Loving a Disappearing Image

Marks, Laura U.

doi:10.7202/024744ar

Cited by 14 publications

(13 citation statements)

References 2 publications

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“…Because the importance of keeping original film artifacts as long as possible has lately become a widely agreed upon goal, most film archives nowadays at some level embrace the "film as original" framework, especially with regard to long-term preservation. Also, there are advocates of this approach who maintain that the original film artifacts have a special something, comparable to Benjamin's aura (Cherchi Usai, 1987 andMarks, 1997), which new copies, and thus restorations, cannot recapture. It has also been argued that the "film as original" framework can lead to opposite archival practices, one where the original artifact is considered so precious that it becomes untouchable, and another where access to the original artifact puts its preservation in jeopardy.…”

Section: Discussionmentioning

confidence: 99%

“…Some theorists claim that the translation of light into discrete data marks the rupture between image and physical referent, and, therefore, they join the argument that digital imaging cannot claim the indexical character of photochemical analog imaging. 118 Others, such as Laura Marks (1999), transfer that physical connection to the "interconnected mass of electrons" that allows "materiality" to both kinds of images.…”

Section: Film As Originalmentioning

confidence: 99%

“…As Meyer argues, the closer a film artifact is to the original camera negative, the shorter the distance between the viewer and the "has been there" that has left its impression by light on the film (1997). On the other hand, in recent works, the realistic approach shows its validity also for the transition to digital as it has inspired new perspectives, some of which recognize an ontological difference between photographic and digital film (Manovich, 2001 andRodowick, 2007), while others oppose it (Marks, 1999 andSoderman, 2007). The discussion of both these new readings of the indexical approach, crucial for film archives in transition, will be resumed further on when discussing the "film as original" framework as they have a bearing on old and new assumptions on the film archival artifact.…”

mentioning

confidence: 99%

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From Grain to Pixel : The Archival Life of Film in Transition

Fossati¹

2009

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Section: Discussionmentioning

confidence: 99%

Section: Film As Originalmentioning

confidence: 99%

mentioning

confidence: 99%

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From Grain to Pixel : The Archival Life of Film in Transition

Fossati¹

2009

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“…The shift from silent to sound movie, for instance, stimulated a feeling of nostalgia for the older form. The same happened in the shift from analogue to digital photography and film (Marks, 1997), or from black and white to color television (Barnouw, 1990).…”

Section: Innovation Loss and Everyday Lifementioning

confidence: 99%

E-readers and the death of the book: Or, new media and the myth of the disappearing medium

Ballatore

Natale

2016

New Media & Society

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The recent emergence of e-readers and e-books has brought the death of the book to the centre of current debates on new media. In this article, we analyse alternative narratives that surround the possibility of the disappearance of print books, dominated by fetishism, fears about the end of humanism, and ideas of techno-fundamentalist progress. We argue that, in order to comprehend such narratives, we need to inscribe them in the broader history of media. The emergence of new media, in fact, has often been accompanied by narratives about the possible disappearance of older media: the introduction of television, for instance, inspired claims about the forthcoming death of film and radio. As a recurrent narrative shaping the reception of media innovation, the myth of the disappearing medium helps us to make sense of the transformations that media change provokes in our everyday life.

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“…When a new medium partially or completely supplants a new one, mechanisms of emotional affection and nostalgia can arise. This has been the case, for instance, in the passage from vinyl to digital music recording, with the aging of the vinyl format being accompanied by its emergence as a cult object and an item for collecting (Davis 2007); in the shift from silent to sound cinema (Altman 2004); or in the move from analog to digital photography and film, with the older technologies being re-interpreted as more fascinating or authentic (Marks 1997). In all of these cases, the status of the old as residual of a nostalgic past or as decaying intersects with the emotional attachment between media technologies and their users.…”

Section: Fantasies Of Obsolescence and Death: The Imaginary Of Old Mediamentioning

confidence: 99%

Media and the Imaginary in History

Natale¹,

Balbi²

2014

Media History

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This paper discusses how media theory and history should approach specimens of evidence about the cultural reception of media pertaining to the realms of the fantastic, such as speculations, predictions, dreams, and other forms of fantasy regarding media. It argues that the role of the imaginary in the history of media can be fully comprehended only by employing a perspective which is dynamic in time. In different phases of a medium's evolution, in fact, we find different fantasies; it follows that we need specific approaches to study them. The article discusses fantasies which are specific to three stages in media change: those preceding the actual invention of a medium; those accompanying the earliest period after the introduction of a new medium; and those connected to old media. Media ChangeStudying the way a technology is perceived within the public sphere means considering a broad range of elements, including popular fears and enthusiasms for innovation and progress, as well as political, economic, cultural, and social issues. While many of these aspects might appear relatively straightforward, there is a class of evidence about the reception of media which are particularly complicated to deal with: that of evidence which pertains to the realms of the fantastic, such as speculations, imaginary narratives, predictions, and other forms of fantasies regarding media technologies. Media scholars are often tempted to regard them as irrelevant to historical analysis. However, as Carolyn Marvin noted in her now classic work When Old

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Loving a Disappearing Image

Cited by 14 publications

References 2 publications

From Grain to Pixel : The Archival Life of Film in Transition

From Grain to Pixel : The Archival Life of Film in Transition

E-readers and the death of the book: Or, new media and the myth of the disappearing medium

Media and the Imaginary in History

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