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Archiving the everyday: A topos in ...

Amad, Paula Tatla.

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Archiving the everyday: A topos in French film history, 1895--1931.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Archiving the everyday: A topos in French film history, 1895--1931./
Author:	Amad, Paula Tatla.
Description:	483 p.
Notes:	Adviser: Tom Gunning.
Contained By:	Dissertation Abstracts International63-07A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3060188
ISBN:	0493757058

Archiving the everyday: A topos in French film history, 1895--1931.
Amad, Paula Tatla.

Archiving the everyday: A topos in French film history, 1895--1931. - 483 p.

Adviser: Tom Gunning.

Thesis (Ph.D.)--The University of Chicago, 2002.

This dissertation explores early cinema's intimate relationship to the everyday terrain of small-scale events, casual moments, and commonplace objects. It claims that this relationship should be understood not simply as a representational aspect of the technology, but as a reflection of the medium's archival capacity to record and store the history of the present. Early cinema was driven as much by a desire to capture the new and ephemeral experiences, places, and objects of modern everyday life as it was impelled by the challenge to store this endless vista of evidence for future generations. This argument is based on an exploration of previously unexamined nonfiction films, especially those produced for Albert Kahn's Archives de la Planete, and explored across a number of significant archive-related film discourses and projects in interwar France. Kahn's films are read alongside more formalized treatments of daily life in documentary and fiction film and in light of contemporary intellectuals and film critics (Colette, Louis Delluc, Siegfried Kracauer) whose work focused on the significance of the everyday in the experience of modernity. Particular attention is given to the geographer Jean Brunhes and the philosopher Henri Bergson who influenced Kahn's films and reshaped their disciplines through their conceptualizations of the everyday. This study advances the understanding of the role of nonfiction and non-commercial film in early cinema, particularly in relation to its interaction with fiction film; its impact on the development of avant-garde movements of the twenties; its illumination of pre-classical modes of reception and spectatorial pleasure; and its significance for the role of cinema as a depository of national memory. The film medium brought to the surface the internal contradiction within the modern desire to classify the infinite detail of everyday life, at once understood as a dream of complete knowledge and a nightmare of totalizing inscription. This study finally suggests that the quest within early cinema to capture and catalogue the contemporary world is best understood, in fact, as a counter-archival force whose challenge to the notion of an archive can also be found in later historiographical, documentary, and aesthetic developments within and beyond France.

ISBN: 0493757058Subjects--Topical Terms:

635474
Art History.

Archiving the everyday: A topos in French film history, 1895--1931.
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100 1 $a Amad, Paula Tatla. $3 1254960
245 1 0 $a Archiving the everyday: A topos in French film history, 1895--1931.
300 $a 483 p.
500 $a Adviser: Tom Gunning.
500 $a Source: Dissertation Abstracts International, Volume: 63-07, Section: A, page: 2397.
502 $a Thesis (Ph.D.)--The University of Chicago, 2002.
520 $a This dissertation explores early cinema's intimate relationship to the everyday terrain of small-scale events, casual moments, and commonplace objects. It claims that this relationship should be understood not simply as a representational aspect of the technology, but as a reflection of the medium's archival capacity to record and store the history of the present. Early cinema was driven as much by a desire to capture the new and ephemeral experiences, places, and objects of modern everyday life as it was impelled by the challenge to store this endless vista of evidence for future generations. This argument is based on an exploration of previously unexamined nonfiction films, especially those produced for Albert Kahn's Archives de la Planete, and explored across a number of significant archive-related film discourses and projects in interwar France. Kahn's films are read alongside more formalized treatments of daily life in documentary and fiction film and in light of contemporary intellectuals and film critics (Colette, Louis Delluc, Siegfried Kracauer) whose work focused on the significance of the everyday in the experience of modernity. Particular attention is given to the geographer Jean Brunhes and the philosopher Henri Bergson who influenced Kahn's films and reshaped their disciplines through their conceptualizations of the everyday. This study advances the understanding of the role of nonfiction and non-commercial film in early cinema, particularly in relation to its interaction with fiction film; its impact on the development of avant-garde movements of the twenties; its illumination of pre-classical modes of reception and spectatorial pleasure; and its significance for the role of cinema as a depository of national memory. The film medium brought to the surface the internal contradiction within the modern desire to classify the infinite detail of everyday life, at once understood as a dream of complete knowledge and a nightmare of totalizing inscription. This study finally suggests that the quest within early cinema to capture and catalogue the contemporary world is best understood, in fact, as a counter-archival force whose challenge to the notion of an archive can also be found in later historiographical, documentary, and aesthetic developments within and beyond France.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3060188