Movement-Image in Experimental Archive Cinema

Boško  Prostran

doi:10.25038/am.v0i15.234

Authors

Boško Prostran

DOI:

https://doi.org/10.25038/am.v0i15.234

Keywords:

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

Abstract

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

Author Biography

Boško Prostran

Faculty of Media and Communications, Singidunum University, Belgrade
Serbia

Boško Prostran (1979) graduated from Faculty of Political Sciences at Belgrade University, received a MA degree in Media and Communications and is a Ph.D. candidate in Transdisciplinary Art and Media at Singidunum University in Belgrade. Prostran is a film/video artist and teaches as assistant professor at Faculty of Media and Communication in Belgrade. Prostran works with Isidora Ilić under the name of artist duo Doplgenger, whose practice deals with relation between art and politics through exploring the regimes of moving images and modes of its reception. The work of Doplgenger has been shown internationally and received prestigious Serbian Politika Award for the best exhibition in 2015. Boško Prostran is co-initiator and co-curator of Transimage, a film platform for the politics of moving images. He co-edited publication Amateurs for Film(Transimage, Belgrade, 2017

References

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DOI: http://dx.doi.org/10.25038/am.v0i15.234 DOI: https://doi.org/10.25038/am.v0i15.234