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Copyright of Intersecoes: Revista de Estudios Interdisciplinares is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This multi-modal project, composed of the following paper and the video essay “The Archival In-Between,” reflects on the connection between the concepts of trace and gaze as analytical paradigms of dealing with the (visual) memory of the Holocaust.

A comprehensive list of archival film material related to the genocide and an extensive thematic bibliography accompanied by an article that problematizes atrocity film and suggests to approach it through the concept of forensic cinema.

The article talks about the emergence of found and archival footage-based cinema as a widespread nonfiction subgenre that invites us to recognize these works as recycled images. The focus of the article is on two works, 'Revue' and 'Into the Unknown,' and how these films recycle archival images of socialist people while considering the purpose that these images once bore and how these works cinematically reflect their heterotopian bonds with collective memory today.

An interview with film director, Mladen Kovacevic regarding film "Another Spring" is presented. When asked about what message viewers take away from the film, he hopes viewers can reflect on the importance of vaccination and how it can protect individuals and the community as a whole. He expresses his views regarding the inspiration behind the film. He further discusses the sources of archival footage, and his approach to filmmaking.

Since SS camp personnel obeyed the strict prohibition against photography in Nazi annihilation, concentration, and work camps, the footage that Allied cameramen shot in such camps during and shortly after their liberation filled this void in visual documentation. Thus, what we imagine went on in Nazi camps while in operation has been shaped by pictures that document their very last stages. So, though the arrival of Allied soldiers was a turning point for survivors, the film that Allied cameramen shot in those days tells us more about the effects of Nazi terror than about survivors’ liberation from it.

An essay is presented which explores the acknowledgment of the September 11, 2001 terrorist attacks in media history courses. Topics discussed include the challenges associated with teaching the journalism history associated with the incident, the coverage of the terrorist attack in journalism textbooks, and the possible use of digital resources such as television (TV) news footage and Internet news archives in the study of media history.

This essay discusses practices of reuse, archiving, and digitization of historical film documents from the Nazi era. It lays out the ways in which those filmic images can contribute to questions about remembering and discussing history. In 1958 the historian Fritz Terveen, editor for history at the Institute for Scientific Film (IWF) in Göttingen, published a film on the flight and crash of the notorious zeppelin LZ 129 Hindenburg. These catastrophic scenes of the airship crash were reproduced and reused many times and now appear on numerous online platforms. The reappearance of analogue 16-mm film in the digital world offers the opportunity to discuss the provenance and reuses of research and educational films. The central question is how those reused and recycled film materials can claim to produce specific knowledge about historical events that are now part of cultural memory. The essay argues that films like the one on LZ 129 were always embedded in a referential system of different media and that making them accessible today requires strong contextualization within curated platforms. It is an attempt to write the recent history of film digitization, including the earliest provenance of a historic research film. [ABSTRACT FROM AUTHOR]

The article present an interview with Peet Gelderblom, a filmmaker based in the Netherlands. Topics include his archival fiction feature, "When Forever Dies", produced in association with EYE Film museum; vast selection of material from approximately 125 years of film history; contribution of his experience of making "Raising Cain Re-cut" as well as various video essays and assemblages in making "When Forever Dies"; and film also includes many intertitles that are stylized like a silent film.

The article offers information on the "Retracted Cinema", ten experimental shorts that focus on decontextualizing found or archival footage via algorithmic intervention. It further discusses about conceptual printmaking sprung from a specific artistic misuse of digital code; the words of the Retracted Cinema filmmakers such as professor Eloi Puig, Gonzalo Egurza and Gregg Biermann; and artworks that play with the appropriation and recontextualization of found images, sounds or materials.

In October 2006, Harun Farocki and I had almost missed each other in the Index Gallery, Stockholm, at a crowded reception in his honour after the opening of GEGEN-MUSIK (COUNTER-MUSIC, D/F 2004). In the subsequent e-mail exchange, Farocki wanted to know what I could tell him about a film made at Westerbork, the transit camp run by the SS during Nazi Occupation of the Netherlands.

In recent decades filmmakers, film scholars, and historians have modified their understanding of how to work with documentary film images. Robert A. Rosenstone identified one of the main assumptions of the new perspective as early as 1988.

