I’m not the only one in search of Noah’s Ark.
Archive for the ‘ references ’ Category
“an analogue signal is an uninterupted signal at the behest of the equipment that is trying to disrupt it.”
“A digital signal is ‘fait a complit’ “
Interesting article here on the efforts of Mumbai Zoo to preserve its animals – by stuffing them.
Interesting post on the UNESCO World Day for Audiovisual Heritage, including this advert for the Asian Film Archive.
“In Asia’s tropical climate and environment, films in both print and digital video formats can disintegrate rapidly when not kept properly. Even films in the digital format are not spared given that the longevity of the digital format is still under scrutiny.”
It is amazing to think about the efforts made by the NWFA to provide precise temperature and humidity controlled environments for their film. That must be even tougher in tropical climates. I think a bigger challenge now will be with the faster changing nature of digital formats – something that requires a dynamic rather that static environment to preserve. The half-life of the digital medium (and our enthusiastic faith in / support in it) is something that I would like to explore with the staff at NWFA.
On a slight tangent, but preservation related, I was always inspired by the courage of Frank Hurley, the photographer onboard the Shackleton expedition to the Antarctic, who dived into the icy waters to rescue a number of his plates and films.
Not without irony, I will link here via Youtube, to a section of a documentary about Hurley and Shackleton’s rescue of the films from the sinking Endurance.
I came across a work by Mark Wallinger in a book (‘Film and Video Art’ – ed. Stuart Comer) in which Wallinger placed a black sqaure n the centre of Franco Zeffirelli’s 1975 film ‘Jesus of Nazareth’. The edge of the film that is still revealed thus becomes a frame for what is not shown.
I like the different possibilities of this device. Firstly it censors the existing film by revealing only part of it. Secondly, this hidden element is the void into which the audience imagination steps. Thirdly it acts as a frame for something else. Could that something else be another frame?
To what extent can the films be abstracted? What happens if we repeatedly reveal only spatial sections of the films and present them next to each other?
I am just watching the beginning of ‘Requiem for Detroit‘ and am all ready feeling that twinge of excitement and anxiety of seeing someone use film projected in space. This isn’t a new 3D mapping onto buildings animation, but something far simpler and story led. The opening sequence features archive film (1960s?) of a presenter speaking about Detroit’s industrial and economic growth, however the film is seen projected on rundown buildings, empty businesses and abandoned homes in modern day Detroit. It is a simple device but effective. We perceive a great distance between the mood and text of the archive film and the surface upon which it is projected. This distance is the narrative. It is great storytelling – it frames the whole film, defining a start point and end point all at once.