Time and Moving Image (Im)Materiality

Presentation

The CU Time and (Im)materiality of image provides students skills to identify the deterioration of the various techniques and practices of the moving image, from analogical to digital, and to recognise the agents responsible for these deteriorations.

Part of this Programme

Film Heritage

Level of Qualification|Semesters|ECTS

| Semestral | 8

Year | Type of course unit | Language

1 |Mandatory |Português

Code

ULHT6353-23335

Recommended complementary curricular units

N/A

Prerequisites and co-requisites

n/a

Professional Internship

Não

Syllabus

Theory
Main agents of deterioration of cinematographic and audiovisual images (temperature, humidity, light, pollution, poor management and handling and poor original chemical processing, among others).
Lack of audiovisual content
Identification of physical, chemical changes and biodegradation of films (optical image and sound) of cellulose nitrate, diacetate and triacetate and photosensitive emulsion)
Color deterioration – instability of pigments and dyes
Photographic Patina
Identification of deteriorations in magnetic films (video image and sound) and mixed techniques (film with magnetic sound for example)

Digital decay and fragility of the digital / virtual image and sound. Dynamic Random Access Memory (DRAM) altered by cosmic rays and other high energy particles.

Practice
Capture and processing of black and white and in color using analog photography (negative and reversible film).
The black and white film will be processed in the facility of the photo-laboratory of ULHT.

Objectives

The main goal of the course is to give the students the knowledge and the skills to be able to identify the physical, chemical, digital and aesthetical alterations of any kind of moving image and sound of the audiovisual history, that exist in public or private collections. The competencies will allow the students to establish basic strategies to preserve the deteriorated elements.

Teaching methodologies and assessment

The expositive teaching method alternates with study visits to institutions that are responsible for audiovisual collections and at Jose de Figueiredo Laboratory. Practical classes will be given in the photochemical laboratory of the Universidade Lusofona. The theoretical contents will be presented through documents, texts and graphics from a selected bibliography and by interventions of professionals in the area. Multiple cases studies will be presented and discussed during classes, where the dialogue with the students will be privileged.
Students will have to do a theoretical test (50% of the final grade) and a practical test in the photochemical laboratory will represent the other 50% of the final grade.

References

ADELSTEIN, Peter Z. (2020), Permanent Images: A Personal and Technical Memoir, Image Permanence Institute, Rochester Institute of Technology.

CHERCHI URSAI, Paolo (2018), Silent Cinema, a Guide to Study, Research and Curatorship, British Film Institute. FOSSATI, Giovanna (2018), From Grain to Pixel, The Archival Life of Film in Transition. Amsterdam University Press. FRICK, Caroline (2011), Saving Cinema: The Politics of Preservation, Oxford University Press.

READ, Paul e MEYER, Mark Paul (2000), Restoration of Motion Picture Film, Butterworth-Heinemann Series in Conservation and Museology.

This Film is Dangerous - A Celebration of Nitrate Film (2002), SMITHER, Roger & SUROWIEC Catherine A. (ed.), FIAF. Preserving and Exhibiting Media Art: Challenges and Perspectives, (2013), NOORDEGRAAF, Julia LE MAITRE, Barbara, SABA, Cosetta, HEDIGER Vinzenz (ed.), Amsterdam University Press.

FilmCare.org. Web-based film resource created by the Image Permanence Institute, 2016: www.filmcare.org

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