Movement-Image in Experimental Archive Cinema

Boško Prostran


In this paper, by applying three-mode division of image-movement by Gilles Deleuze to three case studies from the artistic practice of experimental archive cinema, I will attempt to point to three modes of reading/watching archive documentary film images, by which I tend to recognize also three different instances of reading/watching certain historical events, represented by images in these films. The three films, which I analyze following these guidelines, are Frammenti elettrici [Electric Fragments], by Yervant Gianikian and Angela Ricci-Lucchi, 2001–2005; Блокада [The Block], by Sergei Loznitsa, 2006; and Respite, by Harun Farocki, 2005.


Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper


How to cite this article: Prostran, Boško: " Movement-Image in Experimental Archive Cinema." AM Journal of Art and Media Studies 15 (2018): 103–111. doi: 10.25038/am.v0i15.234


movement-image; affection-image; action-image; relation-image; archive cinema; experimental film; history; document

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