The film document and its veracity

英国电影协会的国家电影资料馆为电影文件及其真实性提供了主要的背景。这个基于实践和书面分析的艺术家电影制作研究项目涉及并质疑档案电影的现有语言，语法和真相制作。该研究提出，编辑的语法或韵律——具有明确或绝对的地位——可以被仔细审查和修改，在揭示隐含的、被宣传的议程的同时，引入更广泛、更现代的视角。使用“扩展”电影语法来测试电影的真实性：探索例如，沉默，呼吸，间隔，停顿和节如何影响原始原始材料的可信度，该项目采用了一种新的方法，将档案电影的各个方面与数字副本和新生成的材料结合起来。它提供了关于数字化如何为新唯物主义文化打开大门的新知识，猜测电影如何比以往任何时候都更接近语言；然而，它早期作为“模拟图像”的存在是物理材料如何以赛璐珞形式保存具体、不透明叙事的结果。从这些历史限制中解脱出来，准备好创作可有可无、没完没了的复制品，产生了一种非物质的形式，产生了一种转变，或者更自由的心理。这种图像的新可塑性要求当代电影制作采用一种流动的方法，这在数字媒体的获取和重新制作中是常见的。拷贝的文化将与电影的“主体”——向写作、身体和语言的领域移动——并列。将海洋视为一个概念框架，研究将把冒险、假设和入侵视为对电影文件地位的影响。它将考虑模拟的、历史的电影传统是如何被当代的、可复制的数字文化所补充的，并认为电影文件的真实性处于一个特殊的脱节状态，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'.