Articles de revues sur le sujet « Of Cinematographic Archive »

Abstract Most of the cinematographic film collections stored in film archives are made on a triacetate base, and from the 1950s to the 1980s, a magnetic track was used to record sound. With a large number of archive materials, archives often do not know the chemical composition of film bases, history of use and degradation rates. Therefore, the chemical composition of three films with a magnetic audio track and one representative of the modern film FOMAPAN were investigated by infrared spectroscopy. Selected samples were artificially aged at elevated temperatures and humidity, and the rate of degradation of the film was evaluated by infrared spectroscopy, dimensional changes and gravimetric analysis. Based on the measurements, all of the examined films were made from cellulose triacetate and the binder of the magnetic trackswas cellulose nitrate. To determine the degree of degradation of the binder of the audio track and the triacetate base, a degradation index was created which expresses the ratio of the bandwidths of the characteristic groups in the infrared spectra. It is shown that infrared spectroscopy makes it easy to determine the chemical composition of cinematographic films and to quantify the rate of degradation and the current state of the film base using a suitably chosen degradation index.

This essay compares the formal elements shared by three recent documentaries from Latin America: 108 (dir. Renate Costa, Paraguay, 2010), Memories of a Penitent Heart (dir. Cecilia Aldarondo, Puerto Rico, 2016), and Silence is a Falling Body (dir. Agustina Comedi, Argentina, 2017). Based on Laura Marks and Vivian Sobchack’s contributions, it is possible to affirm that these films recreate the physical presence of absent subjects by using haptic language and other cinematographic tools that reconstruct a past affective network. To do so, the films use three distinctive resources: 1) the capture of tactile objects that pass from hand to hand and that evoke a physical presence, 2) the use of images from personal archives and 3) the intervention or experimentation of images, either from the archive or from the director’s own camera, to evoke an unrecovered memory.

The subject of this research is prose of Alexander Grin, the object being the specifics of cinematographic perspective at the images of the Silver Age representative. The article covers both historical and theoretical aspects, its goal is to unveil the previously unknown archive documents (with material of RGALI foundation and Mosfilm) and experimental films, which add to the history of the usage of special effects in national cinema. The analysis of films conducted by the author of the article allows to examine the evolution of the aesthetics in sci-fi cinema in the period of 1960-2010. The article also unravels the little known aspects of the work of notable Russian animators.

Artikel ini membahas copy paste video Teater Sae yang dilakukan Artery Performa pada senin, 8 Juli 2019 di Graha Bakti Budaya, Taman Ismail Marzuki dalam Djakarta Teater Platform merupakan cara kerja dramaturgi baru, yang mendudukkan kerja operasi sistem gagasan ke atas panggung merupakan kerja riset terhadap hubungan gambar dan estetika yang sudah menjadi arsip dalam tataran sinematografinya, maunpun reenactment dalam kerja penyutradaraan. Bukan kerja bentuk yang sama persis dengan video; tetapi lebih kepada usaha pencapaian dalam memberikan spektrum kerja performativitas yang berlapis-lapis antara arsip dan medium, antara estetika dan teknologi, juga perbedaan kodifikasi makna berdasarkan konteks arsip. Selain itu, konteksnya bagaimana memperlakukan video dokumenter yang di-copy paste dalam analisis teks, makna, dari aktor-aktor masa lalu ke arah tekstual hari ini yang bisa memiliki perbedaan dan persamaan dari beragam perspektif, termasuk pada ranah politik dalam Teater Sae, yang muaranya dilakukan oleh Dendi Madiya dalam Political Dramaturgy.This article discusses copy paste of Teater Sae video conducted by Artery Performa on Monday, July 8, 2019 at Graha Bakti Budaya, Taman Ismail Marzuki in Djakarta Theater Platform is a new dramaturgy way of working, which puts the work of the idea system operation on stage is a research work on the relationship pictures and aesthetics that have become archives in the cinematographic level, and reenactment in directing work. Not working the exact same shape as the video; but rather the effort to achieve in providing a spectrum of work performance in layers between the archive and the medium, between aesthetics and technology, as well as differences in the codification of meaning based on the context of the archive. In addition, the context is how to treat documentary videos that are copied and pasted in the analysis of texts, meanings, from past actors in the textual direction today that can have differences and similarities from various perspectives, including in the political sphere in the Sae Theater, which is done by Dendi Madiya in Political Dramaturgy.

Film production played a decisive role in the Nicaraguan Revolution. During the preparation of the 1979 Ofensiva Final (Final Offensive), the Sandinistas clearly understood the need to produce audio-visual documents that would serve as testimony and political propaganda of this historic moment. To do so, they sought the support of internationalist filmmakers among whom a group of Mexicans were most prominent. This article focuses on materials on the Sandinista Revolution preserved at the film archive of the University Center for Cinematographic Studies (CUEC) of the National Autonomous University of Mexico (UNAM). It analyses them in relation to the role of left-wing film internationalism in political documentary in Latin America and builds an ‘other’ history of a Mexican film institution that in the 1970s was uniquely politicized as a result of the 1968 Mexican student movement and, later, the influence of Latin American exiles. As a particular case study, this article rescues one of the key figures of Mexican internationalism during the Sandinista Revolution, Adrián Carrasco Zanini Molina, and the role of Mexican filmmakers in the creation of institutions dedicated to film production in Nicaragua such as the Nicaraguan Film Institute (INCINE).

This short essay draws on research undertaken by the curator of the Scottish Screen Archive on the few surviving films credited to Greens Film Service of Glasgow in the teens and twenties. The research revealed a dynamic family business, born out of the travelling cinematograph shows of the late nineteenth century, growing to assume a dominant role in the Scottish cinema trade in the silent era, across exhibition, distribution and production. One small part of a lost film history waiting for rediscovery – early cinema in Scotland.

