Sydney College of the Arts The University of Sydney

Bachelor of Visual Arts (Honours) 2011 BACHELOR OF VISUAL ARTS RESEARCH PAPER

THE MOTION PICTURE RUIN

by Isabella Andronos Photomedia

isabellaandronos@gmail.com isabellaandronos.com October 2011

Acknowledgements

This research paper was written in Annandale and Rozelle. I would like to acknowledge the Wangal and Cadigal people, the traditional custodians of the land. Thank you to Fabia Andronos, Melissa Laird, Perry Andronos, Peter Cozens, Tanya Peterson and Alex H Mack. A special thank you to Anne Ferran.

Table of Contents

List of Illustrations... 4 Introduction ........ 7 Chapter One: Pictures on Plastic and the Digital Clone ..... 10 Chapter Two: Digital Decay ... 21 Chapter Three: Topography of Time.. 37 Conclusion: The End.... 49 Bibliography. 52

List of Illustrations

Figure 1. Eric Rondepierre, Masques from Prcis de Dcomposition (A Short History of Decay) series, 1993-1995, silver print on aluminium, 47 x 70cm. Figure 2. Bill Morrison, Decasia, 2002, 35mm, 70 mins, no sound, score by Michael Gordon. Figure 3. Isabella Andronos, 1:13:07 (Diary of a Lost Girl), screen capture from DVD (Diary of a Lost Girl, 1929, directed by Georg Wilhelm Pabst, 104 mins, black and white, silent, Kino Video, 2001). Figure 4. Isabella Andronos, 1:03:25 (Diary of a Lost Girl), screen captures from DVD (Diary of a Lost Girl, 1929, directed by Georg Wilhelm Pabst, 104 mins, black and white, silent, Kino Video, 2001). Figure 5. Isabella Andronos, 1:20:47 (King Creole, 1958), 2011, screen capture from DVD (King Creole, 1958, directed by Michael Cutiz, Paramount Pictures). Figure 6. Isabella Andronos, 0:50:27 (The 39 Steps, 1935), 2011, screen capture from DVD (The 39 Steps, 1935, directed by Alfred Hitchcock, Gaumont British Picture Corporation). Figure 7. Jon Rafman, 412 US-9W, Bethlehem, New York from 9 Eyes series, 2009, capture from Google Street View. Figure 8. Google Street View, 412 US-9W, Bethlehem, New York, screen capture from October 3, 2011.

Figure 9. Thomas Ruff, jpeg ny02 from jpeg series, 2004, chromogenic print, 2.69 x 3.64m. Figure 10. A selection of code created by opening a jpeg image in WordPad. Figure 11. Rebecca Baron and Douglas Goodwin, Lossless #3, 2008, digital video, 10 mins, colour, with sound. Figure 12. A still frame from Cleopatra, 1963, directed by Joseph L. Mankiewicz, 192 mins, colour, with sound (stereo), Twentieth Century Fox (2001). Figure 13. Isabella Andronos, Motion Picture Ruins (Cleopatra, 1963), 2011, video, 6 mins, no sound. Figure 14. Isabella Andronos, Motion Picture Ruins (Bring It On, 2000), 2011, video, 6 mins, no sound. Figure 15. Andy Warhol, Kiss, 1963, 16mm, 54 minutes (at 16 fps), black and white, no sound. Figure 16. Christian Marclay, The Clock, 2010, single-channel video, 24 hours, colour and black and white, with sound. Figure 17. Christian Marclay, The Clock, 2010, single-channel video, 24 hours, colour and black and white, with sound. Figure 18. Tracey Moffatt, Love, 2003, video, 21 minutes, colour and black and white, with sound (stereo), edited by Gary Hillberg.

Figure 19. Douglas Gordon, Between Darkness and Light (After William Blake), 1997, two-channel video, dual vision screen, 107 mins, 155 mins, colour and black and white, with sound. Figure 20. Isabella Andronos, Motion Picture Ruins (Titanic, 1997), 2011, video, 6 mins, no sound. Figure 21. Isabella Andronos, Motion Picture Ruins (To Catch a Thief, 1955), 2011, video, 6 mins, no sound. Figure 22. The End title from Black Sunday, 1960, directed by Mario Bava, 87 mins, black and white, Umbrella Entertainment (2005).

Introduction Everything comes to nothing, everything perishes, everything passes, only the world remains, only time endures. Denis Diderot, The Salon of 1767, 1767.

Digital data is immaterial; it transcends the physical, existing as series of numerical values, as ones and zeros. In this sense, the digital is often thought of as a medium impervious to decay. The duplicable quality of digital files is sometimes misunderstood to mean that the information is infinite. However, the digital is susceptible to failure and decay. Malfunctions and errors can occur, processing algorithms can degrade files, data can be accidentally erased and lost forever in an instant and there are problems with access and technological obsolescence. This project examines technology, time and processes of decay in relation to the physical and digital break down of the motion picture. The motion picture ruin comes to reflect a point between the creation and the demise of the image, where the moving image has been significantly impaired by processes of decay. Through watching my favourite films repeatedly on DVD (Digital Versatile Disc), I began to notice small anomalies located in certain frames; I came to see unintentional dust curled across a landscape, abstract marks which would block out a characters face, and evidence of chemical decomposition, which would flash on the screen for a twenty-fourth of a second. Capturing these elusive frames from Hollywood motion pictures became the starting point of my project. The evidence of damage reflected a tension between the motion picture image and the effects of time on the physical film print. This duality of time provided a visual layering, as the film print came to exist with a damaged surface, one which was now replicated in the DVD version. As evidence of physical damage now contained in a digital format, I began to question what decay meant in terms of the digital age; what would happen to digital files if they became degraded. Through my project I

