JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

 

 

Notes

An earlier version of this essay has been published in Spanish in La casa abierta. El cine doméstico y sus reciclajes contemporáneos, Efrén Cuevas, ed. (Madrid: Colección Textos Documenta, Ocho y Medio, 2009).

1. Quoted in Deirdre Boyle, “Meanwhile Somewhere... A Discussion with Péter Forgács,” Immediacy: A Forum for the Discussion of Media and Culture (accessed 17 May 2006). [return to page 1 of essay]
http://www.nsu.newschool.edu/Immediacy/Past Immediacy/public_html/memory/2001/Forgacs/forgacs.html, 9

2. Patricia Zimmermann, “Morphing History into Histories: From Amateur Films to the Archive of the Future,” The Moving Image 1.1 (2001): 129.

3. Jeffrey Skoller, Shadows, Specters, and Shards: Making History in Avant-Garde Films (Minneapolis: University of Minnesota Press, 2005), 53.

4. Ken Jacobs, Filmakers’ Cooperative Catalogue No. 7 (New York: The New American Cinema Group, 1989), 272. Jacobs’ remark refers to his Perfect Film (1986), but it applies equally well to Urban Peasants.

5. These comments on In Memory and Günther (Heil Hitler) originally appeared in a slightly different form in, William C. Wees, “Old Images, New Meanings: Recontextualizing Archival Footage of Nazism and the Holocaust,” Spectator 20.1 (1999-2000): 73.

6. Abigail Child, Notes on The Future Is Behind You, included with a video copy of the film.

7. Abigail Child, email to the author, 5 November 2004. In the same email she offers the work of the novelist W.G. Sebald as a precedent for the merging of fiction and fact in her film.

8. Alan Berliner, Filmakers’ Cooperative Catalogue No. 7, 31.

9. Scott MacDonald, “Peter Forgács,” A Critical Cinema 4 (Berkeley: University of California Press, 2005), 299. [return to page 2]

10. Ibid., 300.

11. Ibid., 314-315

12. Boyle, 6.

13. As Forgács has explained (Boyle, 9), this is an example of necessity being the mother of invention. Forgács used these inserts to cover up the logo of the Warsaw Film Archive, which occupied the same corner of the frame in the footage the Archive provided for Forgacs’ use.

14. Footage from Angelos Papanastassiou’s home movies provided the material for Forgács’ Angelos’ Film (1999).

15. Zimmermann, 111. [return to page 3]

16. Boyle, 6.

17. Ibid., 4.


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