A Study on Authenticity of Celluloid's Digital Restoration

• Main Authors: Wang, Wen-yu, 王文妤
• Other Authors: Jiing, Ray
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/30471723409445067915

碩士 === 國立臺南藝術大學 === 音像紀錄與影像維護研究所 === 102 === As the movie history develops, countless human cultures were developed and fixed on films, transformed into moving images and played over and over to recall people’s memories. Just like languages and writings, films also record shapes of human lives; they are not merely celluloid in solutions, but important carriers of image cultural era between 19 and 20 centuries. Even though the moving image production has flourished for a century, but it was until half a century ago that film preservation started to gradually getting the world’s attention. Film archive institutes were established around the world from 1933; UNESCO only launched the campaign of film culture maintenance after 1975, and later included movie as part of cultural heritage of mankind. Many earlier moving images works that were not timely collected had only left us imaginations through stories told by predecessors. But for damaged works, only superficial physical repairing could be done, and nothing could have help to save the contents, until finally the digital era has arrived, that seemed to give a ray of hope to repair and maintain the damaged films. Just like a marvelous plastic surgeon’s hands on a wrinkled face, miracle transformations happened to the damaged works. Many domestic and abroad indicator films were chosen to be digitally restored and repackaged after the repair is completed, followed by relisting to the market in the name of “Digital Restoration Version”, soon the market overflowed with a variety of restored films. As for the repairing technicians, digital Restoration is not a work that they can just roll with the punches; it involves repairing ethics and a lot of dialectical discussions. In the wave of digital restoration and digital archives, the original moving images that once strongly attached to the film and negatives, running rapidly to the digital programming and calculations between one and zero, without looking back; the end of mechanical images has sadly arrived. In the process of dematerialization and digitalization, spectators’ aesthetic and watching behaviors have also transformed. On the stage of digital era, Benjamin's Aura shines for a moment on the damaged old films, like the last radiance of the setting sun, and then faded away.