<abstract xmlns="http://www.w3.org/1999/xhtml"><p>This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is <italic>A Tom Tom Chaser</italic>, in which Jacobs records the telecine process that transforms the classic silent film <italic>Tom, Tom, the Piper’s Son</italic> from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images. Moreover, Jacobs focuses on the moment of transition from a material medium (the film strip) to the immaterial (the image, the video), so that the noise brings the viewer closer to a perception or brief capture of the medium in itself. Images are both figured and disfigured along this process. The second work is <italic>The Guests</italic>, an unconventional 3D film in which Jacobs transforms a short take from a Lumière Brothers film by discovering unseen views of the original footage. In his remediation of the 3D technology, Jacobs employs the Pulfrich effect, which allows him to blur the images of the archival film and to create instances of uncertainty between the views coming from the two human eyes. As a result of this procedure, the characters in the film seem to look directly at the audience. The analysis of both films highlights the poetry of the typical manoeuvre by which Jacobs perverts the archival medium, whereupon the viewing mode between media denaturalizes the usual media gaze (framed and representational), focusing on the moment of viewing in itself. This, as a result, favours the medium for what it is and subverts the gaze that expects something representational, discursive, perhaps story-driven.</p></abstract>

This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs records the telecine process that transforms the classic silent film Tom, Tom, the Piper’s Son from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images. Moreover, Jacobs focuses on the moment of transition from a material medium (the film strip) to the immaterial (the image, the video), so that the noise brings the viewer closer to a perception or brief capture of the medium in itself. Images are both figured and disfigured along this process. The second work is The Guests, an unconventional 3D film in which Jacobs transforms a short take from a Lumière Brothers film by discovering unseen views of the original footage. In his remediation of the 3D technology, Jacobs employs the Pulfrich effect, which allows him to blur the images of the archival film and to create instances of uncertainty between the views coming from the two human eyes. As a result of this procedure, the characters in the film seem to look directly at the audience. The analysis of both films highlights the poetry of the typical manoeuvre by which Jacobs perverts the archival medium, whereupon the viewing mode between media denaturalizes the usual media gaze (framed and representational), focusing on the moment of viewing in itself. This, as a result, favours the medium for what it is and subverts the gaze that expects something representational, discursive, perhaps story-driven.

Ken Jacobs and the Perverted Archival Image

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

{"article-title":"Ken Jacobs and the Perverted Archival Image"}

This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs...

Ken Jacobs and the Perverted Archival Image

Online veröffentlicht: 18. Feb. 2017

Seitenbereich: 73 - 88

DOI: https://doi.org/10.1515/ausfm-2016-0015

Schlüsselwörter
archival footage, experimental cinema, Ken Jacobs, remediation, intermediality

© 2016 Pablo Gonçalo, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Ken Jacobs and the Perverted Archival Image

Online veröffentlicht: 18. Feb. 2017

Seitenbereich: 73 - 88

DOI: https://doi.org/10.1515/ausfm-2016-0015

Schlüsselwörterarchival footage, experimental cinema, Ken Jacobs, remediation, intermediality

© 2016 Pablo Gonçalo, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Schlüsselwörter
archival footage, experimental cinema, Ken Jacobs, remediation, intermediality