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The Film Multiple: Technologies, Sites, Practices

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The Film Multiple: Technologies, Sites, Practices The Film Multiple: Technologies, Sites, Practices Stefania Charitou Goldsmiths, University of London PhD Media and Communications, 2013 I hereby declare that all the work presented in this thesis is my own. .............................................................................................. 1 Abstract This thesis examines the shifting conditions of the material and technological properties of the object of film and subsequently of the idea of cinema, in the light of the transition from analogue to digital technologies. I suggest that this technological transition has ontological dimensions, which I examine by looking at spaces and places that encompass this transition, materially and conceptually. The study argues that the nature of film and cinema is multiple, in continuous states of ‘becoming’. The anchor of this study is post-Actor Network theorist Annemarie Mol’s philosophical argument that objects ‘come into being’ according to the practices and sites in which they are placed. The thesis examines situated practice-based interactions between the two technologies, which shape relationships of power, replacement, exchange and collaboration. I explore those issues at four specific institutional sites: the gallery, focusing on three moving image exhibitions in London, the British Film Institute’s Archive in Berkhamsted, LUX, the UK agency of artists’ moving image distribution and collection, and the movie theatre’s projection room that gradually displays only digital films. This survey examines the situated practices of presentation, exhibition, print checking, archiving, restoration and theatrical projection of film. The aim of this study is to present a multiple object and a multiple idea that is defined not merely by technology, but rather by sites and in particular their operational practices, objectives and organization. By evaluating how analogue and digital technologies interplay in these sites, the study aims to highlight issues of film’s and cinema’s multiplicity that unfolds and shifts both in space and time. The investigated practices evolve in electronic spaces, physical sites and particular locations. Furthermore, they expose different temporalities for analogue and digital film and indicate cinema’s virtual nature to be transcending in time. The situated practices unite and divide the analogue and digital technologies, exposing a manipulative relationship between tangible space, formed by the mechanical apparatus of projection and network space, marked by the digital’s temporal and spatial ubiquity. At the same time, cinema is actualized in measurable time, while its phenomenon is formulated in the continuous movement and differentiation of duration. 2 Contents Abstract ...................................................................................................................................... 2 Acknowledgements .................................................................................................................... 6 Chapter 1. Introduction .............................................................................................................. 7 1.1 Focusing on Materiality ................................................................................................... 7 1.2 Heterogeneity of Theoretical Practices .......................................................................... 13 1.3 Enacting Film and Challenging Cinema ........................................................................ 17 1.4 The Case Studies ............................................................................................................ 21 Chapter 2. Film in Theory and Location .................................................................................. 25 2.1 Introduction: Processes of Transition ............................................................................. 25 2.2 Theoretical Enactments .................................................................................................. 28 2.2.1 On Photographic/Cinematographic Processes: Temporality, Reality, Subjectivity .... 29 2.2.2 Movement and Relationality ................................................................................... 36 2.2.3 Simultaneity and Effects of Relocation ................................................................... 43 2.3 Temporalities of Film and Cinema................................................................................. 50 2.4 The Object is Multiple.................................................................................................... 53 2.5 The Film Multiple .......................................................................................................... 57 Chapter 3. Methodological Accounts on Actor-Network Theory ........................................... 60 3.1 Introduction: From Representation to Practice .............................................................. 60 3.2 Subject and Object Relationships: The Formation of Realities ..................................... 61 3.3 A Material Semiotic Approach ...................................................................................... 64 3.4 ANT in Media Studies.................................................................................................... 67 3.5 Praxiography as Philosophical Practice ......................................................................... 70 3.6 Site Specificity: Situated Practices ................................................................................. 76 3.7 The Role of the Ethnographer ........................................................................................ 77 Chapter 4. Cinema as Multimodal Practices of Installation ................................................... 81 4.1 Introduction .................................................................................................................... 81 4.2 Film Practices Between Cinema and Art ....................................................................... 83 4.3 “Line Describing a Cone”: Real Time, Real Space ....................................................... 88 4.4 “My Westphalia Days”: The Mechanics of the Apparatus ............................................ 94 4.5 “Living London”: Attraction in Multiple Screens.......................................................... 98 3 4.6 Ephemerality of Practices............................................................................................. 101 4.7 Conclusion .................................................................................................................... 104 Chapter 5. Fluid and Decomposing Material: Film Checking Practice ................................. 106 5.1 Introduction .................................................................................................................. 106 5.2 The Site: LUX’s Art Heritage ...................................................................................... 108 5.3 LUX’s Heterotopic Corner: Between “Normal” and “Pathological” Condition.......... 111 5.4 The Film Checking Practice ......................................................................................... 118 5.5 The Projected Film ....................................................................................................... 121 5.6 Film Checking Sheet .................................................................................................... 122 5.7 A Fluid Object: Film’s Nature and Performance ......................................................... 125 5.8 Archival Film ............................................................................................................... 128 5.9 Conclusion .................................................................................................................... 131 Chapter 6 ................................................................................................................................ 133 Restoration Practices: Analogue and Digital Co-ordination .................................................. 133 6.1 Introduction .................................................................................................................. 133 6.2 The Concept of the Archive – The BFI Archive .......................................................... 136 6. 3 Underground (1928-2009)........................................................................................... 140 6.4 Irreversibility and Reversibility ................................................................................... 144 6.5 Originality .................................................................................................................... 149 6.6 Conclusion .................................................................................................................... 153 Chapter Seven ........................................................................................................................ 155 Projection: Materiality, (Dis)-location and Network ............................................................. 155 7.1 Introduction .................................................................................................................. 155 7.2 Curzon Cinemas ........................................................................................................... 157 7.3 Analogue and Digital Theatrical Projection ................................................................. 160 7.4 Curzon on Demand......................................................................................................
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