Documentary film has always had a complex relationship with archive material and archival practices.
In the 20th century media texts, such as television programmes, were transitory. It was assumed that a programme would air once, maybe twice if you were lucky, and then never be seen again by the public. However, the internet’s prominence in our lives has changed these once transitory texts into objects of permanence. Audiences now assume that once published, texts should be available to be revisited, resold and engaged with. Platforms like Youtube, Netflix and BBC iPlayer make this possible. The online library becomes some what of an archive in and of itself, allowing media texts to have an afterlife.
Archive has historic, educational and entertainment value however it needs technological, creative and curatorial skills to be able to unlock its full potential. The internet encourages publishing material and then connecting to audiences and similar texts. So you could argue that TV frameworks are becoming outdated.
If you consider another creative medium, such as music, you do not think of music from the past to be ‘archive music’. A song from the 1950’s is not considered to be ‘archive’, it is thought of as an album to be enjoyed in the present, perhaps even added to a playlist amongst recently created music. This framework encourages the integration of relevant material from both the past and the present for audiences to enjoy. It is interesting to consider what kind of digital innovation will be necessary to get archive film to be handled in the same way. Continue reading “Archive Film Part 1”