The narratives presented in most film histories seem to ignore the essential material components of analogue film stock. Film matters focuses on material components of the film image – specifically colour, movement and sound – with the aim of telling a material history in a contemporary, ‘post-digital’ environment. The aim of this history is to show how film as a material has participated in the building of social and political realities that are still at work today. My practice-led research results in two videos on colour and a 16 mm film on movement and sound. In these works I practice alternative ways of history writing and telling that may not be written, but which leave their sediments in the materialities and projections of film. My ...
As a range of creative practices are applied in archival research, digital technologies are shaping ...
Archive footage and photographs are an essential element of any historical film but the conditions o...
Expanding on Robert Stam’s idea that sound and image tracks in film can ‘mutually jostle, undercut [...
Drawing upon research into British artists’ moving image of the 1970s and 1980s, this talk discussed...
This video essay is a response to the journal’s call for work that considers the intersection of ide...
This dissertation is a historical and theoretical study of a number of discourses examining colour a...
Colorization describes the digitization and retrospective addition of color to photographic and film...
This article focuses on Eastmancolor’s introduction in the British film industry from 1954 to the co...
While the digitization of archival films has been practiced for more than a decade, there is still a...
Since the earliest days of cinema, film has been a colorful medium and art form. More than 230 film ...
While the digitization of archival films has been practiced for more than a decade, there is still a...
The relationship between film and history has assumed many and varied forms over the course of time....
The relationship between film and history has assumed many and varied forms over the course of time....
The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and...
This article addresses colour and music as elements associated with the rhetoric and excesses of fil...
As a range of creative practices are applied in archival research, digital technologies are shaping ...
Archive footage and photographs are an essential element of any historical film but the conditions o...
Expanding on Robert Stam’s idea that sound and image tracks in film can ‘mutually jostle, undercut [...
Drawing upon research into British artists’ moving image of the 1970s and 1980s, this talk discussed...
This video essay is a response to the journal’s call for work that considers the intersection of ide...
This dissertation is a historical and theoretical study of a number of discourses examining colour a...
Colorization describes the digitization and retrospective addition of color to photographic and film...
This article focuses on Eastmancolor’s introduction in the British film industry from 1954 to the co...
While the digitization of archival films has been practiced for more than a decade, there is still a...
Since the earliest days of cinema, film has been a colorful medium and art form. More than 230 film ...
While the digitization of archival films has been practiced for more than a decade, there is still a...
The relationship between film and history has assumed many and varied forms over the course of time....
The relationship between film and history has assumed many and varied forms over the course of time....
The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and...
This article addresses colour and music as elements associated with the rhetoric and excesses of fil...
As a range of creative practices are applied in archival research, digital technologies are shaping ...
Archive footage and photographs are an essential element of any historical film but the conditions o...
Expanding on Robert Stam’s idea that sound and image tracks in film can ‘mutually jostle, undercut [...