DIGITAL ARCHIVE
Moving images of the 100 years of cinema, the totality of films that constitute cinema, by 2004 became standardly ‘digital intermediates’1 available on the Internet.
With digital technology arrive new possibilities for close analysis, quotation, juxtaposition and live, or time-based, experiential forms of comparison. The “new” partakes of the “old” through digital integration by means of which movies of the twentieth century cinema are accessed through digital media and online networks.
Movies re-cycled by means of new media’s technology: sensors, software, database, internet (torrent, social networks, digital archive, etc.) are thus deconstructed by our will to control information.2
Each time the fragmentation is different and it is determined by the type of operation used to manipulate3 the complexities and multi-dimensions of movie data.
The Algorithmic Turn in Found Footage Filmmakig: The Digital Remake
See the examples below:
- META CINEMA
- REMIX
- REMAKE
- MASH-UP
- SUPERCUT
- GIF
- VIDEO GAME
- FILM DATA
- 3D
- PUBLIC DOMAIN
- VISUALISATION
- EDUCATIONAL
- MACHINIC VISION
- D.N. Rodowick, The Virtual Life of Film, p.8. ↩
- D.N.Rodowick, The Virtual Life of Film: “Before the digital screen, we do not feel powerlessness, but rather express a will to control information and to shape ourselves and the world through the medium of information. This is also a will to measure the world and communication, or to take measure of it, and so to manage it according to mathematical means. The most difficult question, then, relates to the ethics of computational interactions; that is, evaluating our contemporary mode of existence and addressing how our ontology has changed in our interactions with computer screens.”; p.174. ↩
- Lev Manovich, Software Takes Command: “Software techniques affect our understanding of media through the operations they make available to us for creating, editing, interacting with, and sharing media artifacts.”, p. 122. ↩