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Chris Marker Und Das Audiovisuelle Archiv Chris Marker und das audiovisuelle Archiv Zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) von der Fakultät für Geistes- und Sozialwissenschaften des Karlsruher Instituts für Technologie (KIT) genehmigte Dissertation von Oliver Mayer aus Dillingen a.d. Donau Hauptreferent: Prof. Dr. Andreas Böhn (KIT) Korreferent: Prof. Dr. Sven Kramer (Universität Lüneburg) Tag der mündlichen Prüfung: 06.07.2016 Inhaltsverzeichnis 1 Einleitung und Zielsetzung ................................................................................................. 1 2 Was ist ein Archiv? ........................................................................................................... 13 2.1 Archiv als Institution ................................................................................................. 14 2.2 Archivgut/Archivmaterial .......................................................................................... 22 3 Was ist audiovisuelles „Archivmaterial“? ........................................................................ 35 3.1 Exkurs: L’Ambassade (1973) .................................................................................... 43 4 Aktualisierungen des Archivs ........................................................................................... 46 4.1 Vorüberlegung: Speicherung im Archiv vs. Aktualisierung ..................................... 47 4.2 Zu den Archivkonzepten von Walter Benjamin und Aby Warburg .......................... 54 4.2.1 Walter Benjamin ................................................................................................ 58 4.2.2 Aby Warburg ...................................................................................................... 86 4.3 Zur Verwendung von audiovisuellem Archivmaterial in anderen Gattungen ......... 124 4.3.1 Spielfilm und Mischformen (Doku-Drama) ..................................................... 124 4.3.2 Konventioneller Dokumentarfilm und Kompilationsfilm ................................ 131 4.3.3 Experimentalfilm/Found Footage-Film ............................................................ 139 5 ANALYSETEIL ............................................................................................................. 147 5.1 Einführende Bemerkungen zur Filmauswahl und zum Erkenntnisinteresse der Analysen ............................................................................................................................. 147 5.1.1 Warum Marker? ............................................................................................... 147 5.1.2 Marker und der Essayfilm ................................................................................ 149 5.1.3 Filmauswahl ..................................................................................................... 150 5.1.4 Untersuchungsbereich der Filmanalysen ......................................................... 155 5.2 Le Fond de l’air est rouge (1977) ........................................................................... 158 5.2.1 Einführung und Untersuchungsgegenstand ...................................................... 158 5.2.2 Die „chutes“ und ihre archivische Latenz ........................................................ 161 5.2.3 Markers militante Phase und das Konzept der „Gegen-Information“ .............. 163 5.2.4 Provenienz, Beschaffenheit und Einordnung der Archivmaterialien ............... 166 5.2.5 Heterogenität der Materialien ........................................................................... 171 5.2.6 Titel, Gliederung und unterschiedliche Fassungen .......................................... 173 5.2.7 Polyphonie des Kommentars ............................................................................ 178 5.2.8 Verschränkung chronologischer und achronologischer Strukturen ................. 180 5.2.9 Konstellationen und „historischer Index“ ........................................................ 185 5.2.10 Nachträglichkeit/Lesbarkeit ............................................................................. 191 5.2.11 Aby Warburg und die „Pathosformeln“ der Achtundsechziger ....................... 199 5.2.12 Sophrosyne und „energetische Inversion“ ....................................................... 205 5.2.13 „Verräterische“ Details .................................................................................... 209 5.2.14 Heterogenität des Archivmaterials ................................................................... 212 5.2.15 Dokument und Fiktion ..................................................................................... 214 5.2.16 Theatralität und Medialität des Archivs von Achtundsechzig ......................... 218 5.3 Le Tombeau d’Alexandre (1993) ............................................................................. 227 5.3.1 Einführung ........................................................................................................ 227 5.3.2 Briefstruktur und Chronologie ......................................................................... 229 5.3.3 Materialarten und Medien ................................................................................ 231 5.3.4 Die „rettende Kritik“ Medwedkins und der sowjetischen (Film-)Geschichte . 232 5.3.5 Markers Arbeit an den Bildern der Geschichte ................................................ 235 5.3.6 Analytische Verfahren: Vergrößerung, freeze frame usw. ............................... 238 5.3.7 Synthetische Verfahren: Collage und Montage ............................................... 243 5.3.8 „Pathosformeln“ des Kommunismus ............................................................... 249 5.3.9 Markers Ikonoklasmus ..................................................................................... 255 5.3.10 Visuelle Serien ................................................................................................. 259 5.3.11 Traumaarchive und das Archiv als Quelle historischer Erkenntnis ................. 263 5.3.12 Latenz des Archivs ........................................................................................... 266 5.3.13 Das zensierte und gefälschte Archiv ................................................................ 271 5.3.14 Dokument und Fiktion ..................................................................................... 273 5.3.15 Medialität und Materialität des Archivs ........................................................... 283 5.4 Le Souvenir d’un avenir (2001) ............................................................................... 286 5.4.1 Einführung ........................................................................................................ 286 5.4.2 Struktur und Selektion der Fotografien ............................................................ 289 5.4.3 Nachträglichkeit historischer Erkenntnis ......................................................... 294 5.4.4 Markers Prolepsen und Warburgs Pathosformeln ............................................ 303 5.4.5 Fotografie und Film .......................................................................................... 306 5.4.6 Dokument und Fiktion ..................................................................................... 308 5.4.7 Bellon und der Surrealismus ............................................................................ 312 5.4.8 Rolle des Kommentars ..................................................................................... 314 5.4.9 Evidenz und Fälschung .................................................................................... 318 5.4.10 Akustisches und linguistisches Archiv ............................................................. 320 5.4.11 Doppelcharakter des Archivs zwischen Vergangenheit und Zukunft .............. 323 5.4.12 Le Souvenir d’un avenir als historischer „Zwischenstand“ ............................. 324 6 Zusammenfassung und Ausblick .................................................................................... 326 6.1 Zusammenfassung ................................................................................................... 326 6.1.1 Zielsetzung und konzeptioneller Rahmen ........................................................ 326 6.1.2 Vergleichende Zusammenfassung der Ergebnisse der Filmanalysen .............. 330 6.2 Ausblick: Chris Marker und das audiovisuelle Archiv im Zeitalter seiner digitalen Reproduzierbarkeit ............................................................................................................. 340 7 Filmografie (Auswahl) .................................................................................................... 350 8 Bibliografie ..................................................................................................................... 353 1 1 Einleitung und Zielsetzung [M]on propos est d’interroger les images [...]. (Aus der Kommentarspur zu Le Tombeau d’Alexandre) Viel war seit dem Ende der Neunziger vom „Archiv“ als einem neuen Schlüsselbegriff des kulturwissenschaftlichen Diskurses zu hören. Zahlreiche mehr oder weniger umfangreiche Ausstellungsprojekte im Kunstbereich widmeten sich unter diesem Schlagwort oft sehr heterogenen Praktiken des „Sammelns, Speicherns, Archivierens“1. Poststrukturalistische2 und postkoloniale 3 Theoretiker haben sich des Archivs als Ort der Wissensproduktion angenommen und untersuchen die mannigfaltigen machtpolitischen Strategien, die dabei von dieser Institution als kulturellem Ort ausgehen
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