Fragmenty, resztki i przekleństwo archiwum - o nostalgii w kulturze found footage

June 1, 2017 | Autor: Andrzej Marzec | Categoria: Restorative Dentistry And Endodontics, Philosophy, Archival Studies, Art History, New Media, Performing Arts, Humanities, Avant-Garde Cinema, Art, Art Theory, Film Theory and Practice, Film Studies, Film Theory, Memory (Cognitive Psychology), Learning & Memory, Digitalizations of Non-Digital Art Works, Shows, Galleries, Events, Archives, Publishings, Cultural Heritage, Heritage Studies, Film Music And Sound, Digital Media, Contemporary Art, Literature and cinema, Film Analysis, Human Memory, History and Memory, Nostalgia (Psychology), National Cinemas, Digital Cinema, Philosophy of Film, Philosophy of Art, Film Genre, Historical memory, Heritage Conservation, Digital Culture, Archives, Film-Philosophy, Working Memory, Materialism, Hauntology, Memory Studies, Social and Collective Memory, Commemoration (Memory Studies), Cultural Memory, Jacques Derrida, Film History, Commemoration and Memory, Minimalism, Collective Memory, History of Art, Film Semiotics, Psychoanalytic Film Theory, American Cinema, Film and History, Film & Digital Video, Materiality (Anthropology), Popular And Political Cultures Of Memory, History of Archives, Contemporary Music, Derridean Deconstruction, Digital Archives, Social Memory, New Media Art, Cinema, Cultural Heritage Management, Public Memory, Film and Philosophy, World Cultural Heritage, memoralization, Art and Independent Cinema, Materiality of Art, Loss and Trauma, American independent cinema, Film Aesthetics, Visual Arts, Derrida, Autobiographical Memory, Grief (Psychology), Memory and materiality, Jacques Derrida & Deconstruction, Digital Cultural Heritage, Digital Theory and Culture, Experimental Film, Film, Entropy, Minimalism (Art), New Media Studies, Cinematography, Nostalgia, Film and Media Studies, American Independent Films, Guy Maddin, Heritage, Memory, Mass Communication and New Media, Cinema Studies, Science for Conservation and Restoration of Cultural Heritage, New Media and Digital Culture, Complicated Grief, Film archives, Materialities, Artes, Found Footage, Museum and Heritage Studies, Materiality, Archival Theory, Films, Archive, Consumption of nostalgia and retro items, Politics of Memory, Material Culture & Materiality, Destruction, Audiovisual Archives, Death, Grief, and Mourning, Grief and Loss, Grief, Nostalgia and Memory, Post-structuralism (especially the work of Jacques Derrida), Contemporary Cinema, Archive Footage, Found Film, Decay, Creative Destruction, Film History & Archiving, Revival, Information Entropy, Glitch Art, PHILIP GLASS, Cinema and Television, Experimental Cinema, Found Footage, Retrospective Studies, Found-Footage Horror, Digitalisation of Cultural Heritage, Library and Archival Science, Social Memory and Nostalgia, Found Footage (Genre), Bill Morrison, Specters of Marx, Widmontologia, Vintage Revival, Pixelisation, History of Film Theory and Criticism, Found Footage Research, Decasia, Svetlana Boym, Death and Grief and Social Media, Derrida Hauntology, Archival Footage, Performing Arts, Humanities, Avant-Garde Cinema, Art, Art Theory, Film Theory and Practice, Film Studies, Film Theory, Memory (Cognitive Psychology), Learning & Memory, Digitalizations of Non-Digital Art Works, Shows, Galleries, Events, Archives, Publishings, Cultural Heritage, Heritage Studies, Film Music And Sound, Digital Media, Contemporary Art, Literature and cinema, Film Analysis, Human Memory, History and Memory, Nostalgia (Psychology), National Cinemas, Digital Cinema, Philosophy of Film, Philosophy of Art, Film Genre, Historical memory, Heritage Conservation, Digital Culture, Archives, Film-Philosophy, Working Memory, Materialism, Hauntology, Memory Studies, Social and Collective Memory, Commemoration (Memory Studies), Cultural Memory, Jacques Derrida, Film History, Commemoration and Memory, Minimalism, Collective Memory, History of Art, Film Semiotics, Psychoanalytic Film Theory, American Cinema, Film and History, Film & Digital Video, Materiality (Anthropology), Popular And Political Cultures Of Memory, History of Archives, Contemporary Music, Derridean Deconstruction, Digital Archives, Social Memory, New Media Art, Cinema, Cultural Heritage Management, Public Memory, Film and Philosophy, World Cultural Heritage, memoralization, Art and Independent Cinema, Materiality of Art, Loss and Trauma, American independent cinema, Film Aesthetics, Visual Arts, Derrida, Autobiographical Memory, Grief (Psychology), Memory and materiality, Jacques Derrida & Deconstruction, Digital Cultural Heritage, Digital Theory and Culture, Experimental Film, Film, Entropy, Minimalism (Art), New Media Studies, Cinematography, Nostalgia, Film and Media Studies, American Independent Films, Guy Maddin, Heritage, Memory, Mass Communication and New Media, Cinema Studies, Science for Conservation and Restoration of Cultural Heritage, New Media and Digital Culture, Complicated Grief, Film archives, Materialities, Artes, Found Footage, Museum and Heritage Studies, Materiality, Archival Theory, Films, Archive, Consumption of nostalgia and retro items, Politics of Memory, Material Culture & Materiality, Destruction, Audiovisual Archives, Death, Grief, and Mourning, Grief and Loss, Grief, Nostalgia and Memory, Post-structuralism (especially the work of Jacques Derrida), Contemporary Cinema, Archive Footage, Found Film, Decay, Creative Destruction, Film History & Archiving, Revival, Information Entropy, Glitch Art, PHILIP GLASS, Cinema and Television, Experimental Cinema, Found Footage, Retrospective Studies, Found-Footage Horror, Digitalisation of Cultural Heritage, Library and Archival Science, Social Memory and Nostalgia, Found Footage (Genre), Bill Morrison, Specters of Marx, Widmontologia, Vintage Revival, Pixelisation, History of Film Theory and Criticism, Found Footage Research, Decasia, Svetlana Boym, Death and Grief and Social Media, Derrida Hauntology, Archival Footage

