[KineJapan] Talk this Friday, "the vernacular archive"

[Oliver Dew]

Dear KineJapaners

For those of you in Tokyo, I'm giving a presentation this Friday at the Meiji Gakuin film workshop. The talk will be in English.

All are welcome!

Friday 19th July, 6:30pm
Meiji Gakuin University, Shirokane campus, Hepburn/Hebon building, 4th floor room 7402
"The vernacular archive: mapping the spaces of amateur and non-theatrical film"

regards

Oliver


Begin forwarded message:

> 日時：　7月19日（金）　18時半開始
> 場所： 明治学院大学白金キャンパス　ヘボン館　7402教室 
> 発表者：オリバー・デュー（明治学院大学言語文化研究所外国人研究員）
>  タイトル：「バナキュラー・アーカイヴ:　アマチュア・非劇場公開映画空間をマッピングする」
> 
> 発表のアブストラクトは以下のとおりです。
> The vernacular archive: mapping the spaces of amateur and non-theatrical film
> There is growing scholarly attention to the vast landscape of film culture that lies beyond the theatrically distributed feature. The terms that have a near synonymic association with non-theatrical film—sponsored, amateur, orphaned, hidden, found (notwithstanding that a great many feature films become orphaned and lost too)—indicate that the ownership of non-theatrical film is particularly fluid, and that a given body of films can be incorporated into and excluded from a variety of archival practices over time, slipping in and out of official oversight and public awareness. As crucial as FIAF member archives are as official repositories, if we are to trace the career of non-theatrical film, it is also necessary to consider the vernacular archiving practices being carried out in university collections, local government offices, ethnic associations, private film laboratories, amateur film circles, and so on. As media archaeologists suggest, vernacular film archiving is as much about what has been abandoned and thrown away, as it is about what has been saved. 
> As a case study in this approach to the non-theatrical, I look at one corpus of film, the 16mm footage shot by cameraman Kim Sonha between 1958-66, which depicts his mother’s work as a black-market trader near Shinjuku station in Tokyo. I trace the films’ movement from the domicile to archival festivals, via the intercession of documentaries that incorporate Kim’s footage, Sengo zainichi gojūnenshi (Oh 1998) and Haruko (Nozawa 2004). The very different contexts that this corpus moves through and activates say much about the precarious situation of nontheatrical film, its reliance on shifting political economies to “sponsor” its continued existence and visibility, but also points to the deconstructive potential of the archive, to the startling new configurations of film culture that sifting through the vernacular archive can uncover.

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