found that digital decay was possible, evidenced in the way that digital information could be broken down at the level of data. The first chapter of this paper, Pictures on Plastic and the Digital Clone explores my initial investigations of the physical degradation of the motion picture film print, examined through the DVD and underpinned by Baudrillards notion of data as an extermination of the real. In my paper, the DVD is explored as a copy of the physical film print. In this sense, the images I collected showed an impression of tangible damage, now contained as digital data. Rondepierres photographic series, Prcis de Dcomposition (A Short History of Decay) (1993-1995), and Bill Morrisons film, Decasia (2002) are examined as examples of works which depict decay as a covering, a trace of the temporality of the print. The second chapter of this paper, Digital Decay, explores the faults of the digital image and the related aesthetic possibilities. Understanding that digital information can decompose, degrade and deteriorate, this chapter investigates traces of digital failure evident in the image. John McAndrews notion of destructural aesthetics, explores the process of breaking down digital images to achieve aesthetic results. This idea is examined in relation to Jon Rafmans 9 Eyes series (2009), Rebecca Baron and Douglas Goodwins Lossless #3 (2008) and Thomas Ruffs jpeg series (2004). The glitch, as a malfunction in technology, can be seen as related to both visual and sound mediums. In this chapter, the glitch is discussed in relation to the still and moving digital images. The writing of Iman Moradi on the glitch-alike expands on this idea, looking at the potential of artists to synthesise intentional errors in technology. Fundamental to the creation of my final video work is the technique data-moshing which is discussed as a process of digital decay; as a planned corruption of data based on a compression algorithm. The third chapter of this paper, Topography of Time, explores the way time can be traced in relation to the motion picture. Christian Marclays real time video piece, The Clock (2010), Tracey Moffatts composite video, Love (2003), and Douglas Gordons layered video work, Between Darkness and Light (1997), are discussed as examples of time and

its relationship to the motion picture. Real time is a term used in this chapter to express the idea that the events that occur in the playback of the film directly match the audiences experience. Andy Warhols film, Kiss (1963), is used as an historical link to this concept. The temporal aspects of cinema are discussed in this chapter, exploring different ways in which motion pictures can be altered to create new experiences of time. Through the research investigations and experimentations associated with this project, I was able to develop an understanding of organic, chemical and digital decay manifested in the motion picture. My final work, in the form of a video, came to constitute a visual experience of digital decay. Using appropriated film clips from cinema and the datamoshing technique, I was able to re-write cinematic time and break down the moving images of the silver screen.

Chapter One Pictures on Plastic and the Digital Clone The storytellers have not realised that the Sleeping Beauty would have awoken covered in a thick layer of dust1 Georges Bataille, Poussiere (Dust), 1929.

The film print acts as the initial form of most motion pictures; it can be seen as a series of still frames forged onto plastic. With nitrocellulose, cellulose-acetate or polyester as the predominant bases used in the film stock, the motion picture print is inevitably subject to processes of decay. Developed in 1995, the DVD became a popular means of distributing motion pictures, outdating the VHS (Video Home System) which had popularised home entertainment systems. Awoken from storage to be converted into the new digital format, motion picture film prints had begun to show evidence of their physical existence. Like Batailles Sleeping Beauty, traces of dust had crept onto the surface of the still frames. Bacterial damage, chemical decay, marks and scratches now marred the surface of the plastic. As a digital approximation of the information from the original film print, a copy of the tangible, the DVD came to include this evidence of damage in every disk. The DVD acted as a digital capture of the images at a point before their inevitable failure; a snapshot from the life of plastic. Stored on the optical disk, the information was now comprised of encoded binary data, ones and zeros, rather than analogue information. When linked to the writing of Jean Baudrillard, the conversion of the film print to digital data can be considered as a kind of cloning. Baudrillard states,

Georges Bataille, Poussiere (Dust), in Le Dictionnaire Critique, Documents, no. 1 (Paris, 1929); translated Iain White, in Encyclopaedia Acphalica (London: Atlas Press, 1995), 42-43.
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The perfect crime is that of an unconditional realization of the world by the actualization of all data, the transformation of all our acts and all events into pure information: in short, the final solution, the resolution of the world ahead of time by the cloning of reality and the extermination of the real by its double.2 This idea can be strongly linked to the way the film print relates to the DVD and the Bluray, with the physical analogue information condensed into data, and the digital clone taking precedence over the original. The mortality of the film print is examined in Eric Rondepierres photographic series, Prcis de Dcomposition (A Short History of Decay) (1993-95). The images show points in aged silent films where the print has been deformed by decay. By using works of the early cinema, Rondepierre alludes to the ephemeral condition of the film print. The images represent a layering of time, observed in the way the image on the film stock becomes overwritten by the temporal affects of decay. In Rondepierres Masques (Figure 1) a coronet of deterioration now adorns the female figure. The womans face has been bleached out, an effect caused by the imposition of time and decay on the image. Exploring motion pictures beyond the diegetic elements of their composition, the decay can now be seen as a layer which obscures the original image. Rondepierres work acts as a way of visualising the mortality of the motion picture. Unstable and highly flammable, much of the nitrate-based film of the silent film era has been lost or badly damaged. In Decasia (2002), Bill Morrison compiled fragments of found footage sourced from this era, as a way of exploring the decay of the image in moving sequences. A scene in Morrisons work shows a merry-go-round at a carnival (see Figure 2). The perpetual movement of the ride is undermined by large sections of black damage which fill each frame. The deterioration appears like a dark cloud, arriving in abstract formations across the image. The decay acts as a layer which exists in the
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Jean Baudrillard, The Perfect Crime. (Translated by Chris Turner, London and new York: Verso, 1996), 25. 11

Figure 1. Eric Rondepierre, Masques from Prcis de Dcomposition (A Short History of Decay) series, 1993-1995, silver print on aluminium, 47 x 70cm.

