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dc.contributor.authorEgbe, Amandaen
dc.date.accessioned2020-03-27T12:55:44Z
dc.date.available2020-03-27T12:55:44Z
dc.date.issued2016-05-20
dc.identifier.citationEgbe, A (2016) 'Mnemosyne moving image archive: ethics and assemblage as a radical archival practice', Doing Women’s Film and Television History III - Leicester.en
dc.identifier.urihttp://hdl.handle.net/10547/623907
dc.description.abstractThis paper stems from the concern for the relationship between the viewer, the film, and the filmmaker. It is an inquiry looking at how the moving image allows us to create an experience of the world. It is with the awareness that this experience has cultural and political implications, particularly when understood in terms of what is held in film archives, museums and collections. It is concerned with interventionist practices, that may bring to the fore what it is that constitutes the making and viewing of film and how through archival film practices film histories are constituted. The Mnemosyne Moving Image Archive utilises the approach of Warburg's Mnemosyne Atlas, one model in a number of strategies that attempt, through its techniques of assemblage, comparison and disjuncture, to read the image contextually in multiple aspects. Warburg's approach is recast here to take images and sequences from moving image works to read across traditional film studies categories to (reading) the moving image, as form, auteur, spectator, nation etc. to assert the potential relations between the works in order to recover histories, alternative modes of meaning making, and creative and cultural practices.
dc.language.isoenen
dc.subjectfilmen
dc.subjectethicsen
dc.subjectassemblagesen
dc.subjectAby Warburgen
dc.subjectMnemosyne Moving Image Archiveen
dc.subjectP303 Film studiesen
dc.titleMnemosyne moving image archive: ethics and assemblage as a radical archival practiceen
dc.typePresentationen
dc.date.updated2020-03-27T12:51:37Z
html.description.abstractThis paper stems from the concern for the relationship between the viewer, the film, and the filmmaker. It is an inquiry looking at how the moving image allows us to create an experience of the world. It is with the awareness that this experience has cultural and political implications, particularly when understood in terms of what is held in film archives, museums and collections. It is concerned with interventionist practices, that may bring to the fore what it is that constitutes the making and viewing of film and how through archival film practices film histories are constituted. The Mnemosyne Moving Image Archive utilises the approach of Warburg's Mnemosyne Atlas, one model in a number of strategies that attempt, through its techniques of assemblage, comparison and disjuncture, to read the image contextually in multiple aspects. Warburg's approach is recast here to take images and sequences from moving image works to read across traditional film studies categories to (reading) the moving image, as form, auteur, spectator, nation etc. to assert the potential relations between the works in order to recover histories, alternative modes of meaning making, and creative and cultural practices.


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