Charles Eric Palmar was Curator of Natural History in Kelvingrove Art Gallery and Museum, Glasgow from 1949 to 1984 and a long-standing member of the Glasgow Natural History Society. This article provides an outline of his life and the major achievements in both his professional career and natural history activities. The latter included pioneering studies on the golden eagles (Aquila chrysaetos) of Scotland and made much use of photography and cinematography. A project is currently under way to scan, archive and make publicly accessible many of his photographs and films.

This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.

In mid-November 1925, the Masterpiece cinema in Dublin was called upon by armed men, who seized seven of its eight copies of the First World War film The Battle of Ypres. Shortly afterwards, on 20 November, it was reported that the showing of its remaining copy was enough for the IRA to explode ‘a powerful landmine in the wide entrance to the Masterpiece cinema in Talbot Street’. This marked the beginning of a series of attacks upon Dublin picturehouses. The 1920s and 1930s witnessed sustained denunciation of war cinematography in republican publications such as An Phoblacht and Irish Freedom, as well as occasional violent assaults upon cinemas. This was part of a broader ‘Boycott British’ movement, and an IRA campaign against what it saw as cultural imperialism. Drawing on state intelligence files, such as the Crime and Security papers of the Department of Justice, contemporary newspaper reports from both the mainstream and separatist press, and the archives of leading IRA figures such as Chief of Staff (1926-1936) Moss Twomey, this article demonstrates the manner in which the republican movement attempted to impose censorship on the Dublin cinema industry. It examines the manner in which several war films were selectively censored and amended before they were presented to the Irish public, indicating the fears of the authorities regarding potential political assault.

Sharon Green's short film Self Portrait of a Nude Model Turned Cinematographer (1971) represents a collision of incipient cinefeminism and autobiographical filmmaking. Containing a blend of still photographs and subjective moving-image shots of her body, the work has largely been overlooked because of a reductive framing of it as mere homage to male avant-garde artists such as Stan Brakhage, for whom Green was a nude model. By analyzing aspects of visual form, production, and exhibition, this article performs a corrective “microhistory” that reclaims Green's film as an important hybrid of erotic self-portraiture and social critique. It also situates Green in relation to proximate artists Carolee Schneemann and Yvonne Rainer. Despite ongoing neglect of the work, Green's Self Portrait remains a potent visual archive that reveals the power hierarchies of the 1970s film community in Pittsburgh, while it questions the masculinist assumptions that underlie avant-garde media and historiography.

The first significant exhibition devoted to Roma/ Gypsy history and culture was organised in the Regional Museum in Tarnów in 1979. After its success, collections connected with the history of this ethnic group were initiated. The Ethnographic Museum in Tarnów (the branch of the Regional Museum) opened a permanent exhibition entitled “Gypsies. History and culture” as the first permanent museum exhibition devoted to Roma matters in 1990. The Gypsy collections of the museum amount to almost 1000 exhibits; moreover, it gathers professional photographic, cinematographic and phonographic documentation and archives, and it runs a specialised library. Based on this permanent Roma exhibition and collections, the museum in Tarnów organises numerous cultural and educational projects, as well as those that promote Roma culture and history. The International Roma Caravan Memorial is a regular event which has been organised since 1996. It is a project which consists in a kind of a reconstruction of a Gypsy wandering caravan, during which the participants visit places connected with Roma martyrdom during the Second World War in Małopolska. In addition, the museum publishes a scientific annual entitled “Studia Romologica”.

This article is dedicated to the history of the Soviet popular science cinematography on the example of the Leningrad film studio “Lentekhfilm” / “Lennauchfilm"” during the late 1940s – 1960s.The goal of this work consists in tracing the development and production stages of popular science films at the Leningrad film studio “Lennauchfilm”.  The author sets the following tasks: follow the work of the film studio “Lennauchfilm” based on the archival materials, as well as determine the main plotlines of popular science films of the period under review. The article employs archival documents stored in the fund No. 243 of the St. Petersburg Central State Archive of Literature and Art. Namely, based on the materials of the annual financial and production reports of the film studio, using the quantitative methods, the author carries out the sampling of films that were classified as popular science. The author also applies the problem-chronological method for studying the stages of operation of the film studio. The novelty of this research consists in determination of production volumes of popular science films at a particular film studio, as well as their main themes. As a result, the author highlights six main plotlines: natural sciences, geography of the country, industry and agriculture, education of children and adolescents, history of culture and art, historical-revolutionary. The conclusion is made that the Soviet popular science cinematography was aimed not only at popularization of scientific knowledge (as follows from the definition of the term “popular science film” given in the Great Soviet Encyclopedia), but also performed the important political and civic functions on youth education, distribution of technical knowledge, as well as illustration of the achievements of the Soviet Union in economic and social policy.

How do we engage a contemporary visual archive of blackness that is saturated by the proliferation and mass circulation of images of violence, antiblackness, and premature death? This article explores the labor required by visual enactments of black precarity in the work of filmmaker and cinematographer Arthur Jafa. The labor of black precarity—specifically, the work required to cultivate, maintain, or articulate our relationship to black precarity—is the effort required to position oneself in proximity to, or in a place of discomfort and, for some, potential complicity with, black precarity. The article stages an encounter with the affective registers of refusal enacted in a genre of black visuality defined as still-moving-images. Still-moving-images hover between still and moving images and require the affective labor of feeling with or through them. The article concludes by expanding the discussion of Jafa’s still-moving-images into a broader enunciation of the author’s theory of hapticity, a term that articulates the labor of feeling across difference and suffering as an effortful practice of exertion and struggle to remain in relation to or in contact or connection with another.

