The Heretical Archive examines the relationship between memory and creation in contemporary artworks that use digital technology while appropriating film materials. Domietta Torlasco argues that these digital films and multimedia installations radically transform our memory of cinema and our understanding of the archive. Indeed, such works define a notion of archiving not as the passive preservation of audiovisual signs but as an intervention and the creative rearticulation of cinema’s perceptual and political textures.
Connecting psychoanalysis, phenomenology, and feminist theory in innovative ways, Torlasco analyzes cutting-edge digital works that engage with the past of European cinema and visual culture, including video installations by Monica Bonvicini (Destroy She Said) and Pierre Huyghe (The Ellipsis), Agnès Varda’s film The Gleaners and I, Marco Poloni’s multimedia installation The Desert Room, and Chris Marker’s CD-ROM Immemory.
Torlasco’s central claim is that if the archives of psychoanalysis and cinema have long privileged the lineage that runs from Oedipus to Freud, the archives of the digital agewhat she calls the “heretical archive”can help us imagine an unruly, porous, multifaceted legacy, one in which marginal figures return to speak of lost life as much as of life that demands to be lived.
|Publisher:||University of Minnesota Press|
|Product dimensions:||5.50(w) x 8.50(h) x 0.60(d)|
About the Author
Domietta Torlasco is associate professor of French and Italian and comparative literary studies at Northwestern University. She is the creator of the digital film Antigone’s Noir and the author of The Time of the Crime: Phenomenology, Psychoanalysis, Italian Film.
Table of Contents
1. Against House Arrest: Antigone and the Impurity of the Death Drive
2. Digital Impressions: Writing Memory after Agnès Varda
3. Folding Time: Toward a New Theory of Montage
4. Archiving Disappearance: From Michelangelo Antonioni to New Media