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Figure 2. Bill Morrison, Decasia, 2002, 35mm, 70 mins, no sound, score by Michael Gordon.

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same frame as the images but is asynchronous to the original narrative. Through this work Morrison has created an awareness of the film print as a perishable object. Laura Mulvey states, Everyone knows that celluloid consists of a series of still frames that have been, by and large, inaccessible to the film spectator throughout its history. 3 With the digital age, a new level of accessibility is possible. Using DVDs and a program on my computer called InterVideo WinDVD 5, I began to create screen captures of damaged frames from motion pictures. The screen capture, as a method of creating a still image by recording the items visible on a computer monitor, became a way of digitally copying the images from the DVD. In this sense, the image created was a screen capture copy of a DVD copy of an image originally printed on film; it was a clone of a clone. Played at 25 fps (frames per second), a two hour film is comprised of 180 thousand still frames. Through technological processes I was able to slow and stop the motion picture to reveal specific frames, to consider them as single images. Mulvey suggests, Digital technology enables a spectator to still a film in a way that evokes the ghostly presence of the individual celluloid frame.4 An individual frame I copied from Diary of a Lost Girl (1929) (Figure 3) shows evidence of decay of the film print, likely to be caused by chemical breakdown. The decay overwrites the original print, masking the face of the character in the frame. It becomes combined with the image, existing unified as data on the DVD. A series of screen captures I made from the same motion picture show damage to the film print which extends in an unbroken line across three frames of Thymian (Louise Brooks) (see Figure 4). With the frames displayed as consecutive still images, as they exist on the film print, the damage can be seen as continuous. This is a detail which would likely be missed when broken into separate images to be played in a moving image sequence. Laura Mulveys aesthetics of delay, which embraces such processes as slowing, pausing, or extracting stills from narrative cinema acts as a way of exploring

Laura Mulvey, Death at x24 a Second: Stillness and the Moving Image, (London: Reaktion, 2006), 26. 4 Ibid.
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Figure 3. Isabella Andronos, 1:13:07 (Diary of a Lost Girl), screen capture from DVD (Diary of a Lost Girl, 1929, directed by Georg Wilhelm Pabst, 104 mins, black and white, silent, Kino Video, 2001).

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Figure 4. Isabella Andronos, 1:03:25 (Diary of a Lost Girl), screen captures from DVD (Diary of a Lost Girl, 1929, directed by Georg Wilhelm Pabst, 104 mins, black and white, silent, Kino Video, 2001). 16

the materiality of the medium.5 Related to the three stills from Diary of a Lost Girl it becomes a way of looking at the physicality of both analogue and digital mediums. By delaying the images through digital technology, an imprint of the initial physical form of the film print can be traced. Shown as still images, damage and decay came to act as intrusions on scenes from cinema. An image I found from King Creole (1958) (Figure 5), shows a black void over Danny Fishers (Elvis Presley) face, which disrupts the clichd gaze of the two romantic leads. The tarnished surface of the print eclipses Dannys profile almost entirely, leaving a dark circular mark in its place. While the stain is superficial, as a coincidence, Ronnies (Carolyn Jones) expression suggests a sense of confusion as though she is staring right at it. This idea, of decay as a disturbance of the cinematic scene, became an underlying theme throughout my project. A similar scene was evidenced in a still frame from The 39 Steps (1935), where Pamela (Madeleine Caroll) came to gaze at an intrusive dark smudge across the face of Hannay (Robert Donat). Also evident in the frame is image noise, as superfluous colour information (see Figure 6). Although the film was originally made in black and white, the still shows small trace elements of colour scattered throughout the frame. This helps to map the possible history of the film from its origin on black and white 35mm film, to its transition to VHS, and then to DVD. It is likely that the original 35mm print was lost or too badly damaged to be converted to DVD, so a VHS version was used instead. Through the extraneous noise information, the transformation through different technologies can be observed. The still image documents a layered chronology, a subliminal element of time. An ancient Buddhist teaching states, Decay is inherent in all compounded things.6 This idea suggests a fundamental truth of existence that all things must disintegrate. It was obvious to me how this idea related to the motion picture film print; as a physical Laura Mulvey, Death at x24 a Second: Stillness and the Moving Image, (London: Reaktion, 2006), 192. 6 Siddharta Gautama, Buddha, quoted in T. Patrick Burke, The Major Religions: An Introduction with Texts (Blackwell Publishing: Malden, USA Oxford, UK Cartlon, Australia, 2004), 71.
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Figure 5. Isabella Andronos, 1:20:47 (King Creole, 1958), 2011, screen capture from DVD (King Creole, 1958, directed by Michael Cutiz, Paramount Pictures).

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Figure 6. Isabella Andronos, 0:50:27 (The 39 Steps, 1935), 2011, screen capture from DVD (The 39 Steps, 1935, directed by Alfred Hitchcock, Gaumont British Picture Corporation).

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object comprised of plastic matter, the print would eventually decay to nothing. A point of interest for me was the use of the word compounded. Understanding the DVD as a compound of data, with the images contained as encoded information, I became engrossed in the concept of digital decay; how digital images could deteriorate. My initial research, as outlined, provided me with a way of examining the degraded images of the silver screen and the residues of time evidenced through organic, chemical and technological processes. I went in search of digital decay, interested in what would happen to motion picture images if they were to be decayed or corrupted at the data level.

