Get Memory and the Moving Image: French Film in the Digital Era PDF

By Isabelle McNeill

ISBN-10: 0748638911

ISBN-13: 9780748638918

A necessary rethinking of reminiscence and the relocating picture for the electronic age, Isabelle McNeill investigates the function of the relocating photograph in cultural reminiscence, contemplating the impression of electronic applied sciences on visible tradition. Drawing on an interdisciplinary variety of theoretical assets and an strange physique of movies and relocating snapshot works, the writer examines the ways that fresh French filmmaking conceptualises either the previous and the workings of reminiscence. eventually the writer argues that reminiscence is an intersubjective strategy, within which filmic types proceed to play an important function while new media come to dominate our modern event.

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Extra resources for Memory and the Moving Image: French Film in the Digital Era

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Rodowick uses the categories of ‘transcription’ and ‘conversion’ (or ‘calculation’) to account for the two types of technique (2007: 116). Photographic film transcribes analogically: it has direct contact with the image or its referent through a physiochemical contact with the profilmic event. On the other hand the digital converts, by means of an abstraction that exists independently of (or pre-exists) the profilmic event. ). The indexical photographic image, then, requires a space or event to have existed, whereas the digital image’s only referent is numbers and codes.

La mémoire est la vie, toujours portée par des groupes vivants et à ce titre, elle est en évolution permanente, ouverte à la dialectique du souvenir et de l’amnésie, inconsciente de ses déformations successives, vulnérable à toutes les utilisations et manipulations, susceptible de longues latences et de soudaines revitalisations. (Nora 1984: xix) (As soon as there is a trace, distance, or mediation, we are no longer in true memory but in history. [. ) Like Halbwachs, Nora sees memory, or at least la mémoire vraie, true memory, as dynamic, collective and in constant reconstitution.

So with the pharmakon and writing, it is always a question of life and death. [1981: 107]) This conception of the memory supplement as taking the place of the human subject and signifying death rather than life has its resonance in Nora’s account: ‘Plus tout à fait la vie, pas tout à fait la mort, comme ces coquilles sur le rivage quand se retire la mer de la mémoire vivante’ (not quite a part of life any longer but not yet consigned to death, like shells on the shore when the sea tide of living memory retreats) (1984: xxiv).

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Memory and the Moving Image: French Film in the Digital Era by Isabelle McNeill


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