Archiveology

Abstract

Method of this project: literary montage. I needn't say anything. Merely show. I shall purloin no valuables, appropriate no ingenious formulations. But the rags, the refuse-these I will not inventory but allow, in the only way possible, to come into their own: by making use of them. Walter Benjamin 2 The term 'archiveology' is a neologism that can help us understand a mode of film language in which authorship is transformed into practices of research, appropriation, borrowing and recycling. My book, with the same name as this paper, is an inquiry into the stakes of this new language, what can it say, and how can we read it critically and productively. 3 Archiveology is a critical method

Bodies of Archives / Archival Bodies: An Introduction

“…Due to its heuristic properties, its multiple possible forms of manifestation (Starn 2015), and through the bodies that (re)activate it, such an archive enables understandings of the world in a spatial-temporal dimension always subject to change. It speaks to experimentation, to an "archiveology" that highlights transformative possibilities (Russell 2018) and "other kinds of ordering" (Foster 2004).…”

“This is our first big experiment”:Paris 1900(1947) and the Eye Filmmuseum’s early collection-building

“…Because of its poetic visual approach to archival materialrather than a merely realist documentary modeit is often considered an early example of essayistic found footage filmmaking (Russell 2018). Vedrès's approach has seen an increased interest among film scholars such as Paula Amad (2015), Laurent Véray (2017), Catherine Russell (2018) and Suzanne Liandrat-Guigues (2018) and Roland-François Lack (2018). Their research has situated Vedrès' work more firmly in relation to classic film theory and theories of visual culture, while making her work relevant to a new generation of scholars and filmmakers who engage in poetic appropriation of archival film as a form of research.…”

‘No podemos hablar ya sino a través de los restos’: fragmento y fantasma del 68 mexicano en el cine experimental contemporáneo

“…En segundo lugar, la tradición del cine experimental, fundamentalmente la que concierne a prácticas que se definen a partir de dos ejes de trabajo interconectados: la reapropiación y el reempleo de materiales fílmicos, y el trabajo artesanal con medios obsoletos, como el 8 mm, el super 8 y el 16 mm. Por último, la línea de trabajo que, al menos desde principios de este siglo (Foster, 2004), utiliza las "prácticas de archivo" como espacios para la construcción de relatos históricos que, en términos generales, se proponen como contra-archivos, o anarchivos, que desafían cierta verdad oficial de los relatos hegemónicos y constituyen tentativas de construcción de una memoria -o postmemoria-colectiva (Russell, 2018;Amad, 2010).…”