The film document and its veracity

BFI的国家电影档案馆为电影文件及其真实性提供了主要背景。作为一个以实践为基础的书面分析，这个艺术家-电影制作研究项目涉及并质疑现有的档案电影的语言、语法和真相制作。这项研究提出，编辑语法或米--具有决定性或绝对性的地位--可以被仔细审查和修改，引入更广泛的当代视角，同时揭示嵌入的、宣传的议程。使用扩展的电影语法来测试电影的准确性：探索沉默、呼吸、间歇、停顿和节拍如何影响原始原始材料的可信度，该项目采取了一种新的方法，将档案电影的各个方面与数字拷贝和新生成的材料结合起来。它提供了有关数字化如何打开通向新唯物主义文化的大门的新知识，推测电影如何比以往任何时候都更接近语言；而它早期的存在是物理材料如何以赛璐胶片形式持有具体的、不透明的叙事的结果。从这些历史局限中解脱出来，准备好研究可有可无的无穷无尽的副本，就会产生一种非物质的格式，导致一种转变，或者说是更自由的心理。这种新的图像柔韧性需要在当代电影制作中采用一种流畅的方法，这种方法通常在数字媒体的获取和重新制作中经历。复制品的文化将被突出，并与电影的“语料库”并行--向写作、身体和演讲领域示意。将这些视为一个概念框架，研究将风险承担、假设和入侵视为作用于电影文件的状态。它将考虑模拟的、历史的电影传统是如何被当代的、可再现的数字文化所补充的，认为电影文件中的真实性处于一个特殊的脱节，夹在虚假小说和“假新闻”之间。

The BFI's national film archive provides the primary context for The film document and its veracity. A practice-based and written analysis, this artist-filmmaking research project engages with and questions the existing language, grammar and truth-making of archival films. The research proposes that editorial grammar or meter - with its definitive or categorical status - can be scrutinised and reworked, introducing broader, contemporary perspectives whilst revealing embedded, propogandised agendas. Working with an 'extended' film grammar to test the veracity of film: exploring how - for example - silence, breath, interval, pause and stanza can impact on the believability of primary source material, the project takes a new approach, reworking aspects of archive film in conjunction with digital copy and newly generated material. It offers new knowledge concerning how digitisation provides an opening towards a culture of new materialism, surmising how film has come closer to language than ever before; whereas its earlier existence as a 'analogue image' was the consequence of how physical material holds concrete, opaque narratives in celluloid form. Loosened from these historical limitations, a readiness to work on the dispensable and endless copy produces an immaterial format, engendering a shift, or freer psychology. This new pliancy of images necessitates a fluid approach in contemporary film making, commonly experienced in the acquisition and reworking of digital media. The culture of the copy will be foregrounded and paralleled with film's 'corpus' - motioning towards the sphere of writing, body and speech. Viewing theseas a conceptual framework, the research will view risk-taking, hypotheses and incursions as acting upon the status of the film document. It will consider how an analogue, historical film tradition have been supplemented by contemporary, digital culture of reproducibility, arguing that veracity in the film document is at a peculiar disjuncture, caught between false-fiction and 'fake news'.