"SCREEN(ED) MEMORIES: ROAD MOVIE AS MEDIA ARCHAEOLOGY''
The Moving Image of Cinema
1 Tsukasa Ikegami, “Film History According to SHIMURAbros”, in ROAD MOVIE—Road to Singapore (Singapore: NUS Museum, 2013), p. 6-8.
2 Gene Youngblood, Expanded Cinema (New York: P. Dutton & Co., Inc., 1970), p. 41.3 Though the term does not designate
a consolidated academic discipline, media archaeology refers to a group
of loosely-related works characterised by an incredulity and discontentment towards the canonised histories of media cultures. Broadly speaking,
these counter-accounts prefer instead to construct alternative histories with a supporting cast of marginalised players. For a good overview, see Erkki Huhtamo and Jussi Parikka, “Introduction”, in Media Archaeology: Approaches, Applications and Implications, ed. Erkki Huhtamo and Jussi Parikka (Berkeley: University of California Press, 2011), p. 1-21.
4 David Bordwell and Kristin Thompson, Film History: An Introduction, 3rd edition (New York: McGraw-Hill, 2010).
5 Erkki Huhtamo, “Natural Magic: A Short Cultural History of Moving Images”,
in The Routledge Companion to Film History, ed. William Guynn (London: Routledge, 2011), p. 6.
6 Scott McQuire, The Media City: Media, Architecture and Urban Space (London: Sage, 2008), p. 9. Here, McQuire
uses the terms “technological images” and “photographic representations”. Ostensibly, these refer to photographic images of course; but I would think
that McQuire’s argument applies to the cinematic arts just as well.
7 Huhtamo, p. 10. 8 For a succinct summary of Alhazen’s contribution to the development of optics, see Nicholas Mirzoeff, An Introduction to Visual Culture, 2nd edition (London: Routledge, 2009), chapter 1. For more on Mozi and scientific contributions from the Chinese, see Joseph Needham, Science
and Civilisation in China, volume 4 (Cambridge: Cambridge University Press, 1962).
9 Jay Beck, “The Evolution of Sound in Cinema”, in The Routledge Companion to Film History (London: Routledge, 2011), p. 64.
10 Roy Armes, On Video (London: Routledge, 1988), p. 10.
11 For example, see Don Crafton, The Talkies: American Cinema’s Transition to Sound, 1926-1931 (Berkeley: University of California Press, 1999) or the edited volume of Jay Beck and Tony Grajeda, Lowering the Boom: Critical Studies in Film Sound (Urbana: University of Illinois Press, 2008).
12 André Bazin, “The Evolution of the Language of Cinema”, in Film Theory and Criticism, 3rd edition, ed. Gerald Mast and Marshall Cohen (New York: Oxford University Press, 1985), p. 124- 138. 13 For example, see Tom Gunning, “The Cinema of Attraction: Early Film, Its Spectator, and the Avant-Garde”, in Film and Theory: An Anthology, ed. Robert Stam and Toby Miller (London: Blackwell, 2000), p. 229-235.
14 Walter Benjamin, Illuminations (New York: Harcourt, Brace & World, 1968), p. 264.
*Excerpt from Road to Singapore - a solo exhibition catalogue published by the National University of Singapore