Abstract
This article explores the production, repurposing, and reception of the Miles Brothers’ A Trip Down Market Street through five iterations: the original Market Street print, filmed four days before the 1906 San Francisco earthquake, avant-garde filmmaker Ernie Gehr’s 1974 Eureka, Darryl Palmer’s 1995 experimental essay about Eureka, film historian David Kiehn’s 2006 restored print, and Denis Shiryaev’s 2020 Youtube 4k version of A Trip Down Market Street. This study argues that the context of a print’s re-use and exhibition not only changes its meaning and evokes different responses, but also that the circulation of this text through the ‘popcycle’ – the ensemble of discourses that sustain institutions and construct identity – facilitates the process of cultural invention at key moments in history.
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