ing moments inscribed in the archive’s films and autochromes were inhabited
by ghosts and specters of a lost time. When these images return in digital code,
it is not the return of the same temporality and social technologies as the one
designed by Kahn for his archive. When this haunted archive returns in digital
mode, it is a return of ghosts of ghosts. As a result of this conversion from a
media set-up of the first wave of globalization to the current second globaliza-
tion, the“rhythm of life”has been altered and the montage between the images
is a different one. In this change of pace and mobility, in this reconfigured tem-
porality, intermediary spaces open up. These spaces are the field for an analysis
of image connectivity and modes of montage in the digital age.
Notes
. The Armenian filmmaker Artavazd Peleshian has developed the concept of“Dis-
tance Montage”in a different sense, as it still depends on the material cuts of the
film: Peleshian,“Distance Montage, or The Theory of Distance”,inDocumentary
Films of the Armenian Soviet Republic; A Retrospective, Moritz de Hadeln, Hans-Joa-
chim Schlegel (eds.), (Berlin),-. Harun Farocki develops the concept of
“soft montage”as the comparison of images through multi-channel moving image
installations in: Harun Farocki,“Cross Influence/Soft Montage”,inHarun Farocki.
Against What? Against Whom?,Antje Ehmann and Kodwo Eshun (eds.) (London:
Koenig Books,),-. See also: Kaja Silverman and Harun Farocki,Speaking
about Godard(New York: New York University Press,),. I here draw on
these concepts in a different sense.
. These biographical details are from: Paula Amad,“Cinema’s‘Sanctuary’: From Pre-
documentary to Documentary Film in Albert Kahn’sArchives de la Planète(-
)”,Film History, vol., no.():-.
. Albert Kahn quoted in: ibid.,.
. Before this grand-scale mapping, Kahn visited Norway inwhere he collabo-
rated with the famous Norwegian photographer Anders Beer Wilse. An exhibition
of these images from Norway will take place at the Norwegian Museum of Cultural
History (Norsk Folkemuseum) in.
. Ibid.,.
. For a good discussion of the implications of the“universality”in this archive, see:
Jakob Nilsson,“The Ambivalence of Universalization in“Albert Kahn’s Archive of
the Planet”,Siteno.(),-.
. Tom Gunning,“Before Documentary; Early Nonfiction Films and the‘View’Aes-
thetic”,inUncharted Territory; essays on early nonfiction film,Daan Hertogs and Nico
de Klerk (eds.) (Amsterdam: Stichting Nederlands Filmmuseum),,-. Paula
Amad,“Cinema’s‘Sanctuary’: From pre-documentary to documentary film in Al-
bert Kahn’sArchives de la Planète(-)”,-.
. Teresa Castro,“Les Archives de la Planète; A Cinematographic Atlas”,Jump Cut, no.
, (winter).
222 Trond Lundemo