Clarissa Colangelo

KU Leuven, Belgium

clarissa.colangelo@kuleuven.be

Luca Di Gregorio

ULiège, Belgium

lucadigregorio15@gmail.com

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Photonovels in Charleroi

May 27, 2019

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"How to Preserve Unoriginal Photographs? Some Questions of the Film Photonovel"

March 26, 2019

If you are looking for an interesting read, look no further: few days ago a new article by Jan Baetens  has been published online. The title of the article is "How to Preserve Unoriginal Photographs? Some Questions of the Film Photonovel", and it has been written for the journal History of Photography, Volume 42, 2018.

 

It can be found online at:

https://www.tandfonline.com/doi/full/10.1080/03087298.2018.1541566.

 

Abstract
The issue of the preservation of photographic heritage involves much more than vintage prints. Other unoriginal prints – that is, images we only know as reprints of (lost) original prints – are also a matter of concern, and the film photonovel may help raise significant issues in this regard that would otherwise risk being overlooked. At first sight, the specific medium of the film photonovel – that is, the reissue in photonovel format of original movies, a cultural practice that was extremely popular in the second half of the 1950s and the beginning of the 1960s – raises all of the questions that arise when discussing the materiality of photographic archives: issues of material fragility and decay, authorship and authenticity, and completeness and value. At the same time, the utterly uncanonical status of this corpus, sometimes described as the ‘lumpen’ version of what is generally considered an illegitimate genre, provides an opportunity to ask different kinds of questions with regard to the very definition of key notions such as photography, photographic record, and photographic archive. In this sense, the film photonovel opens a range of questions that continue – yet in a very different direction – Rosalind Krauss’s provocative question on the discursive spaces of photography.

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