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Research Paper Final Draft Sydney College of the Arts The University of Sydney Bachelor of Visual Arts (Honours) 2011 BACHELOR OF VISUAL ARTS RESEARCH PAPER THE MOTION PICTURE RUIN by Isabella Andronos Photomedia [email protected] isabellaandronos.com October 2011 Acknowledgements This research paper was written in Annandale and Rozelle. I would like to acknowledge the Wangal and Cadigal people, the traditional custodians of the land. Thank you to Fabia Andronos, Melissa Laird, Perry Andronos, Peter Cozens, Tanya Peterson and Alex H Mack. A special thank you to Anne Ferran. 2 Table of Contents List of Illustrations…………………………………………………………………... 4 Introduction ...…………………………………………………………………..…... 7 Chapter One: Pictures on Plastic and the Digital Clone …………………..………... 10 Chapter Two: Digital Decay …………………………………………………..……. 21 Chapter Three: Topography of Time………………………………………..……… 37 Conclusion: The End………………………………………………..……………….. 49 Bibliography…………………………………………………………………………. 52 3 List of Illustrations Figure 1. Eric Rondepierre, Masques from Précis de Décomposition (A Short History of Decay) series, 1993-1995, silver print on aluminium, 47 x 70cm. Figure 2. Bill Morrison, Decasia, 2002, 35mm, 70 mins, no sound, score by Michael Gordon. Figure 3. Isabella Andronos, 1:13:07 (Diary of a Lost Girl), screen capture from DVD (Diary of a Lost Girl, 1929, directed by Georg Wilhelm Pabst, 104 mins, black and white, silent, Kino Video, 2001). Figure 4. Isabella Andronos, 1:03:25 (Diary of a Lost Girl), screen captures from DVD (Diary of a Lost Girl, 1929, directed by Georg Wilhelm Pabst, 104 mins, black and white, silent, Kino Video, 2001). Figure 5. Isabella Andronos, 1:20:47 (King Creole, 1958), 2011, screen capture from DVD (King Creole, 1958, directed by Michael Cutiz, Paramount Pictures). Figure 6. Isabella Andronos, 0:50:27 (The 39 Steps, 1935), 2011, screen capture from DVD (The 39 Steps, 1935, directed by Alfred Hitchcock, Gaumont British Picture Corporation). Figure 7. Jon Rafman, 412 US-9W, Bethlehem, New York from 9 Eyes series, 2009, capture from Google Street View. Figure 8. Google Street View, 412 US-9W, Bethlehem, New York, screen capture from October 3, 2011. 4 Figure 9. Thomas Ruff, jpeg ny02 from jpeg series, 2004, chromogenic print, 2.69 x 3.64m. Figure 10. A selection of code created by opening a jpeg image in WordPad. Figure 11. Rebecca Baron and Douglas Goodwin, Lossless #3, 2008, digital video, 10 mins, colour, with sound. Figure 12. A still frame from Cleopatra, 1963, directed by Joseph L. Mankiewicz, 192 mins, colour, with sound (stereo), Twentieth Century Fox (2001). Figure 13. Isabella Andronos, Motion Picture Ruins (Cleopatra, 1963), 2011, video, 6 mins, no sound. Figure 14. Isabella Andronos, Motion Picture Ruins (Bring It On, 2000), 2011, video, 6 mins, no sound. Figure 15. Andy Warhol, Kiss, 1963, 16mm, 54 minutes (at 16 fps), black and white, no sound. Figure 16. Christian Marclay, The Clock, 2010, single-channel video, 24 hours, colour and black and white, with sound. Figure 17. Christian Marclay, The Clock, 2010, single-channel video, 24 hours, colour and black and white, with sound. Figure 18. Tracey Moffatt, Love, 2003, video, 21 minutes, colour and black and white, with sound (stereo), edited by Gary Hillberg. 5 Figure 19. Douglas Gordon, Between Darkness and Light (After William Blake), 1997, two-channel video, dual vision screen, 107 mins, 155 mins, colour and black and white, with sound. Figure 20. Isabella Andronos, Motion Picture Ruins (Titanic, 1997), 2011, video, 6 mins, no sound. Figure 21. Isabella Andronos, Motion Picture Ruins (To Catch a Thief, 1955), 2011, video, 6 mins, no sound. Figure 22. “The End” title from Black Sunday, 1960, directed by Mario Bava, 87 mins, black and white, Umbrella Entertainment (2005). 6 Introduction “Everything comes to nothing, everything perishes, everything passes, only the world remains, only time endures.” Denis Diderot, The Salon of 1767, 1767. Digital data is immaterial; it transcends the physical, existing as series of numerical values, as ones and zeros. In this sense, the digital is often thought of as a medium impervious to decay. The duplicable quality of digital files is sometimes misunderstood to mean that the information is infinite. However, the digital is susceptible to failure and decay. Malfunctions and errors can occur, processing algorithms can degrade files, data can be accidentally erased and lost forever in an instant and there are problems with access and technological obsolescence. This project examines technology, time and processes of decay in relation to the physical and digital break down of the motion picture. The ‘motion picture ruin’ comes to reflect a point between the creation and the demise of the image, where the moving image has been significantly impaired by processes of decay. Through watching my favourite films repeatedly on DVD (Digital Versatile Disc), I began to notice small anomalies located in