From Grain to Pixel

Film is in a state of rapid change, with the transition from analog to digital profoundly affecting not just filmmaking and distribution, but also the theoretical conceptualization of the medium film and the practice of film archiving. New forms of digital archives are being developed that make use of participatory media to provide a more open form of access than any traditional archive has offered before. Film archives are thus faced with new questions and challenges. From Grain to Pixel attempts to bridge the fields of film archiving and academic research, by addressing the discourse on film ontology and analysing how it affects the role of film archives. Fossati proposes a new theoretization of film archival practice as the starting point for a renewed dialogue between film scholars and film archivists.Het bewegende beeld bevindt zich in een overgangsperiode waarin analoge (fotochemische) film geleidelijk vervangen wordt door digitale film. Deze overgang heeft niet alleen diepgaande invloed op filmproductie en -distributie, maar ook op de manier van archiveren van film en de theoretische conceptualisering van dit medium. Van digitale archieven worden steeds nieuwe vormen ontwikkeld. Deze archieven - digitale filmdatabases en YouTube bijvoorbeeld - maken gebruik van media die participatie van vele gebruikers mogelijk maken en worden zo toegankelijker dan ooit. Ondertussen is er nog onvoldoende dialoog tussen archivarissen en filmwetenschappers. From Grain to Pixel slaat een brug tussen archiveringspraktijken en wetenschappelijk onderzoek dat gebaseerd is op relevante debatten in film- en nieuwe mediastudies. Fossati stelt een nieuwe theorie op voor het archiveren en restaureren van film. Dit biedt mogelijkheden voor een hernieuwde dialoog tussen archivarissen en wetenschappers

From Grain to Pixel

Film is in a state of rapid change, with the transition from analog to digital profoundly affecting not just filmmaking and distribution, but also the theoretical conceptualization of the medium film and the practice of film archiving. New forms of digital archives are being developed that make use of participatory media to provide a more open form of access than any traditional archive has offered before. Film archives are thus faced with new questions and challenges. From Grain to Pixel attempts to bridge the fields of film archiving and academic research, by addressing the discourse on film ontology and analysing how it affects the role of film archives. Fossati proposes a new theoretization of film archival practice as the starting point for a renewed dialogue between film scholars and film archivists

From Grain to Pixel

"In From Grain to Pixel , Giovanna Fossati analyzes the transition from analog to digital film and its profound effects on filmmaking and film archiving. Reflecting on the theoretical conceptualization of the medium itself, Fossati poses significant questions about the status of physical film and the practice of its archival preservation, restoration and presentation. From Grain to Pixel attempts to bridge the fields of film archiving and academic research by addressing the discourse on film's ontology and analyzing how different interpretations of what film is affect the role and practices of film archives. Ultimately, Fossati proposes a novel theorization of film archival practice as the starting point for a renewed dialogue between film scholars and film archivists. Almost a decade after its first publication, this updated edition covers the latest developments in the field. Besides a new general introduction, a new conclusion and extensive updates to each chapter, a novel theoretical framework and a new case study have been added. Giovanna Fossati is chief curator at EYE Filmmuseum and professor of film heritage and digital film culture at the University of Amsterdam.

Archives

Archives have become a nexus in the wake of the digital turn. This book sets out to show how expanded archival practices can challenge contemporary conceptions and inform the redistribution of power and resources. Calling for the necessity to reimagine the potentials of archives in practice, the three contributions ask: Can archives fulfill their paradoxical potential as utopian sites in which the analog and the digital, the past and future, and remembrance and forgetting commingle? Contents: Introduction: Contesting "The Archive," Archives, and Thanatarchy (Andrew Lison); Archives of Inconvenience (Rick Prelinger); System of a Takedown: Control and De-commodification in the Circuits of Academic Publishing (Marcell Mars and Tomislav Medak)

Archives

Archives have become a nexus in the wake of the digital turn. This book sets out to show how expanded archival practices can challenge contemporary conceptions and inform the redistribution of power and resources. Calling for the necessity to reimagine the potentials of archives in practice, the three contributions ask: Can archives fulfill their paradoxical potential as utopian sites in which the analog and the digital, the past and future, and remembrance and forgetting commingle

Technology and Film Scholarship: Experience, Study, Theory

This volume brings together a wide range of explorations of the ways in which technological innovations have established new and changing conditions for the experience and study of film. The book offers analyses by such leading figures in film studies as Tom Gunning and Charles Musser, who examine the ways in which technological changes have altered the ways how cinema is conceived and how it is approached as an object of study. Contributors also look at the overlapping stages through which new experience is translated in institutionalized knowledge within the discipline

Mindful Mending: The Repair of Thought and Action Amidst Technologies

My thesis is that the concept and practice of repair, properly understood and circumscribed, can serve to: (1) specify a responsibility to care for individuals who are cognitively dependent on particular configurations of technologies and suffer cognitively significant harms following damage to various technologies, and (2) to act as a standard by which to regulate the design, implementation, and selection of technologies available for human use and appropriation. I begin (Chapters One and Two) by providing a critical investigation of the concept and practice of repair. In Chapters Three and Four, I set forth a proposal to consider what I term cognitive-agentic repair as the mindful mending of agentic skills/autonomy competency by way of those constitutive cognitive processes that are extended/situated in objects and arrangements of objects that constitute particular material spaces and places (home, workplace). As such, I argue that when either intentional or unintentional harms are committed against individuals who are cognitively situated in the world, there is a prima facie responsibility to attempt the specific act of cognitive-agentic repair so as to support the possibility of personal autonomy. To justify this ethical responsibility, I advance an account of human persons that is grounded in both feminist philosophy and recent work in the cognitive sciences on the hypotheses of extended and embedded cognition. I then move to consider how my account of repair can constructively inform the design, implementation, and selection of particular technologies by acting as a regulative standard. This analysis is divided into two parts: (1) a theoretical construction that utilizes work in the philosophy of technology to distinguish the pattern of those technologies that would facilitate cognitive-agentic repair (Chapter Five) and (2) a practical application to telemedical/telehealth technologies (Chapter Six)

Post-cinema

This volume explores new ways of considering, experiencing and making films in a time of technological transition. It brings together an international group of scholars and artists from a variety of countries, who speak different languages and come from different cultural and disciplinary backgrounds