The cognitive impact of analogue and digital cinematic film projection technologies
Room B312 Portland Square,
University of Plymouth,
As a film restorer and archivist I have been part of a professional community in which, during the last decade, there has been much debate about fundamental differences between analogue and digital moving images. With this PhD project I aim to establish an objective context for the large amount of anecdotal evidence that I have collected during the transition from analogue to digital. Are the vastly different technologies of celluloid film and Digital Mirror Devices responsible for a quantifiable difference in our cognitive processes when we experience cinema? Is the absence of perceivable flicker in the digital version of cinema changing our viewing experience?
I have always been interested in the affective potential of the film apparatus and indeed images of all kinds (previous research projects have investigated the loquacious properties of sixteenth century Venetian painting and the memorialization of deceased relatives in early home movies.) My research interests have also led to the development of two unique programme strands in which new contexts are proposed for found films – The Séance du Cinema performances where spiritualistic mediums attempt to divine further information about the unknown protagonists of found home movies and the Saloon of Refuse in which a wide variety of fragmentary film forms, often saved from landfill, are given a last chance saloon screening.