Frames Cinema Journal最新文献_第3页

Review: Eric Smoodin, Paris in the Dark: Going to the Movies in the City of Light, 1930-1950 书评:埃里克·斯穆丁，《黑暗中的巴黎:在光明之城看电影，1930-1950》

Frames Cinema Journal Pub Date : 2022-03-07 DOI: 10.15664/fcj.v19i0.2400

Wesley Kirkpatrick

引用次数: 0

Filmographies as Archives: On Richard Dyer’s List-Making in Gays and Film 作为档案的电影作品:论理查德·戴尔在同性恋和电影中的名单制作

Frames Cinema Journal Pub Date : 2022-03-07 DOI: 10.15664/fcj.v19i0.2396

Glyn Davis

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Awakening the film censors’ archive in [CENSORED] (2018) 唤醒[censorship](2018)中的电影审查档案

Frames Cinema Journal Pub Date : 2022-02-18 DOI: 10.15664/fcj.v19i0.2388

C. Henry

{"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}

引用次数: 0

Haunted Archives: Presence and Absence in the Audio-visual Record of Conflict in Bosnia-Herzegovina 闹鬼档案:波黑冲突视听记录中的存在与缺失

Frames Cinema Journal Pub Date : 2022-02-18 DOI: 10.15664/fcj.v19i0.2385

Lennaart Van Oldenborgh

{"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}

引用次数: 0

Whatever Happened to Home Movies? Self-representation from Family Archives to Online Algorithms 家庭电影怎么了?从家庭档案到在线算法的自我表现

Frames Cinema Journal Pub Date : 2022-02-18 DOI: 10.15664/fcj.v19i0.2381

Lauren Berliner

{"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}

引用次数: 0

Borrowed Dreams: Joseph Cornell and the Archive as Psychic Imprint 借用的梦:约瑟夫·康奈尔和作为精神印记的档案

Frames Cinema Journal Pub Date : 2022-02-18 DOI: 10.15664/fcj.v19i0.2391

Stephen Broomer

引用次数: 0

Recycling Destroyed Cities: Ruined Archives in Copy Art 回收被摧毁的城市:复制艺术中被破坏的档案

Frames Cinema Journal Pub Date : 2022-02-18 DOI: 10.15664/fcj.v19i0.2387

Maryam Muliaee

引用次数: 0

Translating Interfaces in the Ms. Magazine Archive 翻译杂志女士档案中的接口

Frames Cinema Journal Pub Date : 2022-02-18 DOI: 10.15664/fcj.v19i0.2386

Fabiola Hanna, Irene Lusztig

{"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}

引用次数: 0

Images Big and Soft: The Digital Archive Rendered Cinematic 图像大而软:数字档案渲染电影

Frames Cinema Journal Pub Date : 2022-02-18 DOI: 10.15664/fcj.v19i0.2379

Holly Willis

{"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}

引用次数: 0

Double Vision: Encountering Early Ethnographic Films in the Digital Archive 双重视野:在数字档案中遇到早期民族志电影

Frames Cinema Journal Pub Date : 2022-02-18 DOI: 10.15664/fcj.v19i0.2390

Petra Löffler

{"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}

引用次数: 0