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Chapter Two Digital Decay

Terms used to describe the degradation of digital media make reference to organic processes, software entropy, data decay, link rot. Data can become corrupt, it can malfunction or glitch, it can deteriorate through digital processes. While digital files are not susceptible to exactly the same kind of organic deterioration as plastic-based film prints, they become vulnerable to digital decay. The aesthetic properties of the glitch, or the malfunction of technology are examined in Jon Rafmans, 412 US-9W, Bethlehem, New York from the 9-Eyes series (2009). Thomas Ruffs jpeg series (2004) explores compression artefacts of the digital age, sourcing poor quality media photographs from the September 11 attacks on the United States. Digital decay is further explored through Iman Moradis discussion of the glitch-alike, as a forced or synthesised glitch. Rebecca Baron and Douglas Goodwins Lossless (2008), is examined in relation to this idea as an intentional corruption of the motion picture. This chapter addresses the philosophies of digital decay, channelled through an interest in the visual and technical qualities of the digital fault. Digital technology is susceptible to failure; malfunctions can occur which produce unplanned aesthetic results. The glitch acts as a signifier of a technological problem. In visual media, it can be considered a short-term error which interrupts the continuity of the sequence. John McAndrew defines the glitch stating, The glitch is an unwanted technical discrepancy which, in video and electronic moving image technology at least, appears as damage within the audio-visual field.7 John McAndrew, Destructural Video, (B.A. diss. Fine Arts, University of Cumbria, 2009, https://docs.google.com/fileview? id=0B5wuaeJRnoGMOTlkODRkZmItZTRiZS00ZDkzLThlZjYtMjMwNDkxMzUxZDAx &hl=en_GB), 1. [accessed 10/07/2011]
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The glitch can be seen as an electrical pulse manifested in the digital landscape. Occurring due to software crashes, computer bugs, lack of computer memory, interruptions in downloads, weak signal strength, physical damage, overheating, and disruptions in image processing, the glitch has many varied forms. In relation to electronic moving images, the glitch can be seen as a temporal manifestation of the failure of technology. It has a phantasmic presence; appearing and then vanishing. My most common experience of the glitch is in relation to television reception; the poor strength of the signal leads the image on the screen to become corrupt. The glitch creates a sense of chaos; it confuses the data of the signal, manifesting itself by replicating parts of the image, by forming large pixel blocks and by freezing sections. While its appearance can be anticipated, its form remains elusive; the glitch is an amorphous entity. There is a sense of amnesia once the glitch disappears, the television program returns to its original state without flaw. John McAndrew explores the idea of destructural aesthetics as a way of using the medium-specific faults of machines as tools for art-making. The term destructural is a combination of the words deconstruct, structural and destruct, three words which reflect ideas associated with processes of digital decay. McAndrew states, Destructural video is an art movement of video and moving image artists who aestheticize the exploration of medium specific flaws which perpetrate themselves as visual and/or audible glitches in their work.8 This idea provides a means to explore the failures of machines and the ensuing results as aesthetic tools. While machines can output glitched images, it is people who ascribe aesthetic meaning to them. Angela Lorenz states, Computers obviously have no idea or opinion about aesthetics, let alone beauty.9 The destructural aesthetic created by machines reflects a pure abstraction of form, it becomes a mechanical vision.

Ibid., 31. Angela Lorenz, interview, Glitch: Designing Imperfection, (New York: Mark Batty Publisher, 2009), 12.
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The work of Jon Rafman explores ideas of self and identity in the digital age. His series, 9 Eyes (2009) is a collection of images taken from Google Street View. Created by vehicles with nine cameras attached to the roof, the Google Street View images are automatically captured every ten to twenty meters.10 Rafman states, The detached gaze of their cameras witness but do not act in history. Street View photography, artless and indifferent, without human intention, ascribes no particular significance to any event or person.11 Taking these images from the context of a functional mapping system into the art realm, Rafman exploits the mechanised documentary style in which the images have been created. As a process which inherently relies on digital technologies, there is always the possibility that the machines will malfunction. My interest lies in the images Rafman has found where a technological disfiguration has occurred. A corrupt image of 412 US-9W, Bethlehem, New York (Figure 7) shows a road tinted pink with digital noise. Jagged shapes caused by the glitch rise out of the ground forming strange caverns. It is as though the scene has been stretched along a vertical axis; the glitch has warped the visual information evident in the image, creating an abstraction of shape and colour. As an image which I could re-access through the internet on Google Street View, I became curious about whether the area was still depicted in its glitched state. Exploring the site in pursuit of an image which was similar to Rafmans became an uncanny experience. Despite using Rafmans co-ordinates, I couldnt find the glitch anywhere. As confirmation of the failure of technology, Google has removed the glitch and replaced it

The Google Maps project was launched by Google on May 25, 2007, and uses a process of digital mapping, taking photographs of selected areas and compiling them into an interactive virtual image. 11 Jon Rafman, Sixteen Google Street Views, exhibition catalogue, (Golden Age: Chicago, 2009), 1.
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Figure 7. Jon Rafman, 412 US-9W, Bethlehem, New York from 9 Eyes series, 2009, capture from Google Street View.

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Figure 8. Google Street View, 412 US-9W, Bethlehem, New York, screen capture from October 3, 2011.