Fashion photographs are generally two-dimensional images showing one side of a three-dimensional model. This paper, however, deals with far less well-known stereoscopic fashion photographs. Stereoscopy is a technique that creates the illusion of a 3-D image. Based on the image collection of Swiss textile and clothes company HANRO, the article analyzes the composition of 3-D pictures by putting them in a broader media-historical context. The archived stereoscopic photographs date back to the 1950s and show a series of women’s fashion. In the same period, Hollywood experienced a 3-D-boom that may have had a technical and aesthetical impact on these photographs. Although fashion is not mediated in moving images in this case study, codes or formal languages of a film are inscribed in the images, as will be shown in the following text. Building on these findings, this paper further discusses the influence of cinematography and other media practices on the fashion industry’s attempt to free its fashion imagery from the confines of a two-dimensional page.

The article follows the fate of Eugene (Yevgeny) Kalachev, a Siberian Cadet Corps graduate and Cossack regular officer of the Russian Imperial army, a creative person, teacher, professor of pictorial art of the Soviet era. Siberian Cossack E. A. Kalachev graduated the Siberian Cadet Corps (1905) and the Nikolaevsky Cavalry School (1907). Having served three years in the Third Siberian Cossack Regiment in the rank of sotnik, he left military service (1911) and thus drastically changed his life. After leaving Omsk for good, he went to St. Petersburg and enrolled at the Higher Art School of Painting, Sculpture, and Architecture of the Imperial Academy of Arts. He studied in the workshop of Nikolai Semenovich Samokish. His later life was that of an artist and a teacher. In Soviet era, he was a member of the Association of Artists of Revolutionary Russia of the State Academy of Artistic Sciences and participated in the All-Union Agricultural Exhibition. In his later years E. A. Kalachev was teaching at the faculty of arts of the All-Union State Institute of Cinematography. The article is based on published and unpublished sources. Of most interest are biographical documents from the fonds of the Historical Archive of the Omsk Region and correspondence preserved in the family archive of the author. The following three letters are of particular interest to historians: (1) letter from a Russo-Japanese War participant, sub-yesaul Vasily Epifanovich Dolzhenko to cadet E. A. Kalachev (1904); (2) letter from junker of the Nicholaevsky Cavalry School E. A. Kalachev to captain V. E. Dolzhenko (1906); and (3) letter from professor of pictorial art E. A. Kalachev to Maria Evgenievna Dolzhenko, widow of V. E. Dolzhenko (1956). The article may be of interest to art historians, researchers writing biographies of the Russia Cadet Corps graduates, and historians following the life of Russian officers on the eve of the Russian Revolution of 1917.

<p><strong>La pasión de Juana del Arco</strong></p><p>Título original: La Passion de Jeanne d'Arc</p><p>Director: Carl Theodor Dreyer</p><p>Productora: Societé generale de films </p><p>Reparto: Maria Falconetti (Juana de Arco), Eugene Silvain (Obispo Pierre Cauchon), André Berley (el fiscal), Maurice Schutz (el canónigo), Michel Simon (juez), Antonin Artaud (el deán de Ruán), Gilbert Dalleu (el vice-inquisidor).</p><p>Género: Drama histórico, cine mudo, siglo XV, religión, película de culto</p><p>Guionistas: Carl Theodor Dreyer, Joseph Delteil</p><p>País de origen: Francia</p><p>Duración: 110 minutos</p><p>Año de lanzamiento: 1928</p><p align="center"><strong>“La pasión de juana de Arco”: del archivo histórico al arte cinematofráfico. </strong><strong>Un estudio desde la perspectiva de género</strong></p><p><strong>Resumen</strong></p><p>Juana de Arco (Domrémy 1412 - Ruán 1431), ha sido una de las figuras femeninas más controvertidas y a la vez fascinantes del Medievo, llevada al cine a través de distintas versiones cinematográficas. El presente estudio, analizará brevemente la aportación que sobre el proceso inquisitorial seguido a la doncella de Orleans realizó el director de cine y guionista danés C. Th. Dreyer en 1928, centrándonos desde una perspectiva de género en la importancia del significado de la imagen femenina y su representación, a través del séptimo arte.</p><p><strong>Abstract</strong></p><p>Joan of Arc (Domrémy 1412 - Rouen 1431), has been one of the most controversial and at the same time fascinating female figures of the Middle Ages, taken to the cinema through different cinematographic versions. The present study, will briefly analyze the contribution that the film director and Danish screenwriter C. Th. Dreyer made in 1928 about the inquisitorial process followed the maiden of Orleans, focusing from a gender perspective on the importance of the meaning of the feminine image and its representation, through the seventh art.</p>

Over a century ago, at a time when Henri Bergson deployed the cinematograph as a metaphor for “the mechanism of our ordinary knowledge” in Creative Evolution (1907), other, lesser-known theorists envisaged the medium's potential to offer unique modes of perception and cognition. For these thinkers, the cinematograph did not signify a mechanical, spatialized temporality pervasive within industrial modernity, but instead provided a novel means of experiencing time and history. Just one year after the publication of Bergson's book, Ludwig Brauner wrote an article for Der Kinematograph, Germany's first film trade journal, calling for the creation of “cinematographic archives” in the country's municipalities. Brauner juxtaposed film with traditional sources of historical reconstruction, distinguishing the new medium not only for its lucid, impartial recording of past events but also for its effortlessly lifelike form of documentation. Imagining that the cinematograph had been invented a hundred years prior, Brauner stated, “A single filmstrip would offer us the possibility of capturing the spirit of that time in living form” (p. 29 below).

