This research examines the spectrality of animation and other media based on the photographic trace. Using diverse examples from popular culture and the author’s own investigative practice in media art, this paper looks at how archival media is re-used and can be brought back to life in new moving image works, in a gesture we might call hauntological appropriation.
While sampling and re-using old materials is nothing new, over the last 15 years we have seen an ongoing tendency to foreground the ghostly qualities of vintage recordings and found footage, and a recurrent fetishisation and simulation of obsolete technologies. Here we examine the philosophies and productions behind this hauntological turn and why the materiality of still and moving image media has become such a focus. We ask how that materiality effects the machines that remember for us, and how we re-use these analogue memories in digital cultures.
Due to the multimodal nature of the author’s creative practice, photography, video art, documentary film and animation, are interrogated here theoretically. Re-animating the ghosts of old media can reveal ontological differences between these forms, and a ghostly synergy between the animated and the photographic.
type
paper
keywords
hautology, animation, memory, media archaelogy, appropriation, ontology, animated documentary
copyright
IJFMA 2019 (by-nc-nd)
year
31/12/2019
country
Portugal
place
Film and Media Art Department/ Lusófona University