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with an untainted image. All I was able to find was a standard image from the site (see Figure 8), which somewhat resembled Rafmans image. Pixels are understood to be the smallest element in the composition of digital images; they act as single points of colour used in the display of an image. By viewing digital images at a large scale, or by compressing a majority of the data, pixel components can become exposed as obvious square shapes in the image. This is known as pixelation. Thomas Ruffs, jpeg ny02, from his jpeg series (2004) (Figure 9) is a highly pixelated image from the September 11 2001 terrorist attacks on the United States. The image shows the iconic image of the aftermath of the plane crashing into the World Trade Centre in New York City. Distributed virally online, the image has become a substitute for memory; it now acts as a collective cultural reference point for the event. It can be considered a compression artefact as the image visually defected, with large, block-like pixels distorting the image. This effect is created by the deleterious lossy compression algorithm, which depletes the quality of the image, saving only an approximation of the original image. Printed large scale, at close to four metres wide, the pixelation becomes explicit. The visual information is broken up into blocks which appear like the dots in the Pointillist paintings of Georges Seurat. Ruff utilises pixelation as a visual technique to explore the way that we interact with digital media; how we have accepted poor resolution into our experience of image viewing. In this sense, Ruffs image constitutes an exploration of the digital decay of the image. The glitch-alike, a term used by Iman Moradi, refers to a forced glitch; a way of intentionally corrupting technology for visual results. Digital images are comprised of data which is encoded electronically by machines and displayed in a way that people can comprehend. Figure 10 shows a section of the data which comprises an image opened in a text editor. To a computer, there is no difference between this information and what we understand to be a picture. The sequence of symbols and characters can be seen as a computer language. Glitch a-like techniques use this digital information and intentionally manipulate it. Moradi writes,

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Figure 9. Thomas Ruff, jpeg ny02 from jpeg series, 2004, chromogenic print, 2.69 x 3.64m.

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__JFIF___________C_______________________________________________ ___________________C_________________________________________________ ____________________@____"_________________________________ _ _________________}________!1A__Qa "q_2 _#B_R$3br _____%&'()*456789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz ________________________ __ _ __________ ______w_______!1__AQ aq_"2__B #3R_br _$4%____&'()*56789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz _ ________?__<_ec}jb[2_3<p1zwh-,&h>V_X tRp9'w75 ,N_s _[qo___ f`w' _ Y\X-`_b qJEC4P` - =wlyy&_0_)$7s_24_ r_~c_ }h_=;_[iqdE7e _9_C798x+}_QH)c6_P_s_8) _mc_ Jy_{___G+|d}_yZ__[@_m%_xA&Cd_9#_ [5,zdrb+_8_c k54;|iV2><_hl_B_r1px/DQj _1_I 8%Hg_9Z_* 4h]otP_l_:P_7tm)=_V=fff_| Wg95{_F}_a= }_@____D_!Fd`U w(_ _7P GhRcggOi_YLr_lsk<_@]n/_mQ cUfW_w_t=+ei7_N_ey,N1~V#]G!CU? {r_@S___4_ _|_cm~M1_2v #__>ykM:+ R6"`>RBt':W|M\~5_2DU_T/_ FNg_kUs_r_%K08= <_pz__ _|V_____$)GZZX_$8L___ %GHECB_9< ~u^_._QF_@___Y_@98_c__J+ __+*p =Nf<+45)Oh6 ____zCKb.5V$"$J |3cIe_V ##`_w__pE__>__.__FyMv b__

Figure 10. A selection of code created by opening a jpeg image in WordPad.

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Glitch artists either synthesise glitches in non-digital mediums, or produce and create the environment that is required to invoke a glitch and anticipate one to happen12 Data-moshing is a common glitch-alike technique which is based on a compression algorithm. When a video file is compressed, every frame is turned into either an I-Frame (Intra-coded picture) or a P-Frame (Predicted picture). The I-Frames store the pixel information which is put together to create a visible image. The P-Frame records the changes in pixel movement from one frame to the next. In this sense, the I-Frame can be seen as responsible for colour and composition of the image, while the P-Frame controls the way these change to create the perception of movement. Recording only the changes in pixel movement, the file size can be made smaller. This is called image compression. The process of data-moshing involves splitting the information in the data-stream into a larger number of P-Frames and then removing the I-Frames, leading the pixels in one image to move according to the motion information in the next. By breaking down and corrupting data through the technique, data-moshing can be seen as a form of digital decay, an intentional disruption of digital information which in turn, creates an aesthetic outcome sympathetic to McAndrews destructural aesthetics. Glitch-alikes are used by artists to corrupt data in order to achieve visual results. To create Lossless #3 (2008), Rebecca Baron and Douglas Goodwin altered the keyframes in a digital version of John Ford's film The Searchers (1956), which obscured the composition of the original images. A scene from the film shows a group of cowboys riding horses across a desert landscape. Broken up into block-like shapes, as the figures traverse the screen, they leave a trail of coloured pixels behind them (see Figure 11). The work explores a tension between the time of the motion picture and the mechanical

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Iman Moradi, Glitch Aesthetics, (B.A. diss., Multimedia Design, The University of Huddersfield, 2004, http://www.oculasm.org/glitch/download/Glitch_dissertation_print_with_pics.pdf), 11. [accessed 10/07/2011]. 29

Figure 11. Rebecca Baron and Douglas Goodwin, Lossless #3, 2008, digital video, 10 mins, colour, with sound.