Experiences from the fields of science cultivated by lecturers can be poured into teaching materials, textbooks, reference books, research materials, study materials, and the like that are full of benefits. The benefit of this training is to help the devoted lecturers in making compulsory outcomes from community service activities in the form of making videos. Video making material in the form of a collection of photos and videos that are owned so that it will become a digital archive that can be enjoyed by everyone. For this reason, cinematographic basic techniques are needed as a basic principle so that lecturers can process their photos and videos so they can talk a lot in accordance with the desired motivation. The steps are in the form of (1) smartphone settings (2) picture taking technique (3) narration making (4) editing technique (5) uploading to YouTube social media. Through the implementation of the Community Partnership Program it can be seen that the interest and enthusiasm of lecturers in Makassar State University is very high to learn and maximize the functions and features of smartphones, basic techniques for taking good pictures, how to process and edit video with a smartphone, to feel First experience of uploading videos to YouTube social media.

In Cinematographic Poem (29/11/1986), Manoel de Oliveira claims:” We are left with the memory/Of the life we lived/which becomes the food/ Life itself feeds on/The possibility of art itself.” The filmmaker-poet defines memory as the creative impulse behind filmmaking. Visit or Memories and Confessions (1982/2015), Voyage to the Beginning of the World (1997) and Porto of My Childhood (2001) are but examples of how art can build the memory. In these films, Oliveira’s camera becomes what he calls the” memory reservoir” where objectivity and subjectivity meet. In the words of João Bénard da Costa, referring to Voyage to the Beginning of the World, it is the vision you get through the rear-view mirror. The going back of time to time, the time labyrinth of spaces and objects, redemption or the refusal of a Proustian look, they all allow one a journey beyond time that only memory can undertake. In these films, Manoel de Oliveira recalls spaces and times. The memory of photos and objects, homemade films, archive footage, ethereal characters, real spaces and acting spaces become the inevitable lever of cinematic creation. Intertextual games and time collages help build the memory path in filmmaking. With Oliveira, memory, captured between fiction and documentary, defines the inevitability of art. Is it the recovery of lost time or the total awareness of the filmic nature of time? Memory is just something inevitable and urgent.