certain frames; I came to see unintentional dust curled across a landscape, abstract marks which would block out a character’s face, and evidence of chemical decomposition, which would flash on the screen for a twenty-fourth of a second. Capturing these elusive frames from Hollywood motion pictures became the starting point of my project. The evidence of damage reflected a tension between the motion picture image and the effects of time on the physical film print. This duality of time provided a visual layering, as the film print came to exist with a damaged surface, one which was now replicated in the DVD version. As evidence of physical damage now contained in a digital format, I began to question what decay meant in terms of the digital age; what would happen to digital files if they became degraded. Through my project I 7 found that digital decay was possible, evidenced in the way that digital information could be broken down at the level of data. The first chapter of this paper, Pictures on Plastic and the Digital Clone explores my initial investigations of the physical degradation of the motion picture film print, examined through the DVD and underpinned by Baudrillard’s notion of data as an extermination of the real. In my paper, the DVD is explored as a copy of the physical film print. In this sense, the images I collected showed an impression of tangible damage, now contained as digital data. Rondepierre’s photographic series, Précis de Décomposition (A Short History of Decay) (1993-1995), and Bill Morrison’s film, Decasia (2002) are examined as examples of works which depict decay as a covering, a trace of the temporality of the print. The second chapter of this paper, Digital Decay, explores the faults of the digital image and the related aesthetic possibilities. Understanding that digital information can decompose, degrade and deteriorate, this chapter investigates traces of digital failure evident in the image. John McAndrew’s notion of ‘destructural aesthetics’, explores the process of breaking down digital images to achieve aesthetic results. This idea is examined in relation to Jon Rafman’s 9 Eyes series (2009), Rebecca Baron and Douglas Goodwin’s Lossless #3 (2008) and Thomas Ruff’s jpeg series (2004). The glitch, as a malfunction in technology, can be seen as related to both visual and sound mediums. In this chapter, the glitch is discussed in relation to the still and moving digital images. The writing of Iman Moradi on the ‘glitch-alike’ expands on this idea, looking at the potential of artists to synthesise intentional errors in technology. Fundamental to the creation of my final video work is the technique ‘data-moshing’ which is discussed as a process of digital decay; as a planned corruption of data based on a compression algorithm. The third chapter of this paper, Topography of Time, explores the way time can be traced in relation to the motion picture. Christian Marclay’s real time video piece, The Clock (2010), Tracey Moffatt’s composite video, Love (2003), and Douglas Gordon’s layered video work, Between Darkness and Light (1997), are discussed as examples of time and 8 its relationship to the motion picture. ‘Real time’ is a term used in this chapter to express the idea that the events that occur in the playback of the film directly match the audiences’ experience. Andy Warhol’s film, Kiss (1963), is used as an historical link to this concept. The temporal aspects of cinema are discussed in this chapter, exploring different ways in which motion pictures can be altered to create new experiences of time. Through the research investigations and experimentations associated with this project, I was able to develop an understanding of organic, chemical and digital decay manifested in the motion picture. My final work, in the form of a video, came to constitute a visual experience of digital decay. Using appropriated film clips from cinema and the data- moshing technique, I was able to re-write cinematic time and break down the moving images of the silver screen. 9 Chapter One Pictures on Plastic and the Digital Clone “The storytellers have not realised that the Sleeping Beauty would have awoken covered in a thick layer of dust…”1 Georges Bataille, Poussiere (Dust), 1929. The film print acts as the initial form of most motion pictures; it can be seen as a series of still frames forged onto plastic. With nitrocellulose, cellulose-acetate or polyester as the predominant bases used in the film stock, the motion picture print is inevitably subject to processes of decay. Developed in 1995, the DVD became a popular means of distributing motion pictures, outdating the VHS (Video Home System) which had popularised home entertainment systems. Awoken from storage to be converted into the new digital format, motion picture film prints had begun to show evidence of their physical existence. Like Bataille’s Sleeping Beauty, traces of dust had crept onto the surface of the still frames.
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