In my last post I argued for a form of “distant reading” that could be applied to film studies, and claimed that such a practice could be just as useful as our current close reading practices. In this post I continue this line of argumentation by considering one such way in which distant reading could take place in film studies: by analyzing systems and patterns across sets of films.
Montage Strikes Back
The Soviet formalists, pioneers in film theory and praxis, are making a comeback. Sure, their influence and canonical status within the discipline means they’ve never left, but there’s a peculiar form of resonance in the fact that the first projects of digital analysis of films harken back to those early film practitioners. Everything old is new again, if you will. I am referring specifically to the Digital Formalism project, a collaborative venture between the Austrian Film Museum, the University of Vienna, and the Vienna University of Technology that between 2007 and 2010 took the Vienna Vertov Collection and developed computational tools to aid in the analysis of Dziga Vertov’s works. Resulting from this project, interesting discussions on issues such as the difficulties of digitizing archival films and meta-data annotation of shots of urban landscapes have come out. Most notably for this discussion on distant watching, this project illustrates the challenges facing any sort of visual analysis of films using computers: How do we make legible for computational analysis the multiplicity of semantic, compositional, and technical aspects of one specific shot? For the Digital Formalism project this consisted of using algorithms for minor tasks such as detecting intertitles and human input for more complicated tasks such as motion tracking and image composition. Continue reading “Telescoping, Part Two: How to (Not) Watch One Million Moving Images”