Over a period of ten years Paul Ewing documented the life of his family on film – initially using Super 8 film and then converting to VHS with the advent of the new technology. Through the lens of home movies, autoethnography and memory I discuss his approach to amateur image making and its lasting legacy. Home movies have been the driving force behind a number of autobiographical documentaries such as Tarnation, Video Fool for Love and Stories We Tell. Here I take an auto ethnographical look at the films my own father made over a ten year period, prior to my parents divorce, and examine their impact on my own life and look to see if there is any value to them outside of my own personal investment. “Autoethnography is predicated on the ability to invite readers into the lived experience of the presumed “Other” and to experience it viscerally” (Boylorn and Orbe 15). It is a research method that connects “the autobiographical and personal to the cultural, social and political” (Ellis xix). Autoethnography involves the turning of the ethnographic gaze inward on the self (Denzin 227). Autoethnographers use their personal experience as primary data reflexively to bend back on self and look more deeply at self-other interactions.Paul Francis Ewing was born in 1947 in Redhill in the United Kingdom. Inez Anne Taveira was born eight years previously in another part of the world entirely, Taiping in Malaysia or Malaya as it was known then. She immigrated to the UK when she was 21 to study acting and later teaching. She married Paul in 1970 and by 1976 they had two children – my brother Brendan and myself. Around 1978 Paul, or Dad, started to film the family. He wanted to “capture the moment. Like writing a diary”. Patricia Zimmerman writes, “Amateur film represents psychic tracings of diaries and dreams. The family, dreams, and nightmares create new hybrids, new discourses” (276). In the beginning of the last century Pierre Janet already noted that: "certain happenings ... leave indelible and distressing memories – memories to which the sufferer continually returns, and by which he is tormented by day and by night.” Janet, postulated that intense emotional reactions make events traumatic by interfering with the integration of the experience into existing memory schemes. Intense emotions, Janet thought, cause memories of particular events to be dissociated from consciousness, and to be stored, instead, as visceral sensations (anxiety and panic), or as visual images (nightmares and flashbacks). Schachtel defined it as: “Memory as a function of the living personality can be understood as a capacity for the organization and reconstruction of past experiences and impressions in the service of present needs, fears, and interests” (284).The images captured by Paul Ewing are part of both my consciousness and unconsciousness. I have revisited them on numerous occasions for varying reasons. Amateur film’s otherness requires analysis of active relationships between maker and subject (Zimmerman 277). When I questioned Paul in regards to this research, he suggested that screening the films was very important to him. “Mum and I enjoyed them and then later the grand parents. Also you and Bren.” I found it more than interesting that he placed my brother and myself last in the list of those who enjoyed the screenings. As a student of film I have looked for the stories within these images, looking to understand whom the man behind the lens was: potentially who the men behind the lenses have been. Who was the man from my/our memories, who was the boy, who were the boys who became the man/men we are? Van der Kolk and Fisler suggest that ‘dissociation refers to a compartmentalization of experience: elements of the experience are not integrated into a unitary whole, but are stored in memory as isolated fragments consisting of sensory perceptions or affective states” (510). Karen L. Ishizuka insists, “Within home movies ... lie hidden histories of the world.” In this case, perhaps only hidden histories of myself. Given a consistent dissociative reaction to stressful situations my honest agenda in watching and re-watching my father’s home cinema may indeed be to attempt to decode what Janet claimed people experience when intense emotions, memories cannot be transformed into a neutral narrative: a person is “unable to make the recital which we call narrative memory, and yet he remains confronted by the difficult situation” (660). This results in a phobia of memory that prevents the integration of traumatic events and splits off the traumatic memories from ordinary consciousness. Piaget claimed that dissociation occurs when an active failure of semantic memory leads to the organization of memory on somatosensory or iconic levels (201). It cannot be coincidence that these descriptors sound familiar to any student or practitioner of cinema. We, the automaton: a moving mechanical device made in imitation of a human being.“The limbic system is thought to be the part of the central nervous system that maintains and guides the emotions and behavior necessary for self-preservation and survival of the species, and that is critically involved in the storage and retrieval of memory” (Van der Kolk 10). Of all areas in the central nervous system, the amygdala is most clearly implicated in the evaluation of the emotional meaning of incoming stimuli. It is thought to integrate internal representations of the external world in the form of memory images with emotional experiences associated with those memories (Calvin). In a series of experiments, J LeDoux utilized repeated electrical stimulation of the amygdala to produce conditioned fear responses. He found that cortical lesions prevent their extinction. This led him to conclude that, once formed, the subcortical traces of the conditioned fear response are indelible, and that "emotional memory may be forever". Paul filmed us for approximately eight years. First using the Super 8 format and later straight onto VHS using a cumbersome, oversized camera that fed into a VHS deck carried over the shoulder in a plastic satchel. Zimmerman suggests that home movies graph the contradictions between the realities of family life bounded by class, race, and gender expectations and the fantasies of the nuclear family, and they also reveal the unfinished production of obedient subjects and histories (278). They create expectations that wrestle with the fragile nature of family. Paul wasn’t the only “cinematographer” in the family. The camera was often passed to Inez so that Paul’s presence in family occasions could be authenticated. Eventually both Brendan and myself were allowed moments of seeing the world through the black and white view finders. Perhaps those early cinematographic moments started me on the path to today. The picture as a model of reality. The “real” and the “performed” act is twofold in the home movie. Our many different roles exemplify the separation and interrelation of our public and private lives. The act of mimesis seems to signify “I exist” or, rather, “I represent myself here for immortality.” This imitation of ourselves is an authentic “copy” of the original, since actor and role are identical (Forgacs 52). Identical yet problematic: dissociated? Merilee Bennett’s 1987 film, A Song of Air, is a compilation film composed of home movies shot by Merilee’s father, Reverend Arnold Lucas Bennett, who regularly filmed his family with a Paillard Bolex 16mm camera between 1956 and 1983. I saw A Song of Air as an undergraduate and it has never left me. It did not occur to me until years later to work with my own family’s filmic archive but Bennett’s work is undoubtedly a key influence. The film invites two levels of reading: first, the level of the home movies made by the father; second, the analysis made by Merilee of her father’s home movies through her own reediting of the images and her omnipresent commentary in the form of a letter addressed to her father (Odin 256).No other types of films evidence as much direct address as the home movie. The family filmmaker’s camera functions first as a go-between and only secondly as a recording instrument. To film is to take part in a collective game in the family domain. These familial interactions are not always peaceful. In a personal letter, Merilee Bennett recounts one of these conflicts. “The shot of him [my father] talking directly into the camera with a tree and blue sky behind him was shot by me when I was 12 years old and he is actually telling me to stop, that it was enough now. I remember holding my finger on that button knowing that he couldn’t get really mad at me because I would have it on film, so he had to keep smiling even though he was getting cross.” Merilee reclaims her identity through editing, imposing her own order on her father’s films. The father, “like an omnipotent God,” uses cinema to mold his family.Paul Ewing may have been doing the same – he was the only one aware of how fractured the family, his family, our family, my family actually was.In her autobiography The Words to Say It, Marie Cardinal explains to her psychoanalyst that after clinical treatment she had the strength to undertake a search for the origin of her trauma. I had a similar experience in that I was encouraged by a therapist to ask my father about the reasons behind his infidelity and what he felt were the grounds for his divorce. I had for many years believed it was because of me, that I had disappointed him as a son. Cardinal remembered her father filmed her pissing in the forest. Conscious that her urination has not only been watched, but also filmed, she felt traumatized and thought, “I want to hurt him. I want to kill him! (151)” Shooting a home movie does not always have such dramatic consequences, but it always carries a risk for the subjects filmed, especially children. Parents are not aware of the psychic consequences of a seemingly harmless act. Paul Ewing filmed my brother and I in the bath. I was using the toilet as the filming started and jumped, laughing into the tub with my brother. There is nothing suspect in this description. As a father myself I can understand the desire to film all aspects of my child’s life. At last count I have approximately thirty thousand digital photos and videos of my five year old son and the numbers are rising for his one year old sister. As Paul films us, my brother and I, playing with action figures and acting up for the camera, I laugh at my father. Some days later we were assembled to watch Paul’s latest film. The family convened in the living room, along with our maid Yolanda. When the image came on screen, it seemed to slow down. All I saw was my bottom and then as I entered the bath, my penis. And I saw it being seen by Yolanda. I was devastated, ashamed and furious at my father for showing this private moment. I ran off in tears.Unlike traditional cinematographic projection, to watch a home movie is to be involved in a “performance.” Boris Eikhenbaum proposed the notion of “interior language”: “The process of interior discourse resides in the mind of the spectator.” This interior language can be understood without referring to a context because it is located in the Subject. With the home movie, the context resides in the experience of the Subject. This model explains how completely banal images can refer to representations far removed from what is represented. Contrary to the generally euphoric collective experience, this process of returning to the self often conjures painful memories. One image, of Inez, my mother, comes up in my mind a lot. She stares into the camera as my Father films her. She appears to be engaged in a non verbal conversation with him, with the camera. She doesn’t smile but looks ready to resign, the request to stop filming that is present in so many other instances of her in Paul’s films is absent – it seems to suggest there is no point in her asking. Shortly after the date stamped onto the video image, she revealed to my brother and myself that Paul had been having an affair. “Your father does not love us anymore”. In therapy I have explored both moments – the memory and the video taped image. Something in my mother’s gaze suggests the break, the end of the illusion Paul had crafted both on film and video, and in life. Pierre Bourdieu, discussing family photography, argued that nothing could be filmed outside of what must be filmed. The same ritual ceremonies (marriage, birth, family meals, gift-giving), the same daily scenes (a baby in his mother’s arms, a baby having a bath), the same vacation sequences (playtime on the beach, walks in the forest) appear across most home movies. Discussing “common things,” Georges Perec contended the difficulty is “to free these images from the straitjacket in which they are trapped, to make them produce meaning and speak about what they are and what we are.” Home movies are precisely “common things.” Erving Goffman terms the process of “shifting of frame.” A film of minor importance can suddenly become a fabulous document when the historical context of reading changes. Every old home movie that operates within a different spatial, cultural, ethnic, or social framework will benefit from de-framed readings. Even if these images were not documents and were stereotypical home movies, they become precious because they look new. Hungarian filmmaker Péter Forgács “creates masterful reflections on the notion of the document itself: why one makes films; the language of the images and language itself; and the possibilities that the image holds for cognition” (Odin 266). The cinematography of Paul Ewing remains a source of possibilities. ReferencesAnderson, Steve F. Technologies of History: Visual Media and the Eccentricity of the Past. Lebanon, NH: University Press of New England, 2011.Bourdieu, Pierre. Photography: A Middle-Brow Art. Cambridge: Polity, 1990Boylorn, Robin M., and Mark P. Orbe, eds. Critical Autoethnography: Intersecting Cultural Identities in Everyday Life. Walnut Creek, CA: Left Coast Press, 2013.Calvin, WH. The Cerebral Symphony. New York: Bantam, 1990.Cardinal, Marie. The Words to Say It: An Autobiographical Novel. London: Women's Press, 1993.Denzin, NK. Interpretive Ethnography: Ethnographic Practices for the 21st Century. Thousand Oaks, CA: Sage, 1997.Ellis, C. The Ethnographic I: A Methodological Novel about Autoethnography. Walnut Creek, CA: AltaMira Press, 2004. Eikhenbaum, Boris. “Problemes de Cine-Stylistique.” Cahiers du Cinema 220-221 (1970): 70-78.Forgacs, Peter. “Wittgenstein Tractatus: Personal Reflections of Home Movies.” Mining the Home Movie: Excavations in Histories and Memories. Berkeley. Eds. Karen Ishizuka and Patricia Zimmermann. Berkeley, CA: University of California Press, 2007. 47-56.Goffman, Erving. Frame Analysis: An Essay on the Organization of Experience. Cambridge, MA: Harvard University Press, 1974.Ishizuka, Karen L. “The Home Movie: A Veil of Poetry.” Jubilee Book: Essays on Amateur Film (1997): 45-50.Janet, P. L’Automatisme Psychologique. Paris: Alcan, 1889. Janet, P. Les Medications Psychologiques. Paris: Alcan, 1925. MacLean, PD. “Brain Evolution Relating to Family, Play, and the Separation Call.” Arch Gen Psychiat 42 (1985): 505-517.Odin, Roger. “Reflections on the Family Home Movie as Document: A Semio-Pragmatic Approach.” Mining the Home Movie: Excavations in Histories and Memories. Eds. Karen Ishizuka and Patricia Zimmermann. Berkeley, CA: University of California Press, 2007. 255-271.Perec, Georges. “Approche de Quoi.” Le Pourrissement des Societies. 1975. 251-255.Piaget, Jean. Play, Dreams and Imitation in Childhood. Florence: Routledge, 2013.Schachtel, Ernest G. Metamorphosis: On the Development of Affect, Perception, Attention, and Memory. New York: Basic Books, 1959.Van der Kolk, Bessel. The Body Keeps the Score: Memory and the Evolving Psychobiology of Post Traumatic Stress. Boston: Harvard Medical School, 1994.Van der Kolk, Bessel, and Rita Fisler. “Dissociation and the Fragmentary Nature of Traumatic Memories: Overview and Exploratory Study.” Journal of Traumatic Stress (1995): 505-525.Wittgenstein, Ludwig. Culture and Value. University of Chicago Press, 1984.Zimmerman, Patricia. “Morphing History into Histories: From Amateur Film to the Archive of the Future.” Mining the Home Movie: Excavations in Histories and Memories. Eds. Karen Ishizuka and Patricia Zimmermann. Berkeley, CA: University of California Press, 2007. 275-288.

