ARCHIVAL APOCALYPSE is an approach to re-living, and experiencing the study and the systemic recording of our culture as humans. Russell here analyzes in depth how the filmmakers collected the archival footage, and presented it to us with an artistic approach but yet fully topped with a political threats, forcing us to think of how important are such footage to look and compare the past with the present, and awake in us the awareness and the threats of reliving the past. found-footage filmmaking, or the archival film practice is built on the beauty of whatever is left from the past that we never lived, yet survived and revived by the film-makers to tell us about it, like an allegory of history she said, a montage of events and memories, in which the the film-makers presented it to us somewhere between the documentary form, and the fictional. It is always pointing towards the originality of its content, like an already made advertisement or an educational film, which is already representing the culture itself, and its archival footage, and its recycling that implies a quality touch of what already been used and seen, already took place, already lived.
Found-footage is a montage of memory traces. Found footage is a technique that produces “the ethnographic” as a discourse of representation. Because the filmmaker works with images that are already filmed (“ready-mades”). Different from conventional ethnography, it is no longer representative of culture, but an element of culture. In this essay, the author is purpose to explore the relation between found-footage and ethnography. The author will argue that avant-garde constitute a specific type of ethnographic temporality. The dialectical potential of found-footage filmmaking is inseparable from the role of archival imagery in documentary practices as an unquestioned realism. In addition to be seen as a means of recycling the excess waste of consumer culture, the filmmaking process of found-footage tends toward an end of history. However, found-footage often violate copyright law and face a challenge to release in commercial to the public. The history of found-footage traces back to collage forms of filmmaking, which date back to the 1920s. It experienced the use of television in the 1950s, structural film techniques of rephotography in the 1960s and early 1970s.The author also select some a group of texts as sample to describe, including Leslie Thornton’s Peggy and Fred in Hell(981-1994), Bruce Conner’s A Movie(1958), the archival project of Atomic Café(1982), Craig Baldwin’s Tribulation 99(1991), and Black Audio Film Collective’s Handsworth Songs(1985).
ARCHIVAL APOCALYPSE is an approach to re-living, and experiencing the study and the systemic recording of our culture as humans. Russell here analyzes in depth how the filmmakers collected the archival footage, and presented it to us with an artistic approach but yet fully topped with a political threats, forcing us to think of how important are such footage to look and compare the past with the present, and awake in us the awareness and the threats of reliving the past.
ReplyDeletefound-footage filmmaking, or the archival film practice is built on the beauty of whatever is left from the past that we never lived, yet survived and revived by the film-makers to tell us about it, like an allegory of history she said, a montage of events and memories, in which the the film-makers presented it to us somewhere between the documentary form, and the fictional.
It is always pointing towards the originality of its content, like an already made advertisement or an educational film, which is already representing the culture itself, and its archival footage, and its recycling that implies a quality touch of what already been used and seen, already took place, already lived.
Found-footage is a montage of memory traces. Found footage is a technique that produces “the ethnographic” as a discourse of representation. Because the filmmaker works with images that are already filmed (“ready-mades”). Different from conventional ethnography, it is no longer representative of culture, but an element of culture. In this essay, the author is purpose to explore the relation between found-footage and ethnography. The author will argue that avant-garde constitute a specific type of ethnographic temporality. The dialectical potential of found-footage filmmaking is inseparable from the role of archival imagery in documentary practices as an unquestioned realism. In addition to be seen as a means of recycling the excess waste of consumer culture, the filmmaking process of found-footage tends toward an end of history. However, found-footage often violate copyright law and face a challenge to release in commercial to the public. The history of found-footage traces back to collage forms of filmmaking, which date back to the 1920s. It experienced the use of television in the 1950s, structural film techniques of rephotography in the 1960s and early 1970s.The author also select some a group of texts as sample to describe, including Leslie Thornton’s Peggy and Fred in Hell(981-1994), Bruce Conner’s A Movie(1958), the archival project of Atomic Café(1982), Craig Baldwin’s Tribulation 99(1991), and Black Audio Film Collective’s Handsworth Songs(1985).
ReplyDeleteNan - excellent and thoughtful response!
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