<abstract xmlns="http://www.w3.org/1999/xhtml"><p>This article examines how sensual aspects of the moving image, such as visual errors, blurring and technical disturbances are employed in found footage films dealing with Eastern European socialist past and the regime changing events. In the selected films Eastern European socialist visual culture is reworked with the cinematic practices of the post-media age in order to shape the spectators’ historical consciousness. By deliberate reframing and intensifying the medium-specific noises of the archival sources, or by an artificially created visual precariousness a new type of spectatorial awareness is created. The article delineates four different strategies through which the mediality of the recycled archival footage is brought to the fore and made operational (engaging the senses of its viewers).</p></abstract>

This article examines how sensual aspects of the moving image, such as visual errors, blurring and technical disturbances are employed in found footage films dealing with Eastern European socialist past and the regime changing events. In the selected films Eastern European socialist visual culture is reworked with the cinematic practices of the post-media age in order to shape the spectators’ historical consciousness. By deliberate reframing and intensifying the medium-specific noises of the archival sources, or by an artificially created visual precariousness a new type of spectatorial awareness is created. The article delineates four different strategies through which the mediality of the recycled archival footage is brought to the fore and made operational (engaging the senses of its viewers).

Sensing History. On the Uses of Medium-Specific Noise in Eastern European Found Footage Films

Sapientia Hungarian University of Transylvania

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

This article examines how sensual aspects of the moving image, such as visual errors, blurring and technical disturbances are employed in found footage films...

Sensing History. On the Uses of Medium-Specific Noise in Eastern European Found Footage Films

Publié en ligne: 16 oct. 2018

Pages: 137 - 163

DOI: https://doi.org/10.1515/ausfm-2018-0008

Mots clés
found footage film, socialist past, medium-specific noise, haptic visuality, intermediality

© 2018 Melinda Blos-Jáni, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Sensing History. On the Uses of Medium-Specific Noise in Eastern European Found Footage Films

Publié en ligne: 16 oct. 2018

Pages: 137 - 163

DOI: https://doi.org/10.1515/ausfm-2018-0008

Mots clésfound footage film, socialist past, medium-specific noise, haptic visuality, intermediality

© 2018 Melinda Blos-Jáni, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Mots clés
found footage film, socialist past, medium-specific noise, haptic visuality, intermediality