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Mark as duplicate. Find it on Scholar. Request removal from index. Revision history. From the Publisher via CrossRef no proxy film-philosophy. Configure custom resolver. The Possibility of Naturalism.
The Heretical Archive
Archive Fever: A Freudian Impression. Judith Butler - - Hypatia 18 3 The Fold: Leibniz and the Baroque. Atter and Memory. Patricia Pisters - - Stanford University Press.
The Heretical Archive — University of Minnesota Press
Why Bother with Cinema? David Sorfa - - Film-Philosophy 7 1. Barbara Cail - unknown.
Edward S. Small - - Film-Philosophy 7 7. On the other hand, by restaging a testimony with a recognizable actor, it draws attention to the staged and rehearsed nature of every testimonial act, to the narrative elaboration that underlies any testimony, and to the degree of manipulation involved in every act of image-making.
- The Heretical Archive: Digital Memory at the End of Film.
- Hollywood Death and Scandal Sites: Sixteen Driving Tours with Directions and the Full Story, from Tallulah Bankhead to River Phoenix: Fifteen Driving Tours ... from Tallulah Bankhead to River Phoenix.
- The Elephanta Suite.
- Digital Memory at the End of Film.
- The heretical archive : digital memory at the end of film?
- The heretical archive : digital memory at the end of film - Colby College Libraries?
Once again, the film tries to parallel the epistemological fragilities of both verbal testimony and visual images. Yet, it does so by replicating the techniques of the Nazi gaze, which ultimately staged every scene of the Warsaw ghetto movie. And if staged, why, given that the written testimony is factual.
While the blurriness in which Vogler is initially framed may emphasize the artificiality and opacity of the Nazi gaze, it also glamorizes it through replication. When he describes himself shooting particular scenes — like the one of the bodies carried in wagons -, the movie turns to the ghetto images he supposedly refers to, turning the cameraman into a deus ex machina that ties the knots of the film left unfinished, endowing him with an interpretative authority that exhausts and crystallizes the meaning of those images.
The film thus tries to get as close to the Nazi gaze as possible, to penetrate its obscure and gruesome logic, accepting and reinforcing its alluring quality. Every aspect of the film is thus set in relation to the archival images, and all the scenes and takes of the Nazi film become deciphered and depleted by the testimonies, leaving no room for tensions between what is visible in those images and what the Nazi gaze left out.
In spite of emphasizing the violent opacity of Nazi images, the movie conveys a paradoxical belief in the ultimate transparency, intelligibility and definiteness of images, in the possibility of deciphering their intended meanings and reconnecting with their historical referent. Throughout the movie, Hersonski emphasizes certain moments by slowing down some takes and even freezing them in order to capture and fix the look of those who directly face the camera.
These moments accentuate the gap between being trapped inside the Nazi image and resisting it. In this take, the retardation of the footage is combined with a non- descriptive voice-over an anti-ekphrastic moment so to speak , which creates a tension between the film and the film within-it. The archive included all sorts of documentation on the persecution, deportation and murder of Jews. During the deportations, when the ghetto was liquidated, the keepers of the archive managed to hide it, sealing it inside metal containers and milk cans. The documentation was buried within the ghetto in August and in March and April Instead of exposing the fabrication of those images through relations of causality, the dissociation between images and words, and the freezing of the frames, interrupts and destabilizes the totality of the footage and leaves room to surmise what was left outside the frame and what was done to challenge it.
These rare moments suggest how images both serve and resist intended representations, exposing a permanent conflict between enclosure and fluidity within visual images, between their arresting quality and their critical potential. One cannot help but wonder if this fluidity of the moving image, this difficulty in controlling their possible meanings, might be the reason why the Nazis gave up on the film altogether, as they did with several other film projects. As a post-memorial interrogation of the visual remnants of the past, A Film Unfinished is both a prospective and retrospective exercise, for it reproduces images of the past to probe their testimonial potential for the future.
The reproduction of the original footage is still subsidiary to the Nazi perspective that frames it, so that the viewer is made to inhabit a Nazi gaze even through the attempt to shatter it. As such, the re-framing of Das Ghetto, even as a gesture that refracts the archival material through different vantage points, bursts the contours of the primal footage without effectively un-framing it from the Nazi arrest.
The heretical archive; digital memory at the end of film.
Mosaic: a journal for the interdisciplinary study of literature 44 4 : London: Routledge. Cadava, E Words of Light. Theses on the Photography of History. New Brusnwick: Princeton University Press. Caruth, C Literature in the Ashes of History. Baltimore: Johns Hopkins University Press. Chicago: Chicago University Press. Four Photographs from Auschwitz. Modernity, Contingency, the Archive.
Citations per year
Cambridge, Mass. Re-wind and Postponement in Harun Farocki's Respite. London: Craven Walk, New York: International Center of Photography. Ernst, W and H Farocki Towards an Archive for Visual Concepts. In: Thomas Elsaesser ed Harun Farocki. Working on the Sightlines. Amsterdam: Amsterdam University Press, Farge, A The Allure of the Archives, trans. Thomas Scott-Railton. New Haven: Yale University Press. Interdisciplinary Perspectives on Witnessing.
Foucault, M Ethics: Truth and Subjectivity. The Essential Works of Foucault, New York: The Free Press. San Francisco Bay Guardian. In: Carolyn Hamilton et. Kluwer Academic Publishers, Hirsch, M The Generation of Postmemory. Poetics Today , Jamie Owen Daniel and Miriam Hansen. October 48, Critical Inquiry 23 2 , Reid can be heard on numerous studio recordings.
As a composer, Ms. She has been nominated and awarded residencies for composition with the Ragdale Foundation and the 2nd Annual Make Jazz Fellowship hosted by the 18th Street Arts Organization. Domietta Torlasco is a critical theorist, filmmaker, and associate professor of Italian and comparative literature at Northwestern University.
In recent years, her research has expanded into the domain of audiovisual practice and found in the essay its most proper form. While mixing fiction and documentary, her pieces perform an inquiry into the political stakes of a series of aesthetic operations—the framing of spaces, the tracing of borders, the delimitation of enclosures domestic or otherwise , wherein people are asked to live together. He began his artistic career as a playwright, and later developed his unique musical approach to translate his theatre concepts into sound.
The word Urkuma is specific to the FinisTerrae part of Italy and expresses a state of mind, that is possible to compare with the opposite to the Buddhist concept of nirvana.
- ABC: American Born Chinese, My First 16 Years.
- The heretical archive : digital memory at the end of film, Domietta Torlasco;
- The Career As A Path to the Soul.