What Does Cinema Become?

On the Early Work of Pablo Martín Weber

Authors

  • Agustín Berti Facultad de Artes. Universidad Nacional de Córdoba

DOI:

https://doi.org/10.24215/2525085Xe037

Keywords:

Digital cinema, Indexicality, Essay, Film archives

Abstract

Pablo Martín Weber’s recent works have had a remarkable reception in cinema festivals and museums. This paper analyzes his films, produced by the experimental use of digital manipulation on audiovisual archives. To do so, it revisits some classic issues of film theory such as Bazin’s ontology of photographic images or Astruc’s cinema as a form of writing, as well as recent discussions on found footage and database cinema, through the lens of current debates on standardization, algorithmic governmentality and machine vision, in order to grasp the inherent technicity of Weber’s poetics (and politics).

References

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Weber, P. (productor y director) (2018) Fragmentos del exilio. [Película]. Periferia Cine

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Published

2022-09-23

How to Cite

Berti, A. (2022). What Does Cinema Become? On the Early Work of Pablo Martín Weber. Arkadin, (11), e037. https://doi.org/10.24215/2525085Xe037

Issue

No. 11 (2022): Arkadin 11

Section

Tema central

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