In Italy, the progressive digital accessibility of sub-standard films, videotapes and related paper materials (work notes, project layouts, letters, etc.), as well as the study of the archives in which they were preserved, make it possible today to reconstruct the emergence (between the Sixties and the early Seventies), of the artistic practice of analog video. At the same time, this permits to highlight how this emergence interests both the contexts of artist’s and independent cinema and the areas of Arte Povera, Conceptual Art and Pop Art. On this basis and reflecting critically, it is possible to see that the medial emergence of "video" - as, albeit otherwise, photography and cinema had already done - has challenged the relationship between art and technology as much as the relationship between the theoretical frameworks and the operational modalities from which historically connoted definitions, taxonomies and lexicographies derive. In this perspective, the objective set here concerns the description and a first focus of the emergence of "video art" in Italy starting from what, perhaps too simplified, can be defined as a "prevideo" phase. A short period in which the chronology of events becomes important, certainly not to define primacies, but to highlight - among the practices - the works, the theoretical-critical discourses, the exhibition projects, their connections, their intercommunication or their flow. We will try, therefore, to reconstruct the debut of "video art" in a historiographical key, tracing its genealogy through the documentary apparatus of the main exhibition projects, artistic practices and videotape works. At the state of the archive research, the documentary traces reveal a peculiar connection between "performativity" and "videotape". This is the common thread that runs through the period under consideration. Already active in certain artist's cinema, the performative dimension intensifies and strengthens through the video device according to the closed-circuit mode, through which the first experimentation of the videotape in Italy is attested between 1969 and 1971. These are researches - whose manifestation is, precisely, performative and whose matrix is conceptual - which question, transforming them, the very ideas of work and exhibition. Not only. In the historical and socio-cultural contingency of 1968, the profound transformations produced by the practices of art (conceptual, pop, poor, kinetic and programmed, performative) impact the device of the exhibition, the places dedicated to exhibitions and, in particular, the galleries that become a mental space, a field open to the planning of artists. The "conceptual" character of their performative actions and of the "real time" in which they occur, show themselves and disappear; their documentation (photographic, cinematographic and videographic), therefore, takes on a peculiar function because it occurs instantaneously and simultaneously with artistic events / acts. The documentation overlaps and, together, becomes an expansive dimension of the artistic act rather than a supplementary dimension. On this basis, a first critical re-examination of how, on a double practical-theoretical track, with different methods and tools, both Luciano Giaccari (with Studio 970/2) and Gerry Schum (VideoGalleria) have operate. In particular, it is a question of highlighting how the work and its presence in Italy are interconnected with the beginning of video practices in the artistic field. Finally, it will be highlighted how, during that period, starting from performing experiences captured and recorded on reduced sub-standard film (8mm, 16mm, Super 8) which already present a strong curatorial planning, developed in exhibition contexts such as museums, galleries or alternative spaces, particular attention has been activated towards videotape (with all the technical specificities and the limits of the technologies of the time) as a mean of expression and documentation. Significantly, those same curatorial projects foresaw that the then-avant-garde technologies could be made available to artists in various ways (mainly Philips technologies). Here, as generative events of Italian video art, will be taken in consideration: the 3a Biennale internazionale della giovane pittura. Gennaio 70: comportamenti, progetti, mediazioni (curated by Renato Barilli, Maurizio Calvesi, Tommaso Trini, Andrea Emiliani at the Bologna Civic Museum in 1970); the 35a Esposizione Biennale Internazionale d'Arte del 1970; Eurodomus 3/ Il Telemuseo (curated by da Tommaso Trini in Milano in 1970); Improvvisazioni su Videonatro VPL 6 IC, videoregistratore LDL 1000, telecamera mini-compact (coordinated by Francesco Carlo Crispolti at the Obelisco Gallery in Rome in 1971); Circuito -----> Chiuso – Aperto (Curated by Francesco Carlo Crispolti in Acireale in 1971); Schifanoia-tv: “mezzo” aperto/opera chiusa (realized in Ferrara in 1972 by the collective Gruppo OB based in Milano).