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Why is today's culture so deeply attached to the past and focused on its own remnants, which have suprisingly quickly come to represent its creators' main field of interest? Marzec explores this question by drawing on Jacques Derrida's quasi-concept of 'the spectre' in order to interpret the artistic 'found footage' work of Bill Morrison and other artists fascinated by the unusually creative and productive force of disintegration. This interesting film genre, forever gazing into the abyss of archival resources, not only brings to light the traces of a reality that has long ceased to exist - it also inspires a deep sense of nostalgia in its viewers and points to the faint presence of the past in the present, but above all, it fetishizes remnants. Dlaczego współczesna kultura jest tak bardzo przywiązana do swojejprzeszłości oraz skoncentrowana na własnych resztkach, które wzadziwiająco krótkim czasie stały się głównym obszarem zainteresowaniajej twórców? Autor pragnie odnaleźć odpowiedź na to pytanie,wykorzystując quasi-pojęcie „widma” Jacquesa Derridy do interpretacjiartystycznej twórczości „found footage” – prac Billa Morrisona orazinnych artystów zafascynowanych niezwykle twórczą i produktywną siłąrozkładu. Ten ciekawy gatunek filmowy, nieustannie zapatrzony wprzepastne zasoby archiwum, nie tylko wyciąga na światło dzienne śladynieistniejącej już dawno rzeczywistości, budzi w swoich widzachgłębokie poczucie nostalgii oraz wskazuje na słabą obecnośćprzeszłości w teraźniejszości, ale przede wszystkim fetyszyzujeresztki

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Fragmenty, resztki i przekleństwo archiwum - o nostalgii w kulturze found footage

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