Exposing the Film Apparatus

edited by Giovanna Fossati and Annie van den Oever

Amsterdam University Press, 2016
eISBN: 978-90-485-2449-5 | Paper: 978-94-6298-316-8 | Cloth: 978-90-8964-718-4
Library of Congress Classification TR878.E97 2016
Dewey Decimal Classification 777.0284

ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC

ABOUT THIS BOOK

Film archives have long been dedicated to preserving movies, and they’ve been nimble in recent years in adapting to the changing formats and technologies through which cinema is now created and presented. This collection makes the case for a further step: the need to see media technologies themselves as objects of conservation, restoration, presentation, and research, in both film archives and film studies. Contributors with a wide range of expertise in the film and media world consider the practical and theoretical challenges posed by such conservation efforts and consider their potential to generate productive new possibilities in research and education in the field.

AUTHOR BIOGRAPHY

Giovanna Fossati is chief curator at EYE Filmmuseum and professor of film heritage and digital film culture at the University of Amsterdam. Annie van den Oever is extraordinary professor of film and visual culture at the University of the Free State in South Africa.

REVIEWS

"If dreams come true! The long desired collaboration between film archivists and film scholars has never been as fully realized as in this work, which is, itself, a genuine 'research laboratory.' Adopting an approach that constantly combines fundamental and applied research, the 'materiality of the medium' is studied here in an entirely novel way. Starting with the digital turn, the essential problems of technique and technology have (finally!) returned to the academic zeitgeist."

— André Gaudreault, Université de Montréal

“This eclectic series of essays avoids the danger of prescribing how we each experience but more likely use the moving image, whilst providing a matrix of approaches to thinking about how and why those experiences are the way they are; as such, they will engage graduate and post-graduate audiences.”

— Leonardo Reviews

TABLE OF CONTENTS

AcknowledgementsIntroduction: Exposing the Film Apparatus Giovanna Fossati and Annie van den OeverSmall and PortableCinema in My Pocket Roger OdinUncanny Encounter: The iPhone and the Debrie Camera Martine BeugnetThe Erasure of Analog Film Projection Leenke RipmeesterGhosts of the Past: Frame Rates, Cranking and Access to Early Cinema Marek JancovicVitascope Movie-Maker: A Ludic Historiography Guy EdmondsContextualizing the Apparatus: Film in the Turn-of-the-Century Sears, Roebuck & Co. Consumers Guide's Department of Special Public Entertainment Outfits and Supplies William UricchioWidescreen Anamorphic Lens Steven WillemsenThe Introduction of Ciné-Kodak: "The Long-Awaited Answer" Susan Aasman The Orbit and Single Shot Cinema Annelies van NoortwijkThe Video Compact Disc and the Digital Preservation of Indonesian National Cinema History Ari Purnama"Bolex Artists": Bolex Cameras, Amateurism, and the New York Film Avant-Garde Barbara TurquierThe Tripod or "When Professionals Turn Amateur": A Plea for an Amateur Film Archaeology Alexandra SchneiderImagining the User of Portapak: Countercultural Agency for Everyone! Tom SlootwegEdison's Ideal and the Visual Technics of the Sublime Gert Jan Harkema and Amanda du Preez Medium and Not Easily PortableA Legal Alien: The 16mm Projector in the Classroom Eef MassonThe Analog Film Projector in Marijke van Warmerdam's Digitized Film Installations Julia NoordegraafThe Illusion of Movement, the Illusion of Color: The Kinemacolor Projector, Archaeology, and Epistemology Benoît TurquetyStenciling Technologies and the Hybridized Image in Early Cinema Joshua YumibeUnderstanding Early Film Sound: The Biophon Sound-on-Disc System Sonia CampaniniDigital Frontiers: 2k to 4k and Beyond Ian ChristieLarge and Not PortableGeyer "Rekord" Continuous Contact Printer (c. 1935) Martin KoerberJean-Luc Godard, the Video Editing Table and HISTOIRE(S) DU CINÉMA as a Laboratory for an Art of Archives Céline ScemamaFamous Facials: How We Got Ready for the Close-Up Jan HolmbergDigital Cinema, or: What Happens to the Dispositif? Frank Kessler and Sabine Lenk3D Imaging Technology's Narrative Appropriation in Cinema Miklós KissExtending the Archival Life of Film: Presenting Film History with EYE Film Institute Netherlands' Panorama Caylin SmithThe Database of Technical Devices: Describing, Cataloging, and Using Technical Devices in the Museum's Collections Rommy Albers and Soeluh van den BergThe Invisible Cinema Julian HanichA Tale of Two Times: Augmented Reality as Archival Laboratory Nanna VerhoeffNotesGeneral BibliographyNotes on ContributorsIndex of NamesIndex of Films

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