International audience At the end of the 1920s in the Soviet Union, the animation fulfilledan agit-prop function, like other cinematographic genres. Adhering to the Sovietmovement for the cinematographic fact, animation rejected the illusion of “magic”and what the animators called the “cine-trick”. However, in its uses, the animatedfilm, as well as the entire cinematographic device, were also used for their power ofwonderment. Technology, of which cinema is one of the manifestations, was envisagedas a privileged instrument for modernization and the fight against the beliefs of thepast that the regime wished to eliminate. This study aims to show the Soviet culturalworkers were caught up in the magic dimension of cinema, particularly in the Siberiancontext where cinema is perceived as a substitute for the shamanic session, seen by theadministrators as a spectacle to compete with. Taking the screening of the animatedfilm Samoyed Boy (1928) to an indigenous audience as a case study, this paper replacesthe animation about the peoples of the North in its context of diffusion using variousarchival documents (press, publications, production archives) in order to question themodernizing dimension of cinema, both in its representations and in its apparatus.Ultimately, it shows that the “magic” of cinematographic projection is invested as theenchanted space of the Sovietization of the country. À la fin des années 1920 en Union soviétique, le film d’animationremplit une fonction d’agit-prop, à l’instar d’autres genres cinématographiques.Adhérant au mouvement soviétique pour le fait cinématographique, l’animationrefuse l’illusion du « magique » et ce que les animateurs nomment alorsle « ciné-truc ». Cependant, dans ses usages, le film d’animation, et ledispositif cinématographique tout entier, sont aussi utilisés pour leur pouvoird’émerveillement. La technologie, dont le cinéma est l’une des manifestations, estenvisagée comme un instrument privilégié de la modernisation et de la lutte contreles croyances du passé que le régime souhaite voir disparaître. Cette étude entenddémontrer que la dimension magique du cinéma rattrape les « soviétisateurs »,notamment en contexte sibérien où le cinéma est appelé à remplacer la séancechamanique, vue par les administrateurs comme un spectacle à concurrencer.Prenant comme cas d’étude la projection du film Le Petit Samoyède (1928) à unpublic autochtone, cet article replace le cinéma d’animation sur les peuples du Norddans son contexte de diffusion à l’aide de divers documents d’archives (presse,édition, documents de production), afin d’interroger la dimension modernisatricedu cinéma, à la fois dans ses représentations et son dispositif. In fine, il montreque la « magie » de la projection cinématographique est investie comme l’espaceenchanté de la soviétisation du pays. В конце 1920 годов анимация в Советском Союзе функционировалакак средство агит-пропа, подобно другим жанрам кинематографа.Приверженная советскому направлению кинематографии факта, анимацияотвергала иллюзию «магии» и того, что аниматоры называют «кинотрюк».Однако анимационный фильм, как и вся киномеханика в целом, такжеиспользовались ради их способности покорять воображение, их власти надвоображением. Технологичность, одним из проявлений которой оказываетсякинематография, рассматривалась в качестве одного из преимущественныхинструментов модернизации и борьбы со старым, способствующим устранениюего пережитков. Данное исследование стремится показать, что советские деятели культуры были захвачены магией кинопространства, в частности,в контексте Сибири, где кино воспринималось как шаманское камлание, какдейство, могущее с этим последним поспорить. Взяв в качестве предметаисследования кинопоказ анимационного фильма Мальчик-самоед (1928) дляаудитории коренных жителей, статья помещает анимацию, посвящённуюнародам Севера, в расширенный контекст, используя различные архивныедокументы (печать, книжные издания, киноматериалы) с тем, чтобы задатьсявопросом о модернизирующем аспекте кинематографа, как его художественно-изобразительного, так и технического инструментария. В конечном итоге,показывается, что киноэкран своей «магией» облачает волшебный мирсоветизации в пространстве страны.

