In 1957, A Face in the Crowd incorporated live video images to warn
about the future of broadcast TV. In 2015, Kung Fury was infused
with analogue noise to evoke the nostalgic feeling of watching an
old VHS tape. Between the two films, numerous ones would
incorporate video images to imagine the implications of video
practices. Drawing on media archaeology, Videographic Cinema shows
how such images and imaginaries have emerged, changed and remained
over time according to their shifting technical, historical and
institutional conditions. Rediscovering forgotten films like
Anti-Clock (1979) and reassessing ones like Lost Highway (1997),
Jonathan Rozenkrantz charts neglected chapters of video history,
including self-confrontation techniques in psychiatry, their
complex relation with surveillance, and the invention/discovery of
the “videographic psyche” by artists, therapists and
filmmakers. Spanning six decades, Videographic Cinema discovers an
epistemic shift from prospective imaginaries of surveillance and
control conditioned on video as a medium for live transmission, to
retrospective ones concerned with videotape as a recording memory.
It ends by considering videographic filmmaking itself as a form of
archaeology in the age of analogue obsolescence.
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