“[T]o imagine an old technology as something that was once new means, therefore, to try to recapture a quality it has lost.”
–- Tom Gunning in “Re-Newing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century,” in David Thornburn and Henry Jenkins (ed.), Rethinking Media Change: The Aesthetics of Transition, 2003.
Today’s film education—which often encompasses media studies, new media, media archeology and media history as well— is increasingly directed at old and new (optical) technologies and techniques (old and new media) as well as their influence on perception. The analysis of new (optical) techniques, which are more often than not disturbing and as such intensively impacting, on perception demands some (hands-on) study, all the more since studies over the last ten years have indicated how the specific workings of (optical, visual, and audiovisual) media determine the impact on culture.
For this very reason, different courses in Film Studies pay attention to how varying (optical) techniques influence the perceptual and cognitive imperatives, as well as the cultural impact on historical groups of viewers on the verge of turning points in the history of film and the audiovisual media in the last century. Didactically it is quite extraordinary that within archive and our university‘s film curriculum techniques and their precipitation on perception come to the fore through demonstrations of cameras, projectors, editing tables and other specific devices from our own, unique collection.
Please find the PowerPoint presentation that is used during the hands-on seminar in the file below.
Seminar week 8
T E C H N O L O G Y
Dr. Annie van den Oever
Ing. Johan Stadtman