Abstract
This dissertation provides a media archaeology of the film projector, concentrating on the conceptualization and use of projector noise through the lens of the modernist and contemporary avant-garde, that offers new ways of understanding cinema, interpreting embodied cinematic space, and extending the discourse on audiovision in general. Looking toward the projector allows us to see how it is a productive labourer in the construction of cinematic experience. Listening to its noises— which have been framed as insignificant and/or unwanted—allows us to understand the way cinema is in fact a performative art with a certain kind of liveness. Part One of this dissertation traces an alternative history of cinema focused on the projector beginning with the pre-cinema technologies of the camera obscura, the telescope and the magic lantern. Part Two analyzes how the avant-garde has engaged with the projector-as-instrument during three major technological transitional moments in cinema: first, early cinema and the rise of the Cinématographe by looking at the Italian futurists, specifically Arnaldo Ginna and Bruno Corra’s interest in the projector-as-instrument and the relationship between the Cinématographe and Luigi Russolo’s
Highlights
On the Projector’s Noises and Other Creative Transgressions in Cinema0.1 Object of Analysis From the earliest moments of cinema, the projector has played a significant role
Through anomalies, we are able to decipher a range of crucial issues concerning politic, aesthetics and cultural processes of media.”25 By focusing on the projector’s noises, this dissertation goes beyond a hermeneutics of noise, looking toward new ways of understanding cinema, interpreting embodied cinematic space, and extending the discourse on audiovision26 in general
The results of my archaeology are important because, by fleshing out the projector, this exercise will help us better understand the history from which cinema developed as a projected art, but the afterlife of celluloid-based cinema in the digital age
Summary
I return to examine the use of the projector-as-noise-instrument, that is as an instrument for the creative production of visual and acoustic noise and as an instrument for the production of embodied or immersive cinematic space. Embodied, and lived experience of the audience in the cinematic apparatus and the liveness of production as opposed to the re-production of past, recorded moments Before examining these (re)new(ed) uses for the projector-as-noise-instrument, it is important to first examine the differences in the socio-technological experience of film projection and D-Cinema projection. This exploration provides the background for understanding the shifts in materiality and temporality between these two different modes of exhibition in order to better illustrate why there is a renewed interest in the projector-as-noise-instrument at this time of transition After this comparison, I turn to analyze the use of the film projector by McClure and Lemieux in relation to the potential new uses of the projector and the performativity that they offer. The projector’s labour becomes a critical point of analysis at this period of transition
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