Resumen Dentro de la perspectiva teórica de la Nueva Historia del Cine, se pondera la exhibición y programación de películas en la ciudad y puerto de Veracruz en el año de 1952. El propósito del proyecto internacional Cultura de la Pantalla, ha sido presentar estudios fuera de Europa y Estados Unidos, como sucede en varias ciudades mexicanas, que permita contrastar factores sociales, culturales y económicos que influyen en la oferta cinematográfica y especificar la ubicación de las salas de cine, así como su programación en una determinada época, representando el objetivo del presente artículo. Se fundamenta en la investigación documental de archivos de la ciudad de Veracruz y revisión de carteleras cinematográficas publicadas los sábados de 1952 en el periódico El Dictamen. Entre los resultados destacan: Presencia histórica de películas de Estados Unidos, México y otras partes del mundo, así como auge de exhibición de filmes nacionales durante la época de oro del cine mexicano (1940-1952). Se concluye que se muestran patrones similares en salones cinematográficos de Torreón, Tampico-Ciudad Madero y Veracruz, a los identificados en ciudades norteamericanas y europeas, localizados mayormente en su centro urbano, con similar vinculación sensitiva de sus habitantes, formando parte de su entorno y vida cotidiana. Abstract Within the theoretical perspective of the New History of Cinema, the exhibition and programming of films in the city and port of Veracruz in 1952 is weighed. The purpose of the international project Culture of the Screen has been to present studies outside of Europe and the United States, as it happens in several Mexican cities, which allows contrasting social, cultural and economic factors that influence the cinematographic offer and specifying the location of the cinemas, as well as their programming at a certain time, representing the objective of the present Article. It is based on the documentary investigation of archives of the city of Veracruz and a review of film billboards published on Saturdays in 1952 in the newspaper El Dictamen. Among the results, the following stand out: Historical presence of films from the United States, Mexico and other parts of the world, as well as a boom in the exhibition of national films during the golden age of Mexican cinema (1940-1952). It is concluded that similar patterns are shown in cinemas of Torreón, Tampico-Ciudad Madero and Veracruz, to those identified in North American and European cities, located mostly in their urban center, with similar sensitive links of their inhabitants, forming part of their environment and daily life.

El Two-Color Kodachrome fue un proceso experimental de color de la Eastman Kodak Company, inventado por John G. Capstaff (en 1913 para fotografía fija y desde finales de 1914 adaptado al celuloide), y el primer método fotoquímico de color sustractivo que se aplicó a la cinematografía. Se introdujo en un único largometraje comercial, que supuso a la vez la primera exhibición pública del sistema: The Light in the Dark (Clarence Brown, 1922). Pese a las buenas críticas, después quedó restringido a la experimentación dentro de la compañía y a cortometrajes. Este artículo examina el sistema de color en sí mismo, así como el modo en que se insertó en la película, de la que no han sobrevivido ni su negativo original ni la única copia que existió de ella en Kodachrome. Esto último se realiza a través de la confrontación de material de archivo inédito y de testimonios de pruebas en Kodachrome simultáneas al rodaje del film. Conocemos así cómo fueron las imágenes en color de la película y el estado de desarrollo exacto del sistema en 1922. Se examina también la evolución posterior del Kodachrome y su ausencia de éxito para su adopción por parte de los estudios de Hollywood. Abstract: Two-Color Kodachrome was a color experimental process from the Eastman Kodak Company, invented by John G. Capstaff (in 1913 for still photography and since the end of 1914 adapted to motion pictures), and it was the first photochemical method in a subtractive color system applied to cinematography. It was introduced in an only one commercial feature, which meant at the same time the first public exhibition of the system: The Light in the Dark (Clarence Brown, 1922). Despite obtaining good reviews, later the system was restricted to the experimentation within the company and shorts. This article examines the color system by itself, as well as the way in which the color was inserted into the film, of which neither the original negative nor the only print of it that included the Kodachrome have survived. Principio del formularioThe latter is carried out through the confrontation of unpublished archival material and examples of existing tests that were filmed in Kodachrome simultaneously to the shooting of the picture. This way we can know how the color images of the film were, as well as the exact state of development on the system in 1922. It is also examined the subsequent evolution of Kodachrome and its lack of success in being used by the Hollywood studios.Palabras clave: Two-Color Kodachrome; Kodak; John G. Capstaff; George Eastman; Jules Brulatour; The Light in the Dark (Clarence Brown, 1922). Keywords: Two-Color Kodachrome; Kodak; John G. Capstaff; George Eastman; Jules Brulatour; The Light in the Dark (Clarence Brown, 1922).