This article provides a method for the analysis of the visual narratives present in the archival footage in programs of TV news, based on an analysis of TV news on war crime trials transmitted by Serbian TV stations. The archival footage in TV news presents specific claims as to an understanding of the trials, as it is assumed to present the 'reality' of war, re-enacting the past and eliciting viewers' emotions. The author argues that the visual narratives emerging from the selection and editing of archival footage create specific meanings of the past, and provide a method for their analysis, applying social semiotic multimodal analysis and drawing on structural narrative analysis. The patterning of the visual narratives in the archival footage contributes to the creation of an artificial memory of war, signaling a particular version of the past within the preferred meaning of a TV news channel. The main advantage of this method is that it enables a systematic analysis of visual narratives in the archival footage, revealing the ideological work of sign-makers embedded in the visual structure. [ABSTRACT FROM AUTHOR]

Spanish series production between 1990 and 2010 (from the analogue switch-off to deregulation and the arrival of new TV channels and platforms) stands out for a large number of "based-on-real-events" dramas. These include historical events, traumatic events of little historical import and biographical accounts of eminent figures. This paper analyses the veracity of archival footage and other media resources (press, radio) included in these series and the way in which they used. A quantitative and qualitative analysis, combined with an extensive literature review, shows that some of the apparently real historical footage and images integrated into these series are in actual fact fake. The viewer's possible confusion in decoding these images would suggest that the use of archival material in fictional drama brings it closer to genres traditionally considered non-fiction. Finally, the inclusion of real (and fake) archival footage in audio-visual accounts of past events appears to fulfil an ideological function. [ABSTRACT FROM AUTHOR]

The article offers information on the finding one's feet in found footage belong to critics. Topics include considered through various acts of apprehension and recognition individuals try to gain footing to allow for the formulation of interpretations; and examines it is necessary for an understanding of any avant-garde film.

The article reports that the found footage filmmaking is described as the act of finding new meanings in pre-existing images, critically re-working, re-using and examines the original context of the found footage. Topics include examines several scholars such as Michael Zryd, Catherine Russell and Keith Beattie have analyses the effectiveness of historical/cultural/political discourses led by found footage films.

The article reports that unlike archival footage, whose images are a fixed and nearly immutable source, the footage of machinima is original footage created on demand for the filmmaker that allows it to be directed in the same ways as live-action filmmaking. Topics include considered there is no need to accommodate or adapt to a small selection of available shots as flexibility is limited to the generative system's assets, resolution and capabilities.

Good Night, and Good Luck, George Clooney's account of journalist Edward R. Murrow's public struggle with Senator Joseph McCarthy, includes archival footage of McCarthy, HUAC hearings, and other 1950s televised ephemera; it is in this archival footage that the film's most obvious queerness can be found, in the figures of Roy Cohn and Liberace. This paper examines the formal and thematic effects of the film's archival footage in view of the sexual and political issues in the whole of the film. The overt thesis of Good Night, and Good Luck is that in 2005, as in the 1950s, freedom of political dissent is under threat and must be defended. Where politics are concerned, the film suggests that very little has changed since the 1950s, yet where sexuality is concerned, both straight and gay viewers may congratulate themselves on our progress. That liberal self-congratulation belies the film's sexual sleight of hand: only by localising gay male sexuality in the caricatured figures in archival footage can the film entertain, and even celebrate, an extraordinary intimacy among straight men – Murrow and producer Fred Friendly. Thus the archival footage is not the space of reality but of the film's governing and pervasive fantasies. [ABSTRACT FROM AUTHOR]

The article focuses on argument made on the term "found footage" refers not only to material physically discovered but also to footage acquired from any source outside the intended production. The use of found footage can serve as a means of disrupting and reimagining existing narratives, offering a means of critique and reinvention. It mentions various found footage which includes truly on the streets, 'Sicherheits' and acceleration.

The article discusses footage filmmaking which involves the use of pre-existing film or video footage, often from archival sources, in the creation of a new work. It mentions that filmmakers critically engage with mainstream cultural productions including pornography. It reports by recontextualizing and appropriating these materials, filmmakers can challenge assumptions and expand understanding of cultural production and its place within shared cultural heritage.

