Preserving the Film’s Body – Analogue Practices For decades film studies, therefore experimental film studies as well have been dealing with an object that no longer exists; it ceased existing as an object of study in the 1970’s when cinema as “the projection of photographically recorded filmstrip in a theatrical setting”[1] was replaced by various other
In his 2013 book The Subterranean River of Cinema (Ponorná řeka kinematografie) Martin Čihák experiments with an approach quite unique in Eastern and Central European avant-garde film historiography. He brings Western and Eastern avant-garde traditions into a common framework. Following in the footsteps of P. Adams Sitney, a leading film theorist of the American avant-garde,
According to a few sinister newspaper headlines film has been dead for almost sixty years. Yet the debate on the encroachment of the digital video medium into the terrain of celluloid based cinema continues. Even if digital imaging has conquered the industry with its convenience and cost-effective nature, a few influential filmmakers are still committed
