75 research outputs found
Film Museum Practice and Film Historiography
Get PDFExploring the history of several important collections from the EYE Film Museum in Amsterdam, Bregt Lameris shows how archival films and collections always carry historical traces
Film museum practice and film historiography : the case of the Nederlands filmmuseum (1946-2000)
Get PDFRich in detail, this is a study of the interrelationships between film historical discourse and archival practices. Exploring the history of several important collections from the EYE Film Museum in Amsterdam, Bregt Lameris shows how archival films and collections always carry the historical traces of selection policies, restoration philosophies, and exhibition strategies. The result is a compelling argument that film archives can never be viewed simply as innocent or neutral sources of film history
La ligue du noir et blanc : French debates on natural colour film and art cinema 1926–1927
No full textIn 1927, a group of young Parisian cinéphiles founded the so-called Ligue du noir et blanc, positioning colour in the domain of the commercial, and black and white in that of the artistic cinema. This dichotomy between colour and black and white in cinema is still part of our present-day film-historical dis courses. As a result, the ligue strongly defined our relationship to early col our films in the archives and film museums. To better understand the 1920s debate, I position it within the broader French discourse on colour and film art, showing that there were other voices that declared colour to be an excel lent element to use in an artistic way. The debate was not as black and white as our current historiographical knowledge might make us believe
Hand-Painted Abstractions. Experimental Color in the Creation and Restoration of Ballet mécanique
No full textGiven the canonical status in avant-garde media history of Fernand Léger and Dudley Murphy’s Ballet mécanique (1924), its preservation history is perhaps surprisingly complex. As a consequence, it has been the object of many debates on the practice and ethics of restoration and reconstruction. In 2011, EYE Film Institute Netherlands, in collaboration with the Haghefilm Foundation, carried out the most recent restoration work of the film and employed coloring techniques as used in the 1920s. Although the work conducted did not result in a new projection copy, the project remains a potential next step in the evolving restoration history of Ballet mécanique
Inleiding. Waanzin en media
Get PDFInleiding van het door Bregt Lameris en mij samengestelde themanummer 'Waanzin en media' van Tijdschrift voor Mediageschiedenis 2, 2013
Teaching the materiality of film
No full textIn this Forum article, we present a critical case study of the seminar Materiality of Film, which we taught at the Department of Film Studies, University of Zurich, in 2016 and 2018, in collaboration with David Landolf and Brigitte Paulowitz of Lichtspiel/Kinemathek in Bern, Switzerland. Our primary motivation to develop this course was our own fascination with the material side of analog film, an interest we developed throughout our professional lives, Bregt Lameris as a cataloger and researcher at the EYE Filmmuseum and Barbara Flueckiger as a film technician in international film production. These experiences fed into our academic work, which is characterized by an emphasis and reflection on the correlations between film material, technology, aesthetics, and historiography. However, we felt that students were lacking this awareness of the material side of film and its importance for the way its objects are shaped and used. This lack has increased in recent years, since most of the current generation of students have never seen or touched a filmstrip owing to the predominance of digital projection in cinemas. Since we consider it pivotal for our students’ understanding of twentieth-century cinematographic culture to know, feel, and touch the history of film before the transition to digital technology, we decided to develop this course. We wish to make clear that we do not aim to train future archivists but to educate film scholars with a deeper understanding of the material side of their objects of study [...]
Open
No full textThe journal issue tackles the theme of openness from variety of perspectives, focussing in particular on open scholarship and adding a broad spectrum of contributions ranging across multiple areas of film and media studies
Open: An Introduction
No full textThe text introduces the issue of NECSUS devoted to the topic of 'open', shedding light on the various perspectives that this may take on when applied to film and media studies. Prior to that, it also reconstructs the state of the arte in the current practices of open scholarship, providing references coming from both scholars and policy makers
Feeling Colour: Chromatic Embodiment in Film Culture, 1950s–1960s (PDF)
No full textThe shift back from quasi monochrome to coloured motion picture during the 1950s and 1960s famously provided moviegoers the dazzling opportunity to more fully engage their senses, all the while opening new modes of affective possibilities for filmmakers. Set against the intersection of media studies, emotion theory, biology, and digital humanities, Feeling Colour: Chromatic Embodiment in Film Culture (1950s-1960s) delves into the role colour played in the oft-fraught relationship between cinema and its audiences. This transnational analysis of an extensive range of midcentury cinematography examines the multilayered effects which extend beyond the silver screen, offering a high-level theoretical elaboration and in-depth historical exploration of both experimental and mainstream movies.
Lameris takes an interdisciplinary perspective, examining the different ways colour creates—or was believed to create—embodied reactions. From perception theory and 'putting the nerves in motion’, to colour psychology and how to ‘steer’ the spectator, to cross-modal perception (or ‘synaesthesia’), Lameris asks how how colours and feelings in film are entangled in the colour cultures, discourses and beliefs of a particular historical context.
With its influential cultural scholarly contribution and accessible writing style, this book will delight both students and specialists in film and media studies. In addition, those interested in the history and use of color in advertising, neuroscience, gender studies, and emotion will find the book engaging and useful
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