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Conceptualizing "The Original": Arti...

Marriott, David.

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Conceptualizing "The Original": Artifact, Intent, Experience, and Process in Avant-Garde Film Preservation.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Conceptualizing "The Original": Artifact, Intent, Experience, and Process in Avant-Garde Film Preservation./
Author:	Marriott, David.
Description:	140 p.
Notes:	Source: Masters Abstracts International, Volume: 53-01.
Contained By:	Masters Abstracts International53-01(E).
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1557817
ISBN:	9781303959769

Conceptualizing "The Original": Artifact, Intent, Experience, and Process in Avant-Garde Film Preservation.
Marriott, David.

Conceptualizing "The Original": Artifact, Intent, Experience, and Process in Avant-Garde Film Preservation. - 140 p.

Source: Masters Abstracts International, Volume: 53-01.

Thesis (M.A.)--University of California, Los Angeles, 2014.

While the moving image archival field has devoted considerable attention to theorizing preservation practice for traditional narrative cinema, comparatively little emphasis has been placed on avant-garde film. By specifically considering hand-manipulated avant-garde film and expanded cinema, I argue for a malleable archival theory which represents contemporary efforts to preserve and exhibit these films in a manner philosophically, technically, and aesthetically appropriate to the work. Underwriting this archival theory is a model based on four central conceptions of "originality" which play a decisive role in the preservation of these films, namely Spectrum of Influence, Temporality, Degree of Translation, and Method. By illustrating these conceptions as two related model graphs, I am able to plot, along four axes, decision points which have informed a range of contemporary preservations. In so doing, I conclude that the proposed archival theory successfully represents avant-garde film preservation practice, and has practical applications in the field.

ISBN: 9781303959769Subjects--Topical Terms:

2122736
Film studies.

Conceptualizing "The Original": Artifact, Intent, Experience, and Process in Avant-Garde Film Preservation.
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245 1 0 $a Conceptualizing "The Original": Artifact, Intent, Experience, and Process in Avant-Garde Film Preservation.
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500 $a Source: Masters Abstracts International, Volume: 53-01.
500 $a Adviser: Jonathan Furner.
502 $a Thesis (M.A.)--University of California, Los Angeles, 2014.
520 $a While the moving image archival field has devoted considerable attention to theorizing preservation practice for traditional narrative cinema, comparatively little emphasis has been placed on avant-garde film. By specifically considering hand-manipulated avant-garde film and expanded cinema, I argue for a malleable archival theory which represents contemporary efforts to preserve and exhibit these films in a manner philosophically, technically, and aesthetically appropriate to the work. Underwriting this archival theory is a model based on four central conceptions of "originality" which play a decisive role in the preservation of these films, namely Spectrum of Influence, Temporality, Degree of Translation, and Method. By illustrating these conceptions as two related model graphs, I am able to plot, along four axes, decision points which have informed a range of contemporary preservations. In so doing, I conclude that the proposed archival theory successfully represents avant-garde film preservation practice, and has practical applications in the field.
590 $a School code: 0031.
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710 2 $a University of California, Los Angeles. $b Moving Image Archive Studies. $3 3178902
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790 $a 0031
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