Keywords
film
technology
experiment
memory
time
multimedia
deformation
montage
medium
deconstruction
How to Cite
Abstract
Transforming Memory: Found Footage as a Mechanism of Cultural Reinterpretation
The article is about the role of found footage in shaping the consciousness of the modern spectator in relation to historical cinematographic creations. The meaning and signifi cance of interpretation, as well as the aesthetics of experimental movies, shatter myths about classical narration and the understanding of film in its social normative role. Chosen films by Bill Morrison, Fabio Scacchioli and Peter Tscherkassky are analyzed in order to outline this issue.
References
P. Arthur, The Status Of Found Footage, „Spectator”, jesień 1999/zima 2000, vol. 20, s. 59.
M. Jakubowska, Teoria kina Gillesa Deleuze’a, Rabid, Kraków 2003, s. 153.
Miss Candace Hilligoss’ Flickering Halo, <http://www.goodshortfi lms.it/en/country/italy/miss-candace-hillligoss-fl ickering-halo> [dostęp: 6 stycznia 2015].
D.J. Andrew, Główne teorie filmu, przeł. A. Kołodyński, PWSFTviT, Łódź 1995, s. 33.
L. Mulvey, Do utraty wzroku. Wybór tekstów, red. i wstęp K. Kuc, L. Th ompson, tłum. J. Murczyńska, Korporacja Ha!art, Kraków – Warszawa 2010, s. 41.
http://cleojournal.com/2013/11/28/attacked-by-nothing-barbara-hershey-and-the-entity-in-peter-tscherkasskys-outer-space-and-dream-work/ [dostęp: 6 stycznia 2015].
A. Gwóźdź, Obrazy i rzeczy. Film między mediami, Universitas, Kraków 1997, s. 35.
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