Andrey Tarkovsky approached filmmaking as “sculpting in time,” which means that film can “capture time.” In the recorded form, as a final product, a film leaves traces that can be preserved, reproduced, recontextualized, as well as forgotten and lost. Along this line of thought, these audiovisual traces acquire both temporal and spatial dimensions, material and mnemonic capacities. In this regard, e.g. archival footage filmed in the German Democratic Republic and reused or recontextualized in the German post-reunification cinema can be approached as audiovisual traces. Likewise, еstablished media representations of the Holocaust can be analyzed as carefully reproduced traces in the contemporary fiction film PERSIAN LESSONS (Vadim Perelman, 2020). The upcoming issue of Research in Film and History is thus dedicated to the following questions: How can the notion “audiovisual traces” be conceptualized in regard to cinema and audiovisual artifacts of various historical periods and national contexts? What functions can audiovisual traces have? What methods and approaches can be applied to study audiovisual traces? How can audiovisual traces be collected, evaluated, reinterpreted, or even redesigned?
As a preview for the new issue we decided to share with you a video essay The Archival In-Between (Evelyn Kreutzer, Noga Stiassny, 2021) that received an honorable mention in the Video Essay competition at the Adelio Ferrero Festival, Italy, 2021. The video essay is a part of the multi-modal project that will be published in the upcoming issue of Research in Film and History.