing, and transforming moving images into an archival object. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126986752","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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