Sensing History. On the Uses of Medium-Specific Noise in Eastern European Found Footage Films

Author:

Blos-Jáni Melinda1

Affiliation:

1. Sapientia Hungarian University of Transylvania ( Cluj-Napoca , Romania )

Abstract

Abstract This article examines how sensual aspects of the moving image, such as visual errors, blurring and technical disturbances are employed in found footage films dealing with Eastern European socialist past and the regime changing events. In the selected films Eastern European socialist visual culture is reworked with the cinematic practices of the post-media age in order to shape the spectators’ historical consciousness. By deliberate reframing and intensifying the medium-specific noises of the archival sources, or by an artificially created visual precariousness a new type of spectatorial awareness is created. The article delineates four different strategies through which the mediality of the recycled archival footage is brought to the fore and made operational (engaging the senses of its viewers).

Publisher

Walter de Gruyter GmbH

Reference42 articles.

1. Arthur, Paul. 2000. The Status of Found Footage. Spectator. The University of Southern California Journal of Film and Television vol. 20, no. 1: 57–69.

2. Assmann, Aleida. 1996. Texts, Traces, Trash: The Changing Media of Cultural Memory. Representations no. 56: 123–134.

3. Assmann, Jan. 2011. Cultural Memory and Early Civilization. Writing, Remembrance, and Political Imagination. Cambridge UK [etc.]: Cambridge University Press.

4. Balsom, Erika. 2017. One Hundred Years of Low Definition. In Indefinite Visions: Cinema and the Attractions of Uncertainty, eds. Martine Beugnet, Allan Cameron and Arild Fetveit, 73–89. Edinburgh: Edinburgh University Press.

5. Baudrillard, Jean. 1994. The Illusion of the End. Stanford: Stanford University Press.

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