Anniversary of the Revolution (Godovshchina revoliutsii, 1918) was the first directorial and editorial experience of Dziga Vertov. For many years the film was considered lost and has not been the focus of researchers' attention. In 1967, Viktor Listov attributed some parts of this gigantic compilation film, which consisted of historical chronicles of the events in Russia from 1917 to 1918. In 2017, the complete list of intertitles for the film was discovered at the Russian State Archive of Literature and Art (RGALI), which has enabled the author of this article to identify all the film's constituent parts and recover the film in full from the material archived at the Russian State Documentary Film and Photo Archive (RGAKFD). On that basis, it has been possible to reconstruct Dziga Vertov's debut film, which will fundamentally expand the research field around his cinematic heritage. The history of the film's reconstruction stands as the focus of this article. [ABSTRACT FROM AUTHOR]

This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs records the telecine process that transforms the classic silent film Tom, Tom, the Piper’s Son from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images. Moreover, Jacobs focuses on the moment of transition from a material medium (the film strip) to the immaterial (the image, the video), so that the noise brings the viewer closer to a perception or brief capture of the medium in itself. Images are both figured and disfigured along this process. The second work is The Guests, an unconventional 3D film in which Jacobs transforms a short take from a Lumière Brothers film by discovering unseen views of the original footage. In his remediation of the 3D technology, Jacobs employs the Pulfrich effect, which allows him to blur the images of the archival film and to create instances of uncertainty between the views coming from the two human eyes. As a result of this procedure, the characters in the film seem to look directly at the audience. The analysis of both films highlights the poetry of the typical manoeuvre by which Jacobs perverts the archival medium, whereupon the viewing mode between media denaturalizes the usual media gaze (framed and representational), focusing on the moment of viewing in itself. This, as a result, favours the medium for what it is and subverts the gaze that expects something representational, discursive, perhaps story-driven.

Professionals in the television industry are working towards a certain future—rather than end—for the medium based on multi-platform storytelling, as well as multiple screens, distribution channels and streaming platforms. They do so rooted in institutional frameworks where traditional conceptualizations of television still persist. In this context, we reflect on the role of the national television archive as an agent of historical knowledge in the convergence era. Contextualisation and infrastructure function as important preconditions for users of archives to find their way through the enormous amounts of audio-visual material. Specifically, we consider the case of the Netherlands Institute for Sound and Vision, taking a critical stance towards the archive’s practices of contextualisation and preservation of audio-visual footage in the convergence era. To do so, this article considers the impact of online circulation, contextualisation and preservation of audio-visual materials in relation to, first, how media policy complicates the re-use of material, and second, the archive’s use by television professionals and media researchers. This article reflects on the possibilities for and benefits of systematic archiving, developments in web archiving, and accessibility of production and contextual documentation of public broadcasters in the Netherlands. We do so based on an analysis of internal documentation, best practices of archive-based history programmes and their related cross-media practices, as well as media policy documentation. We consider how audio-visual archives should deal with the shift towards multi-platform productions, and argue for both a more systematic archiving of production and contextual documentation in the Netherlands, and for media researchers who draw upon archival resources to show a greater awareness of an archive’s history. In the digital age, even more people are part of the archive’s processes of selection and aggregation, affecting how the past is preserved through audio-visual images.

Among the various connotations of intermediality one is related to the performative aspect of the term. As Ágnes Pethő (2011, 42) formulates: “Intermediality is seen, more often than not, as something that actively ‘does,’ ‘performs’ something, and not merely ‘is.’” This notion of intermediality implies a dynamic category within which media constellations are in continuous motion, being reconfigured by one another, the cinematic medium becoming a playground of media interactions. András Jeles, Hungarian experimental filmmaker formulates the paradox that a particular medium can best express its own mediality through the “foreign” material of other arts and media. The medial consonances and dissonances transform the cinematic medium into a liminal space where meaning as event can take shape. Jeles’s film entitled Parallel Lives (Senkiföldje, 1993) is aimed at such event-like liminality in several respects: culturally, it turns towards a burdened site of the still unprocessed past of the Hungarian society; thematically, it addresses the topic of the Holocaust; and medially, it proposes to artistically render the unrepresentable. The film appeals to the other arts, incorporating a set of literary, painterly and musical allusions that contrast a culturally aestheticized view of the child in pain with the ultimate, inescapable and incommensurable reality.

