Explorations in the aesthetics of waste and the material infrastructure of memory.

This text is based on an image that, in some ways, can be understood only in terms of sound. In the lonely darkness of a movie theatre, the audience spends ninety minutes gazing at a single image: that of a rubber dinghy drifting aimlessly on a vast expanse of water.This is the rare challenge posed by German filmmaker Philip Scheffner with his documentary Havarie: viewers are asked to focus on a single image while listening to a variety of sounds – (...) especially the voices of many nameless individuals discussing their own drifting journeys.A few years ago, Scheffner happened “totally by accident” to come across a cellphone video on YouTube lasting three minutes and thirty-six seconds; it was titled simply “refugees”... (shrink)

For several years now, early cinema historians have developed certain notions that can help us define, in a much broader context, the axes of research in intermedial studies. Even though I’ll be giving it a slightly different importance, the notion I will be borrowing from these historians here is that of the “parameter.” Work by André Gaudreault and Philippe Marion on the emergence of the cinematographic medium relies on the idea that the medium appears as the result of a choice (...) made by the historian. To write the history of any given medium and separate it into periods, one must also select the components “that gathered together as a way of giving ‘birth’ to that medium at.. (shrink)