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“Didi-Huberman appears to suggest we might treat photographic images themselves as symptoms, as lacunary traces of a greater context, some of which may still be inferred from them.

\n

Arguably this is exactly what is practiced by the more recent, overlapping methods of architectural forensics, data forensics and image forensics. For example, the project Black Friday by Forensic Architecture (FA) displays an exemplary attentiveness to the gaps between moving images”

\n

\n
", "tags": [], "relations": {}, "dateAdded": "2023-12-15T23:36:01Z", "dateModified": "2023-12-15T23:38:03Z" } }, { "key": "LT9VV7HU", "version": 22, "library": { "type": "group", "id": 240276, "name": "Archive Film Online", "links": { "alternate": { "href": "https://www.zotero.org/groups/archive_film_online", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/240276/items/LT9VV7HU", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/archive_film_online/items/LT9VV7HU", "type": "text/html" } }, "meta": { "createdByUser": { "id": 1156428, "username": "mariavelez", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/mariavelez", "type": "text/html" } } }, "creatorSummary": "Oldenborgh", "parsedDate": "2022-02-18", "numChildren": 2 }, "data": { "key": "LT9VV7HU", "version": 22, "itemType": "journalArticle", "title": "Haunted Archives: Presence and Absence in the Audio-visual Record of Conflict in Bosnia-Herzegovina", "creators": [ { "creatorType": "author", "firstName": "Lennaart Van", "lastName": "Oldenborgh" } ], "abstractNote": "This paper examines the potential consequences of the loss of raw rushes of historical events on collective memory. 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In commercial news archives economic pressures determine which footage will be digitised, and a diminishing pool of well-known images tend to be re-used in a “feedback loop of historical footage”. \nExamining the rushes of the aid convoy to Mostar reveals how much the news coverage is coloured by the media spectacle accompanying the convoy. The clear emphasis on the humanitarian aspects of the story downplays the political stakes of the warring parties, and incongruous jokes to the camera provide unexpected glimpses of the pressures and the privileges of the international journalists and aid workers producing the images. These are insights that could only have been gleaned from the raw rushes of the situation, and are an indication of the kind of insights into comparable events that may have been “narrativised” out of the historical record, and lost on the cutting room floor. ", "publicationTitle": "Frames Cinema Journal", "publisher": "", "place": "", "date": "2022-02-18", "volume": "19", "issue": "", "section": "", "partNumber": "", "partTitle": "", "pages": "104-132", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "", "DOI": "10.15664/fcj.v19i0.2385", "citationKey": "", "url": "https://ojs.st-andrews.ac.uk/index.php/FCJ/article/view/2385", "accessDate": "2023-12-15T23:37:52Z", "PMID": "", "PMCID": "", "ISSN": "2053-8812", "archive": "", "archiveLocation": "", "shortTitle": "Haunted Archives", "language": "en", "libraryCatalog": "ojs.st-andrews.ac.uk", "callNumber": "", "rights": "Copyright (c) 2022 Lennaart Van Oldenborgh", "extra": "", "tags": [], "collections": [], 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