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cambodia's cinema history is strange and surprising. Popular films from France and the United States circulated through the Kingdom during the French colonial period. The 1950s and 60s saw extensive local production with the enthusiastic support of King Norodom Sihanouk, himself a passionate filmmaker, but the Khmer Rouge regime (1975-1979) destroyed most of the existing material, including hundreds of feature films, raw footage and countless other ephemeral documents. In 2006, after representations by film-maker Rithy Panh and others, the Bophana Audio-Visual Research Centre was established in Phnom Penh to comb the world for every fragment of film and audio material relating to Cambodia's history in order to reproduce it in an accessible digitized form. The archival preservation and duplication has continued apace. However the ethical use of these materials presents challenges. Contemporary documentary makers and digital enthusiasts frequently use fragmentary footage to support their political or historical interpretations without attribution or context. This paper discusses a propaganda film featuring the former King Norodom Sihanouk and his wife Monique shot in1973 in collaboration with the Communist Chinese, the North Vietnamese and the Khmer Rouge. Short scenes and extracts from this film circulate online and appear in many documentaries. The "archive effect" of this footage raises questions about the source and circulation of archival images with significant historical and political consequences. [ABSTRACT FROM AUTHOR]

Early television reveals the radical nature of the new medium as well as many of its affordances that were later rejected. The coverage of the Monegasque Royal Wedding of Prince Rainier of Monaco and Grace Kelly exposes the differences between cinema newsreels and live TV, and how, even at a public event, TV could invade the personal space of its subjects. Like a detective, the author reconstructs how this historical event was covered by film and TV, and how that footage was later re-used. The montage of the footage in different contexts encourages the audience to suppose that Grace Kelly might have shed a tear during the wedding ceremony. While this question might seem ridiculous to a republican, it is important for our understanding of celebrity in modern culture. The author's answer to the question reveals the media historical meaning of both the media event, its coverage and the possible existence of that tear. [ABSTRACT FROM AUTHOR]

This paper aims to discuss the use of archival and found footage as aprocedure whose objective is to stand out aesthetical and discursive singularities thatmisplace images original senses and create new senses for them. For this purpose, someaspects of the filmography of Harun Farocki and Péter Forgács will be analyzed. These twoartists have been adopting this gesture of appropriation, causing the re-signification of theoriginal meanings of the images.Keywords:

Las fuentes documentales se han convertido en los últimos años en una herramienta sumamente útil en el campo de la ficción televisiva de corte histórico a la hora de recrear una época determinada, y en el presente artículo analizamos qué funciones cumplen dichas fuentes y cómo contribuyen a reconstruir un periodo histórico tan relevante como el del Franquismo en una de las series españolas más exitosas de los últimos años: ‘Amar en tiempos revueltos’. La telenovela de TVE se caracteriza por un empleo frecuente de imágenes de archivo y discursos radiofónicos que permiten situar al espectador en fechas y acontecimientos concretos así como recrear hechos de forma realista a pesar de las restricciones presupuestarias propias de una serie de las características de ‘Amar…’.Abstract in English: Documentary sources have become in recent years an extremely useful tool in the historical televisive fiction in order to recreate the past, and in this article we analise which functions can have those sources and the way they contribute to recreate such a relevant historical period as Francoism in one of the most successful Spanish tv series: ‘Amar en tiempos revueltos’ (Loving in troubled times). The TVE´s soap-opera is characterized by the frecuent use of archival footage and radio news that allows audience to place specific historical events as well as recreate historical facts in a realistic way in spite of the characteristic budgetary restrictions in a fictional product like ‘Amar…’ (Loving…).

In the Finnish short documentary Santra ja puhuvat puut (Santra and the Talking Trees) (2013), the director Miia Tervo travels to Russian Karelia in search of her roots in the cradle of Finno-Ugrian mythology and culture. She finds rune singer Santra Remsujeva and a sense of home that she has longed for. I suggest that Tervo uses filmmaking as a means to 'take root' by connecting with the mythical world of Karelia through a playful aesthetic that engages all the senses. The documentary weaves together the director/narrator's intimate voice-over, observational scenes, animations with traditional cultural motifs, old ethnographic material and archival footage in a process of 'cinematic worlding'. The cinematic rhythms and animated traces of the past create a sensory experience of Karelia - a slowly vanishing culture that Tervo revitalizes in an effort to find her place in the world. [ABSTRACT FROM AUTHOR]

