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Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/16478

Titill: 
  • Titill er á ensku Peter Delpeut and His "Cinema of Loss"
Námsstig: 
  • Bakkalár
Leiðbeinandi: 
Útdráttur: 
  • Útdráttur er á ensku

    The era of television pushed film towards a slow death that has become more apparent in today's visual culture. Private collections of cinema rarely uphold any footage in the same form as it was invented more than one-hundred years ago. The problem of changing archival formats has led many films to complete disappearance since archival politics cannot protect every single image created by every single visual artist in the world. Early cinema has went through another “death“ of cinema with crucial and fast narrativisation of image, tying up this art sphere with literature - running away from unique and the only genre of “cinema of attractions“ towards screenplay and a more complex structure of already well established culture of visual representation.
    The end of the twentieth and the beginning of the twenty-first century introduced a popularization of the remixing of film archives and visual art based on looping and re-editing short episodes and scenes of old documented footage, long forgotten films and especially of well known cult films or blockbusters. Such an artistic technology of editing could be considered as the following of a very long tradition of the Russian montage school, which developed into a much more free and uncontrolled form of using any available visual material.
    In this work I will try to concentrate on three films made by Peter Delpeut during the last decade of the twentieth century. His Lyrical Nitrate (1990), The Forbidden Quest (1992) and Diva Dolorosa (1999) are mostly made of archival found footage from early silent cinema. Comparing him with other directors working with reediting of archival footage3, Delpeut seems to be trying to keep the balance between the original meaning of footage and the adaptation for modern audiences. In these works Delpeut “re-narrativizes“ the original films, creating the gap between the filmic “reality“ - so much defended and praised by André Bazín - and the usage of “reality effect“ to create so called “mockumentaries“. Even if such a recycling of long forgotten cinema does not bring the original purpose back it still does revive the films which would most possibly have been forgotten or even destroyed in casual archive re-management.
    Furthermore, in following parts of this thesis I will try to get the reader familiar with the situation of orphan films in different film archives where damaged or partly lost films are facing disappearance due to it’s politics. To get familiar with the idea of recycling cinema I will also try to describe and introduce the phenomena of “archive effect“ in comparison with “reality effect” used in most of the mockumentary genre films.
    Delpeut´s works are perfect examples of digitalization and the contemporary death of film as material as described by D. N. Rodowick. These films try to recapture the audience’s attention through the same techniques as it was used in the silent “cinema of attractions“ era (and diva films in Diva Dolorosa). Each of these three examples do it quite differently so I am hoping to analyze it separately and compare them with each other and with similar techniques which were used in making original films and classical techniques as the ones Delpeut used, including Soviet montage, early mockumentary styles, avant-garde film, etc.

Samþykkt: 
  • 10.9.2013
URI: 
  • http://hdl.handle.net/1946/16478


Skrár
Skráarnafn Stærð AðgangurLýsingSkráartegund 
Aleksas Gilaitis-Prenteintak.pdf624.97 kBOpinnHeildartextiPDFSkoða/Opna