Abstract
This chapter examines digital film production preservation and access in the moment of the ‘Digital Dilemma’and the attendant challenges to the archiving of digital film which are summarised as reliability, vulnerability, volume and data complexity. Different archival paradigms are considered including film, born digital and hybrid, and the associated archival aesthetics, drawing from various branches of enquiry within archival studies. This includes considerations of Sally Potter’s own online, interactive archive SP-ARK – whereby all film/analogue was digitised – and the archival structure developed by the Deep Film Access Project (DFAP) – designed to accommodate both film, data and hybrid assets. The chapter contends that archival structures support and replicate auteurism leading to omissions and occlusions of both personnel and practices. Evidence is provided to demonstrate that the way in which an archive is conceived, shaped and organised captures the various ‘aesthetics of production’ and ‘Production Aesthetics’ of a moment in time, as well as its concomitant ‘production legacy aesthetics’, ‘archival legacy aesthetics’ and embedded paradoxes of representation.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