This article examines the use of archival footage in Colombian cinema, following three lines of enquiry: film as meta-history, film as montage and video recycling as counter-information. First, the section on 'film as meta-history' studies the historical discourse on Colombian cinema in three films by Luis Ospina: En busca de María/In Search of María (Ospina and Nieto, 1985); the series on film history De la ilusión al desconcierto/From Illusion to Confusion (2007); and the 'epic collage' Un tigre de papel/A Paper Tiger (2007a). Second, 'film as montage' addresses Fragmentos/Fragments (Santa and Campos, 1999) and Paraíso/Paradise (Guerrero, 2006), two films that critically address the discontinuity and fragmentation of Colombia's history. Finally, 'video recycling as counter-information' explores the media news as a source of archival construction through a group of five films produced by students and professors at the University of Valle (Cali, Colombia) that show a more radical way of understanding television news produced during periods of political polarization. [ABSTRACT FROM AUTHOR]

This article reflects upon some of the current uses of archival footage in contemporary Chilean television dating from the late Pinochet's military dictatorship. It focuses on the case of the fiction series Los 80: Más que una moda/The 80s: More than a Trend (2008), which revisits everyday life under the dictatorship, as a means to analyse the afterlife of documentary footage that has been marginalized for decades by local television. Shifting the discussion away from an analysis of character identification or critical views on nostalgia, it focuses on the productive possibilities offered by the usage of archival material, particularly 'unofficial' sources. Drawing from the concepts of 'approximation' and 'archive effect', I argue that by re-appropriating creatively a wide range of archival footage this series offers a 'mise-en-scène of fact and history' whereby viewers can insert their own desires and opinions about the country's past, thus contributing to the forging of necessary debates acknowledging Chile's recent history. [ABSTRACT FROM AUTHOR]

In his documentary Pulqui, un instante en la patria de la felicidad/Pulqui: An Instant in the Land of Happiness (2007a), Alejandro Fernández Mouján follows Argentine plastic artist Daniel Santoro's attempt to recreate a plane prototype from the Peronist era, the Pulqui II. Santoro's goal is to build a machine that not only looks the part but that can also fly, however briefly. This article pays attention to the way in which the film - parallel to this rather simple plot - sheds light upon the fascinating phenomenon of Peronism in Argentina. The notion of the archive is central to the film, both as something existing in oral and visual form - quoted at length and freely by Fernández Mouján - and as something that can be reproduced and brought back to life through the actual model of the plane. Through these uses of the archive, the film offers a critique of the socio-economic situation of Argentina post 2001 that might also be read as a criticism of the first Peronist project. In apparently innocuous ways Pulqui ... is a critical tool that might allow an attentive viewer to think through some of the key events in contemporary Argentine history. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editors discuss various reports within the issue on topics including the incorporation of archival footage in contemporary films and television series, the invisibility of the majority of films, and the interactions between cinema and television.

This article explores the importance that using archival footage has for both film exhibition and questioning the truth behind images. It focuses on El dirigible/The Airship (Dotta, 1994) and C3M: Cinemateca del Tercer Mundo/Third World Cinematheque (Jacob, 2011), a fiction and a documentary, respectively, to suggest that the incorporation of archival footage invites us to reflect upon local film and sociopolitical history, while guiding us through the archive of Uruguayan cinema. This article argues that in the case of cinemas where there is no established filmmaking tradition and where access to the archive is restricted, incorporating sequences from past films fulfils an exhibition role that necessarily acknowledges and gives visibility to the work of previous practitioners. Moreover, it explores how this practice underscores the tensions between past and present, and questions the ability of audio-visual documents to provide trustworthy evidence to both reveal and challenge the narration of history. [ABSTRACT FROM AUTHOR]

This article investigates the high-profile film repatriation projects between such organizations as the US Library of Congress, the Museum of Modern Art, the National Film and Sound Archive in Australia, and the New Zealand Film Archive. Heralded for bringing ‘home’ the so-called lost films, repatriation projects capture public imagination and prove vital in galvanizing the much needed press interest in the media preservation movement. National film archives, however, continue to pursue traditional modes of repatriating film material, spending thousands of dollars to ship nitrate film prints to underfunded and overwhelmed US media repositories, and perpetuating the dominance of the nation-state in preservation discourse. This article challenges the long-standing, celluloid-focused approach by providing an overview of media repatriation practice and policy, contemporary analysis of cultural property theory and law, and offering a pragmatic suggestion for digital repatriation models that can empower a greater number of regional participants. [ABSTRACT FROM PUBLISHER]

The article discusses the 1942 film "Ghetto," filmed under the guidance of Nazi Propaganda minister Joseph Goebbels in the Warsaw ghetto, with a focus on the context in which it was filmed and the uses made of it since. Topics discussed include the film as an example of the migration of images, the archival footage as a cultural document of the Holocaust, and the impact of the film on spectators.

