ARCHIVAL RECORDINGS AS MEDIAL FIGURATIONS IN GÁBOR BÓDY’S AND ANDRÁS JELES’S FILMS

Judit Pieldner

doi:10.19090/hk.2015.3.30-43

Judit Pieldner Sapientia Hungarian University of Transylvania, Faculty of Miercurea Ciuc, Department of Humanities, Miercurea Ciuc, Romania

DOI: https://doi.org/10.19090/hk.2015.3.30-43

Keywords: archival footage, indexicality, figuration, film archaeology, the Holocaust

Abstract

In the theoretical discourse of archival footage a shift can be detected from the paradigm of recontextualization towards rhetorical strategy. In terms of this shift, archival recordings are not merely transparent images representing reality within the body of cinematic discourse, but rather figurations, standing for an alternative modality of representation, creating productive tension in the course of interaction of images. In Hungarian Neo-Avant-Garde film art archival footage gets a prominent role. For both Gábor Bódy and András Jeles the archival material displays the confrontation between the private sphere and history. The article examines the role of archival footage mainly in Gábor Bódy’s American Torso (Amerikai anzix, 1975) and András Jeles’s Parallel Lives (Senkiföldje, 1993).

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