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vision of the process, which leaves a trace of the movements which occur in the frame. The work is titled Lossless, a term that refers to a digital process where compressed data can return to its original state without being affected. By using this term, Baron and Goodwin make reference to technical jargon, to the language of the digital. Jon Rafmans glitch artefact, 412 US-9W Bethlehem, New York (2009), Thomas Ruffs pixelated jpeg ny02 (2004), and Rebecca Baron and Douglas Goodwins glitch-alike video, Lossless #3 (2008) can be seen as examples of processes of digital decay. In my work I became interested in exploring similar processes and how they related to the moving image. Hollywood films became the starting point for my work, with the scenes I chose to work with unified in their depiction of the Hollywood kiss. I collected fragments of footage which were originally from commercial motion pictures where two characters shared a kiss. This kind of scene was chosen as the raw material of the work as it came to represent the idealism of Hollywood and the narrative unfolding of human desires, as well as being a familiar trope of cinema. I was able to combine footage, to repurpose cinema in the space of the virtual. Through the duplicable qualities of digital data, images from film can be copied, altered and appropriated by anyone with the right devices. Discussing artists of the 1990s, McAndrew suggests, With the popularity of the internet as a creative communication tool, as well as the rise of illegal file sharing programs allowing copyrighted material to be freely shared between users, artists had an incredible wealth of information available outside of the control of television broadcasters, film distributors and music companies.13

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John McAndrew, Destructural Video, (B.A. diss. Fine Arts, University of Cumbria, 2009, (https://docs.google.com/fileview? id=0B5wuaeJRnoGMOTlkODRkZmItZTRiZS00ZDkzLThlZjYtMjMwNDkxMzUxZDAx &hl=en_GB),17. [accessed 10/07/2011]. 31

Digital appropriation and sampling became an important part of my process of art-making. I was able to download clips from the video sharing website, Youtube, cut them and convert them to AVI (Audio Video Interleave) files in AVS Video Converter 7, arrange them in Adobe Premiere Pro CS3, alter the keyframe number in ffmpegX and corrupt the work in Avidemux. Interested in the free culture movement, as an understanding of the open sharing and appropriation of existing creative material, Youtube became a way to access a multiplicity of ideas. Using selections from fan videos, kiss compilation videos and small excerpts from motion pictures which had been uploaded to the site, each clip was no wider than 480 pixels and limited to 2 MB (megabytes) in size. The graphic quality of the videos, some highly pixelated, was visually similar to Ruffs jpeg series. Invoking a malfunction in the digital landscape, my work now had the visual qualities of a glitch, but as the environment for the malfunction was planned and created, it could more accurately by understood as a glitch-alike. By data-moshing the clips I was able to combine and re-purpose different motion pictures, pursuing a visual experience of digital decay. The process became like digital alchemy, transmuting digital motion picture files into other visual forms. Through the work, I wanted to show a rupture in the myth of Hollywood idealism; reducing the stardom of the actors and the majesty of the scene to broken data. With the digital surface disrupted through the data-moshing technique, one kiss began to morph into another, providing an endless cycle of digital entropy. Exploiting the digital motion and colour information, the images became distorted, with pixels rising and pulling in formations, replicating and synthesising themselves in time. As I was able to arrange the clips in an order which would generate the most interesting aesthetic results, the process became a form of digital painting. Remnants of scenes which had previously appeared were pulled through the video as traces of colour. Figure 12 depicts a kissing scene from Cleopatra (1963) on DVD, while Figure 13 shows a still from my video work where the same digital information has been distorted. As a clip from the comedy, Bring It On (2000) existed directly before the Cleopatra clip in my video work, the colours of the

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Figure 12. A still frame from Cleopatra, 1963, directed by Joseph L. Mankiewicz, 192 mins, colour, with sound (stereo), Twentieth Century Fox (2001).

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Figure 13. Isabella Andronos, Motion Picture Ruins (Cleopatra, 1963), 2011, video, 6 mins, no sound.

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cheerleader characters were continued into this scene. The hair of Cleopatra (Elizabeth Taylor) became coloured with the red and green uniforms of the cheerleaders (see Figure 14). Moving like an aqueous surface in the video, the colour information and the way it was shifted into different scenes became a way of visualising the breakdown of the digital.

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Figure 14. Isabella Andronos, Motion Picture Ruins (Bring It On, 2000), 2011, video, 6 mins, no sound.

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Chapter Three Topography of Time Linked to the idea of topography, as a way of plotting surface and shape, the motion picture can be understood as a map of time. Time can be seen in the initial stages of the creation of the images on the light sensitive emulsion of the film print. It is also evident in the rapid shift of still images to create the illusion of movement. Laura Mulveys idea of cinema time, acts as a way of understanding the temporal structure of the motion picture. Time can be related to the ability of the film, tape or optical disc to be paused, re-wound and fast-forwarded. There is also the length in hours, minutes and seconds it takes for a motion picture to run its course. In contrast to this understanding is Henri Bergsons concept of dure (duration) as a means to reflect on a personal experience of time. Art works which use cinema to explore the topography of time include Christian Marclays real time video piece, The Clock (2010), Tracey Moffatts composite video, Love (2003), and Douglas Gordons layered video work, Between Darkness and Light (1997). Each of these works explore the potential for impressions of time to exist within the moving image. Andy Warhols film Kiss (1963) shapes an understanding of real time in relation to the moving image. In a work devoid of narrative continuity, Warhol shows a series of couples kissing unscripted for roughly four minutes each. In this sense, a depiction of real time is created as the audiences experience of watching the event unfold on screen is in direct parity to the time in which it took place. Figure 15 shows a still from the work of a young man and woman kissing. Warhol states,

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Figure 15. Andy Warhol, Kiss, 1963, 16mm, 54 minutes (at 16 fps), black and white, no sound.

