Archiving on the Screen - Remediation of Cultural Memory Through Hungarian Documentary Cinema

这项研究探索了匈牙利纪录片中档案镜头在三个不同背景下的补救：社会主义、后社会主义，以及自2010年以来，在欧尔班政府的领导下。它采用了一种新的批评方法--“档案学”--来展示存档过程(储存、保存、修复和获取)如何反复受到政治经济背景的影响，影响纪录片中的回溯叙事。这部历史纪录片可以利用档案馆来谈判和重建跨越政治巨变的过去，并通过这样做，突出历史保护和创造性实践(电影制作)之间出于政治动机的联系。对从20世纪60年代到现在被严重忽视的匈牙利纪录片的分析，带来了一个新的东欧视角来看待中间问题、管理者和代表政治。考察跨越不同政治制度的视听媒体的(重新)使用，提供了一种新的、被严重忽视的手段，将电影制作理解为一种档案实践，干预了文化记忆是如何在屏幕上建立和挑战的。因此，这项研究阐明了围绕中介记忆的传输、翻译和改写的相关和深远的问题，特别是因为这也可能导致支持或挑战政治制度及其对真理的主张。

This research explores the remediation of archive footage in Hungarian documentary films across three different contexts: socialism, post-socialism, and since 2010, under the Orbán government. It employs a new critical method - "archiveology" - to foreground the ways in which archiving processes (storage, preservation, restoration, and access), repeatedly shaped by the politico-economic context, influence retrospective narratives in documentary films. The historical documentary can use the archive to negotiate and reconstitute the past across seismic political shifts and, in so doing, bring into focus the politically-motivated connections between historical preservation and creative practice (filmmaking). The analysis of critically neglected Hungarian documentaries stemming from the 1960s until the present day brings a new Eastern European perspective to issues of mediality, curatorship, and politics of representation. Examining the (re)use of audio-visual media, which traverses different political regimes, provides a fresh, and critically-neglected, means of understanding filmmaking as an archival practice, an intervention to how cultural memory is established and challenged on screen. Thus, this research illuminates connected and far-reaching issues surrounding the transmission, translation, and reworking of mediated memories, especially since this can also lead to supporting or challenging political regimes and their claims to truth.