Week 3

Media archaeology:

- School, field, and methodology studying new media through past media cultures

- Connections between past and present media practices are formed

- Insights into contemporary media, communications, society

- Examines artifacts, ideas, concepts, and practices, as they're no longer just objects 

- Shares strong relationship with expanded cinema through historical and conceptual engagement

Expanded cinema and media archaeology:

- Expanded Cinema emerged in mid-60s experimental film movement (US/UK)

- Engaging with historical cinema practices (e.g., multi-screen, live performance) -> applies media archaeology

- Multi-screen film Napoléon (1927) can be analyzed through both frameworks

Silent cinemas (1890s–1920s):

- "Silent film” can be misleading: live musical accompaniment (piano, organ, orchestra, phonograph). - Early experimentation in narrative, form, and multi-sensory experiences -> suits Expanded Cinema concepts

- E.g. Nosferatu (1922) with live orchestra

Multi-screen cinema and polyvision:

- Early experimentation in France and Germany in 1920s with multi-screen formats

- Napoléon (1927): 

+ Polyvision = three simultaneous projections in a horizontal row

+ Precursor to 1950s Cinerama and 1960s Expanded Cinema

+ Inspiration from fine art (triptychs, polyptychs, Renaissance painting)

Cinemara (1950s, US) 

- Three synchronized projectors on wide and curved screen -> immerse viewers

- Invented by Fred Waller, first film: This Is Cinerama (1952)

- Purpose-built theaters created immersive cinematic experiences

- Techniques influenced later multi-frame and split-screen approaches

Reflection:

I was very impressed by how intertwined past and present of film culture are. I was introduced to a range of different film forms, from the ones with older history (silent cinema) to later immersive formats (Cinerama), and I understand that expanded cinema is built from decades of experimentation and innovation.