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Of course what I think is boring must not be the same as what other people think is, since I could never stand to watch all the most popular action shows on TV, because they're essentially the same plots and the same shots and the same cuts over and over again.14 Warhol subverts the idea of the narrative structure of commercial cinema by allowing the kiss, as a moment which is so often seen in Hollywood, to continue on screen in real time. Without dialogue or score, the work remains silent. This further removes the work from a traditional cinematic experience, reinforcing it as a film exploring the temporal associations of the motion picture. Christian Marclays, The Clock (2010), augments Warhols explorations of real time and the motion picture. Marclay has sampled thousands of existing motion pictures, drawing out segments which feature an analogue or digital clock, timepiece, clock tower or spoken reference to time. Marclay takes symbols of the temporal from motion pictures and brings them into real time; the work becomes a cinematic timepiece created from disparate fragments. Famous clocks act as markers throughout the work; included is the scene of Big Ben exploding at midnight from V for Vendetta (2006), and the infamous scene from Pulp Fiction (1994) where a young Butch (Chandler Lindauer) receives his great grandfathers watch. There is diversity in the time-pieces shown; early in the morning, there seem to be more alarm clocks, while at four in the afternoon wall clocks feature. To represent the time 4:10, a scene from Jean-Pierre Jeunets Amelie (2001) is shown (see Figure 8), with the excerpt featuring French dialogue and the close up of a large analogue clock face as the second hand ticks around. Later on in the work, a 90s style cell phone rings. A shot of the blue screen of the phone is shown reading, Incoming Call. Annas Cell. 04:12pm (see Figure 9). The work creates a hyper-awareness of the enduring and cyclical nature of time and its significance for the silver screen. By weaving scenes together in this way, Marclay creates a bridge between

Andy Warhol, POPism: The Warhol 1960s (New York: Harcourt Brace Jovanovich, 1980), 50 quoted in Lars Svendsen, A philosophy of boredom, (London: Reaktion Books, 2005), 104.
14

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Figure 16. Christian Marclay, The Clock, 2010, single-channel video, 24 hours, colour and black and white, with sound.

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Figure 17. Christian Marclay, The Clock, 2010, single-channel video, 24 hours, colour and black and white, with sound.

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different cinematic genres, technology and time; he draws out these segments and gives them a new context. While the source footage comes to be inherently associated with the past, the fact that the work functions as a working clock brings the footage into the present. Darian Leader states, Through this technique of montage he [Marclay] shows us that our experience of time is not only a given but also something constructed. 15 In this sense, Marclays work reflects on the idea of the enduring cycle of time, and by extension, the condition of mortality. Tracey Moffatts video work, Love (2003), corrupts narrative time, isolating moments from 153 existing films and montaging them into a new moving image sequence. Moffatt has derived subliminal meaning from the motion pictures, arranging them in a way which mocks the conventional cinematic ideal. The work begins with clips which illustrate romantic relationships. Among these scenes is the iconic kiss in the rain between Holly Golightly (Audrey Hepburn) and Paul Varjack (George Peppard) in the finale of Breakfast at Tiffanys (1961). This scene has come to be inextricably associated with classic film and the melodrama of the silver screen. Shown alongside a dramatically lit kiss between Frances Stevens (Grace Kelly) and John Robie (Cary Grant) from To Catch a Thief (1955) (Figure 18), Moffatt parodies these repetitious Hollywood scenarios. The work takes an aggressive turn as scenes of arguments, slaps and physical violence are shown, with Moffatts narrative finally escalating to murder. Moffatt has remixed motion pictures, arranging the segments to suit her own narrative. By organising cinema in this way, her work acts as a critique of the hyperbolic drama and violence used in motion pictures. The work comes to reflect an investigation of Mulveys cinema time, examining the way the narrative sequence is constructed. Douglas Gordons Between Darkness and Light (After William Blake) (1997) shows two films projected onto a single translucent screen, which can be seen as a layering of time. Using The Exorcist (1973), directed by William Friedkin, and The Song of Bernadette (1943), directed by Henry King, Gordon creates a compound of the two films, Darian Leader, Glue in The Clock: Christian Marclay, (London: White Cube, 2010), 2.
15

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Figure 18. Tracey Moffatt, Love, 2003, video, 21 minutes, colour and black and white, with sound (stereo), edited by Gary Hillberg.

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overlapping them into a single entity (see Figure 19). As the two films play out on top of each other, tensions are created between the graphic qualities of each work. At points where both films show bright images, the screen becomes overexposed, as the light from the projector eclipses the images from the motion pictures. By combining these two films, Gordon comments on religious binary opposites, revealed in a comparison of the otherworldly forces that drive the lead character in each story. In The Exorcist, Regan MacNeil (Linda Blair) is driven by forces of evil; she is possessed by the Devil. In The Song of Bernadette, Bernadette Soubirous (Jennifer Jones) is driven by powers of good; she is guided by her visions of the Virgin Mary and lives as a devout Catholic. With two layers of vision in a single frame, Gordon has created a complex topography of time. Gordon comments on the layering of the films stating, A telephone would ring in The Exorcist, and someone would wake up in bed in Saint Bernadette, like as if to answer the telephone.16 Projected light simultaneously merges the motion pictures together, creating a visual fusing of the temporal images of each work. Similarly, by data-moshing clips together in my video work, I was able to re-write cinematic time, to compound segments from motion pictures to explore new visual potential. Mulvey suggests, My point of departure is an obvious everyday reality: that video and digital media have opened up new ways of seeing old movies.17 This is true of my video work as through digital media I was able to subvert the chronology of the traditional cinematic experience. In my work, the plot isnt resolved through the kiss, the violins dont soar, and the two lead characters dont fall in love for the rest of their lives. Similarly to Warhols Kiss (1963), it acts more as an investigation of the constructs of the motion picture. My work also recalls the opening of Moffatts Love (2003), with the romantic kisses she has appropriated from motion pictures. Both Moffatt and I have used the kiss scene from the finale of Breakfast at Tiffanys (1961) in our works. By datamoshing the images, I was able to merge clips from chick flicks, musicals, period
16

