Three Dimensions of Archive Footage. Researching Archive Films from the Holocaust

Autor: Tobias Ebbrecht-Hartmann

Publikováno v: Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, Iss 2-3 (2017)

Archive footage from the Holocaust is an ambivalent source. Hence, specific ways of ‘reading’ this footage are required that analyse the specific content, review the context of its production, and also take into account the circulation and approp

Externí odkaz: https://doaj.org/article/830bc9b192d943bdafe33d14a272de7e

Montaje en profundidad: abrir el archivo para hacer ver. Un encuentro con Susana De Sousa Dias

Autor: Melissa Mutchinick, Eva Beatriz Noriega

Publikováno v: Arkadin. :e016

Entrevista a la realizadora de cine, investigadora y docente de nuevos medios Susana de Sousa Dias. En su visita a Buenos Aires manifestó sus ideas sobre el montaje y el uso de archivo en el cine documental. Conversamos sobre la dimensión del monta

Externí odkaz: https://explore.openaire.eu/search/publication?articleId=doi_dedup___::3e6d747098ffa1e375cb227029cf2257
https://doi.org/10.24215/2525085xe016

Three Dimensions of Archive Footage: Researching Archive Films from the Holocaust

Autor: Ebbrecht-Hartmann, Tobias

Archive footage from the Holocaust is an ambivalent source. Hence, specific ways of ‘reading’ this footage are required that analyse the specific content, review the context of its production, and also take into account the circulation and approp

Externí odkaz: https://explore.openaire.eu/search/publication?articleId=doi_________::b1c18b92074e564ddf4c6d1600430c76

The archive and the dream: the montage as a process of mediation in Sunless, by Chris Marker

Autor: Julia Fagioli

Publikováno v: Galáxia, Vol 0, Iss 27 (2014)
Galáxia, Vol 14, Iss 27, Pp 160-171 (2015)
Galáxia (São Paulo), Volume: 14, Issue: 27, Pages: 160-171, Published: JUN 2014
Galáxia (São Paulo) v.14 n.27 2014
Galáxia (São Paulo)
Pontifícia Universidade Católica de São Paulo (PUC-SP)
instacron:PUC_SP

O que propomos, no presente artigo, é pensar a montagem - e, mais especificamente, a montagem de imagens de arquivo - como processo de mediação entre elas e o espectador. Para isso, recorremos às ideias de Georges Didi-Huberman, para refletir sob

Externí odkaz: https://explore.openaire.eu/search/publication?articleId=doi_dedup___::7859cad9ac673ba0692c51820bc43237
https://doi.org/10.1590/1982-25542014116169

O idoso e a jaula de vidro: Adolf Eichmann e a migração de uma iconografia sub e sobredeterminada

Autor: Steinle, Matthias

Publikováno v: Aniki: Portuguese Journal of the Moving Image; Vol 2 No 2 (2015): Film archives and memory: documents and fictions; 251-275
Aniki: Revista Portuguesa da Imagem em Movimento; v. 2 n. 2 (2015): Os arquivos fílmicos e a memória: documentos e ficções; 251-275
Repositório Científico de Acesso Aberto de Portugal
Repositório Científico de Acesso Aberto de Portugal (RCAAP)
instacron:RCAAP
Aniki : Revista Portuguesa da Imagem em Movimento
Aniki : Revista Portuguesa da Imagem em Movimento, 2015, Dossier 'Film archives and memory: documents and fictions', 2 (2), pp.275-271. ⟨10.14591/aniki.v2n2.161⟩
Aniki: Revista Portuguesa da Imagem em Movimento, Vol 2, Iss 2, Pp 251-275 (2015)

International audience; This article discusses the image of Adolf Eichmann, which has haunted the screen ever since his spectacular kidnapping in Argentina. Characterized by a lack of archive images from the Nazi era and an abundance of images from t

Externí odkaz: https://explore.openaire.eu/search/publication?articleId=dedup_wf_001::46ee3208431de719b894c073bc04d0c2
http://aim.org.pt/ojs/index.php/revista/article/view/161