for exploitation and remained as raw“rushes”to be revived at a later time. The
archive, according to Lundemo, was based on Kahn’s anticipation that various
modes of human activity were about to undergo a“fatal disappearance”. These
images describe places one cannot visit in the future, and are as such emble-
matic of modern mankind’s experience. The survival of these images now de-
pends on the convergence of various media as a result of their digitization. Lun-
demo discusses in great detail both the problems and the possibilities of this
digital encoding of our photographic and filmic past.
Notes
. Jean-Louis Baudry,“Ideological Effects of the Basic Cinematographic Apparatus”
[].Film Quarterly.Vol.. No.. Winter.-,-.
. The“cinematic turn”was perhaps first elaborated by Raymond Bellour in his cata-
logue article,“La double Hélice”for the exhibitionPassages de l’image,curated by R.
Bellour, C. David, C. Van Assche. See the cataloguePassages de l’image, ed. R. Bel-
lour, C. David, C. Van Assche (Paris: Editions du Centre Pompidou,). The arti-
cle is available in English as“The Double Helix”inElectronic Culture: Technology and
Visual Representation,ed. T. Drucker (New York: Aperture,).
. Boris Groys,“Iconoclasm as an Artistic Device: Iconoclastic Strategies in Film”,
trans. M. Partridge. InIconoclash: Beyond the Image Wars in Science, Religion, and Art.
Eds. Bruno Latour and Peter Wibel. (Cambridge, MA: MIT Press,), p..
. Siegfried Zielinski, in hisAudiovisions: Cinema and Television as entr’acts in history
(Amsterdam: Amsterdam University Press,[German orig.]), has called
the institutional cinema an“intermezzo”or“entr’acte”in history.
. SeeStillness and Time: Photography and the Moving Image,David Green and Joanna
Lowry (eds.) (Brighton: Photoworks,),Still Moving: Between Cinema and Photo-
graphyKaren Beckman and Jean Ma (eds.) (Durham: Duke University Press,),
Garrett Stewart:Between Film and Screen: Modernism’s Photo Synthesis(Chicago: Uni-
versity of Chicago Press,),Laura Mulvey:Deathx a Second: Stillness and the
Moving Image(London: Reaktion Books,),Ludovic Cortade:Le cinéma de l’im-
mobilité: style, politique, reception(Paris: Publications de la Sorbonne,),Raymond
Bellour:L’Entre-Images: Photo, Cinéma, Video(Paris: Éditions de la Différence,)
andL’Entre-Images: Mots, Images(Paris: P. O. L. Trafic,),Dominique Païni:Le
temps exposé: Le Cinéma de la salle au musée(Paris: Cahiers du Cinema,); Freeze
Frames: Zum Verhältnis von Fotografie und Film(eds.) Stefanie Diekmann and Win-
fried Gerling (Bielefeld: Transcript,), Eivind Røssaak:The Still/Moving Image:
Cinema and the Arts(Saarbrücken: Lambert Academic Publishing,), Viva Foto-
film: Bewegt/unbewegt(eds.) Gusztáv Hámos, Katja Pratschke and Thomas Tode
(Marburg: Schüren Verlag,), François Albera and Maria Tortajada:Cinema be-
fore Film: Media Epistemology in the Modern Era(Amsterdam: Amsterdam University
Press,), David Campany, Ed.,The Cinematic(Cambridge, MA, London: MIT
22 Eivind Røssaak