{"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}
This video essay combines a series of fiction feature films, made between the late-1990s and 2010s, in which futuristic androids and robots trade in digitised classical Hollywood archival film fragments as pedagogical and expressive traces, amassing an amateur archive. I call these fragments “film quotations” to denote the process of selection, citation, and reappropriation in these film-within-a-film moments. In this video essay, Flubber (Mayfield, 1997), S1m0ne (Niccol, 2002), Teknolust (Leeson, 2002), WALL-E (Stanton, 2008), and Prometheus (Scott, 2012) all “quote” classical Hollywood films, in the form of short excerpts of sound and image, projecting (or uploading?) Hollywood’s archival past onto their imagined versions of the future. As this cohort of robots explore and amass personal visual archives, mining Hollywood history for meaning and mimicry, their viewership reveals several interrelated classical Hollywood ideologies and biases: the robot-amassed archives replicate hyper-traditional behaviour, both in conforming to strict copyright rules and in depictions of gender, sexuality, and monogamy. While only Teknolust self-consciously and critically replicates hegemonic, heternormative media logics, this essay seeks to reveal how these robots’ sensorial experience of the archive select and project a misleading selection of history into the future. While touting a paradoxically easy-to-access Hollywood history, these robots cling to a tightly limited, licensed, entirely white and compulsorily cis-het digitised Hollywood archive.
{"title":"Uploading the Archive, Copy/Pasting the “Classical”","authors":"Eleni Palis","doi":"10.15664/fcj.v19i0.2392","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2392","url":null,"abstract":"This video essay combines a series of fiction feature films, made between the late-1990s and 2010s, in which futuristic androids and robots trade in digitised classical Hollywood archival film fragments as pedagogical and expressive traces, amassing an amateur archive. I call these fragments “film quotations” to denote the process of selection, citation, and reappropriation in these film-within-a-film moments. In this video essay, Flubber (Mayfield, 1997), S1m0ne (Niccol, 2002), Teknolust (Leeson, 2002), WALL-E (Stanton, 2008), and Prometheus (Scott, 2012) all “quote” classical Hollywood films, in the form of short excerpts of sound and image, projecting (or uploading?) Hollywood’s archival past onto their imagined versions of the future. As this cohort of robots explore and amass personal visual archives, mining Hollywood history for meaning and mimicry, their viewership reveals several interrelated classical Hollywood ideologies and biases: the robot-amassed archives replicate hyper-traditional behaviour, both in conforming to strict copyright rules and in depictions of gender, sexuality, and monogamy. While only Teknolust self-consciously and critically replicates hegemonic, heternormative media logics, this essay seeks to reveal how these robots’ sensorial experience of the archive select and project a misleading selection of history into the future. While touting a paradoxically easy-to-access Hollywood history, these robots cling to a tightly limited, licensed, entirely white and compulsorily cis-het digitised Hollywood archive. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"24 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":"115366048","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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