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

本研究探讨了匈牙利纪录片中档案镜头的修复，跨越三个不同的背景：社会主义，后社会主义，自2010年以来，在欧尔班政府。它采用了一种新的关键方法-“档案学”-前景的方式，存档过程（存储，保存，恢复和访问），反复塑造的政治经济背景，影响回顾性的叙述纪录片。历史纪录片可以利用档案来谈判和重建过去的地震政治变化，并在这样做，使人们关注历史保护和创作实践（电影制作）之间的政治动机的联系。对20世纪60年代至今被严重忽视的匈牙利纪录片的分析为媒介性、策展和代表性政治问题带来了一个新的东欧视角。检查（再）使用的视听媒体，它穿越不同的政治制度，提供了一个新的，和批评忽视，理解电影制作作为一个档案的做法，干预文化记忆是如何建立和屏幕上的挑战的手段。因此，这项研究阐明了围绕介导记忆的传输，翻译和改造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政权及其对真理的主张。

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.