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'No Diving': Recovered Film and Recovered Memories

机译:“没有潜水”:恢复的电影和恢复的回忆

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摘要

'No Diving' was a site-specific oral history and moving image installation funded by the Heritage Lottery Fund that examined the lido at Hilsea, Portsmouth as a locus for memories and recollections by the local community. The project set out to recover archive film of the building and record oral history interviews contextualising this found material, which would eventually be re-projected on to the building as a site-specific event. The project brought the artist to a personal, and the community to a collective moment of catharsis as the images and voices played over the lido superstructure. For the artist: a moment where personal and family history colludes with the sense of belonging embodied within an architectural space. For the community: a moment of reflection and re-projection of collective memories in which archive films and oral histories relocate the past within the present. The project was designed as an experimental/experiential documentary system that would engage with the community as producers of their own historical identity. The project questioned the nature of documentary since the real documentary could only be shown at the lido as a live performance event in which the audience participated as observers and the observed. In this way, the building served as a bi-directional apparatus, which simultaneously captures and re-projects historical identities through the camera lens of the project process. This project model is transferable and can be pointed at any building or architectural location. It turns a building into a living museum; a site of community practice that produces history and re-circulates identities.
机译:“禁止潜水”是由遗产彩票基金会提供资金的特定地点的口述历史和动态影像装置,该装置检查了朴茨茅斯希尔西(Hilsea)的利多(lido),作为当地居民记忆和记忆的场所。该项目着手恢复该建筑物的档案胶片,并记录口述历史采访以将找到的材料作为背景,最终将其作为特定地点的事件重新投影到该建筑物上。该项目将艺术家带入个人空间,并为社区和社区带来了共同的宣泄时刻,因为图像和声音在Lido上部结构上播放。对于艺术家:个人和家庭历史与建筑空间中体现的归属感相互融合的时刻。对于社区:集体记忆的反思和重新展现的时刻,存档电影和口述历史在当下重新定位了过去。该项目被设计为一个实验性/体验式纪录片系统,将与社区互动,成为他们自己历史身份的产生者。该项目对纪录片的性质提出了质疑,因为真正的纪录片只能在现场表演中作为观众和观察者参加的现场表演活动来展示。这样,建筑物充当了双向设备,它通过项目过程的摄像机镜头同时捕获并重新投影历史身份。该项目模型是可移植的,可以指向任何建筑物或建筑位置。它把一栋建筑变成了一座活着的博物馆。一个产生历史并重新散布身份的社区实践场所。

著录项

  • 来源
    《Journal of the society of archivists》 |2010年第2期|p.163-176|共14页
  • 作者

    Jez Stevens;

  • 作者单位

    9 Cyprus Road, Buckland, Portsmouth, PO2 7QA, UK;

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  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
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  • 入库时间 2022-08-18 01:23:21

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