Trembling Meaning: Camera Instability and Gilbert Simondon's Transduction in Czech Archival Film

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F21%3A10438280" target="_blank" >RIV/00216208:11210/21:10438280 - isvavai.cz</a>

Výsledek na webu

<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=fJ9Mdp1yCZ" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=fJ9Mdp1yCZ</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.3366/film.2021.0155" target="_blank" >10.3366/film.2021.0155</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Trembling Meaning: Camera Instability and Gilbert Simondon's Transduction in Czech Archival Film

Popis výsledku v původním jazyce

Many experimental found footage films base their meanings and effects on an uncanny interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film of the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the Cinematograph - obtained from the Lumière brothers - translates into the trembling of the figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon&apos;s notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arises out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain (meta)stability of this distribution within a system. In the case of archival films in which transduction occurs without prior intention or expectation, we should seek ways how the specific moments of transduction can be foregrounded and prolonged. The connection between transduction and the &quot;trembling meaning&quot; in Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of filmic matter and its interferences with the figurative content.

Název v anglickém jazyce

Trembling Meaning: Camera Instability and Gilbert Simondon's Transduction in Czech Archival Film

Popis výsledku anglicky

Many experimental found footage films base their meanings and effects on an uncanny interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film of the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the Cinematograph - obtained from the Lumière brothers - translates into the trembling of the figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon&apos;s notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arises out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain (meta)stability of this distribution within a system. In the case of archival films in which transduction occurs without prior intention or expectation, we should seek ways how the specific moments of transduction can be foregrounded and prolonged. The connection between transduction and the &quot;trembling meaning&quot; in Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of filmic matter and its interferences with the figurative content.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

<a href="/cs/project/EF16_019%2F0000734" target="_blank" >EF16_019/0000734: Kreativita a adaptabilita jako předpoklad úspěchu Evropy v propojeném světě</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)<br>S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2021

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Film-Philosophy [online]

ISSN

1466-4615

e-ISSN

—

Svazek periodika

25

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

24

Strana od-do

18-41

Kód UT WoS článku

000635132000002

EID výsledku v databázi Scopus

2-s2.0-85103861347