All of Costanza Quatriglio's films – her shorts, feature films and feature-length documentaries – are either journeys in search of marginalized and invisible subjects or psychological explorations of the invisible aspects of visible individuals. In Terramatta; Il Novecento italiano di Vincenzo Rabito analfabeta siciliano (2012), Quatriglio continues her inquiry into invisible subjects and uses the story of an ‘invisibile’ (as she defines Rabito) to rewrite the history of Italy, not as a historian but as a filmmaker, self-reflexively drawing attention to the history and style of Italian cinema itself. In our discussion of Terramatta;, we analyse Quatriglio's juxtaposition and intersection of the archival footage of official history with Rabito's personal accounts conjured on the screen through the voice of the actor Roberto Nobile, and her filmed images of contemporary landscapes inhabited by Rabito's words. We consider the ways in which the documentary creates a dialogue between public and private history, between the present and the past and between memory and language. [ABSTRACT FROM PUBLISHER]

In this article, I argue that archival footage of the historical real constitutes the documentary's unique truth claim and examine three instances of films (Amar Kanwar's A Season Outside (1998), Mani Rathnam's fictional Bombay (1995) and Rakesh Sharma's testimonial documentary Final Solution (2004)) that use such archival footage in different visual economies of the indexical, iconic and symbolic, or in tension between them. As examples of films that represent communal violence in India, I compare their differing modes of invoking this footage aimed at activating a documentary consciousness that in turn addresses and creates a particular kind of embodied, ethical citizen/spectator. [ABSTRACT FROM AUTHOR]

Audiovisual advertising tells short stories in a few seconds, using techniques inherited from cinema and television. A resource that gives a special tone or tint to the story is the use of archival images. Some cases are analyzed to describe the different uses of archival footage in audiovisual advertising. [ABSTRACT FROM AUTHOR]

An interview is presented with Portuguese filmmaker Susana de Sousa Dias, who used archival footage and interviews in her films "Still Life," "48," and "Processo-Crime 141/53" to depict social and political conditions in Portugal before the 1974 Carnation Revolution and the overthrow of dictator Antonio Salazar's government. The treatment of women political prisoners under Salazar, Sousa Dias's education, and music in her films are discussed.

In recent years, 'the archive' as both a concept and an object has been undergoing a transformation. The increased availability of still and video cameras, analog and then digital, has led to a proliferation of indexical documents outside of official archives and prompted questions about what constitutes an 'archive,' and, hence, what constitute 'archival documents.' At the same time, filmmakers are appropriating sounds and images from various sources, thereby breaking down the distinction between 'found' and 'archival' documents. This situation calls for a reformulation of the very notion of the archival document. This article reframes the archival document not as an object but as a spectatorial experience or a relationship between viewer and text. I contend that certain appropriated audiovisual documents produce for the viewer what I call the 'archive effect' and that this encounter endows these documents with a particular kind of authority as 'evidence.' [ABSTRACT FROM AUTHOR]

This article examines how official and unofficial early film footage intersects in the representation of France's mission civilisatrice in films taken in West Congo in the early twentieth century. We study uncut, and largely unseen footage of the French soldier General Henri Gouraud in Syria and Lebanon, filmed during the French acquisition of these territories following the First World War. This footage taken by Albert Kahn's photographer Lucien Le Saint, and now in the Archives de la Planète in Paris, reveals twin images of the General: one a powerful military commander of France's ‘civilizing mission’ and the other a relaxed, modern man of the kind not usually seen in public film footage. This article then, examines various contradictions at the heart of imperialistic discourse that characterised French cultural self-confidence in the last decades of the Third Republic. [ABSTRACT FROM PUBLISHER]