Douglas Gordon, interview, Meet The Artist: Douglas Gordon Part 2 of 2, 47:21, SmithsonianVideos on Youtube, uploaded 07/08/2008, http://www.youtube.com/watch? v=SjYb6EN0v8w, [accessed 04/10/2011] 17 Laura Mulvey, Death at x24 a Second: Stillness and the Moving Image, (London: Reaktion, 2006), 8. 44

Figure 19. Douglas Gordon, Between Darkness and Light (After William Blake), 1997, two-channel video, dual vision screen, 107 mins, 155 mins, colour and black and white, with sound.

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dramas, classics, science-fiction, made-for-tv movies, blockbusters, as well as scenes from television shows. Considering Marclays The Clock (2010) and Gordons Between Darkness and Light (1997) in relation to my own work, multiple fictions from varied and often unrelated sources have been combined together in a similar way. With the aim of bridging cinema and time, my video work came to reflect a layered topography of motion picture images. My video is comprised of elements which are both static and in motion. This complex duality relates to the way in which the data-moshing process alters the digital information. As previously discussed, the process maps a still frame of data information onto a moving image sequence. This creates a space in the digital landscape for the moving image to intervene with the still as the temporalities become forged together, mapped into a single plane of existence. By placing the iconic kiss between Rose (Kate Winslet) and Jack (Leonardo Di Caprio) on the deck from Titanic (1997) (Figure 20) in front of the kiss from To Catch a Thief (1955), the two motion pictures became merged. As the last frame of the clip from Titanic features a sunset, bold oranges and pinks have become plotted onto Hitchcocks scene (see Figure 21); the suit jacket of John (Cary Grant) now vibrantly lit with the colours of the clichd romantic sunset. In this sense, the video takes on qualities of a palimpsest. Popular in the Middle Ages, the palimpsest was a surface on which writing could be contained. Made of vellum, the palimpsest was scraped clear with milk and oat bran to make new space for new written words. This process left traces of the original texts underneath layers of new writing. My video work can be seen as a contemporary palimpsest, showing residual layers of digital information built up on top of one another.

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Figure 20. Isabella Andronos, Motion Picture Ruins (Titanic, 1997), 2011, video, 6 mins, no sound.

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Figure 21. Isabella Andronos, Motion Picture Ruins (To Catch a Thief, 1955), 2011, video, 6 mins, no sound.

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Conclusion The End

It became apparent to me as I worked on this project that motion pictures could become degraded through organic, chemical, and digital processes. Though manifesting very different visual results, I came to realise the similarities between these processes lay in their destructive qualities. Beginning with an exploration of damage to motion pictures, framed by an interest in organic and chemical deterioration, I began to explore the idea of residual layers. This led me to look to the digital, as a compound of data, searching for evidence of degradation. My final work became an exercise in digital entropy, mutating the idyllic kisses of Hollywood into an impermanent miasmic surface. Through the evidence of the marred surface of motion pictures, time and recorded human histories can be contemplated. We can understand decay as a process which affects all things. Decay goes beyond cinema, beyond art; it is fundamentally concerned with the concept of mortality. This project affected my suspension of disbelief as, in every motion picture I watched, I became attuned to evidence of failure evidence of physical damage to the film print, of a trace of digital processes, and of the glitch. I would take a break from my studies and watch an episode of Xena: Warrior Princess, only to have the television glitch from poor reception. With digital seen as the future of moving image technology, digital decay will be something that will come to affect our viewing experiences more and more. Understanding the way that technology ages, I have submitted a DVD of my video work with this paper. As a technology on the verge of being superseded by the Blu-ray and by internet downloads, the DVD is a medium which will soon become redundant. In the same way the floppy disk and the VHS have become obsolete, so too will the DVD. As such, the disc is presented as a monument to the Digital Dark Age. In this context, it is interesting to consider that the writing contained in the Dead Sea Scrolls, which are dated

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between date between 150 BCE and 70 CE can still be read, while a floppy disk, without a drive and a compatible computer, has been rendered indecipherable in only thirty years. As reproducible media, digital technologies are often confused with the idea of eternity. In fact, the digital is susceptible to failure, deterioration and decay as all things are. Exploring this idea in relation to cinema, my project came to be an investigation of the motion picture in ruin.

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Figure 22. The End title from Black Sunday, 1960, directed by Mario Bava, 87 mins, black and white, Umbrella Entertainment (2005).

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Bibliography Amato, Joseph A. Dust: A History of the Small and Invisible. Berkeley and Los Angeles: University of California. London: University of California, 2000. Basilico, Stefano, ed. Cut: Film as Found Object in Contemporary Video. Milwaukee: Milwaukee Art Musuem, 2004. Bataille, Georges, with Isabella Waldburg and Iain White. Encyclopaedia Acphalica. Translated by lain White, Dominic Faccini, Annette Michelson, Alexis Lykiard. London: Atlas Press, 1995. Baudrillard, Jean. The Perfect Crime. Translated by Chris Turner, London and New York: Verso, 1996. Beckman, Karen, and Jean Ma. Still Moving: Between Cinema and Photography. Durham and London: Duke University Press, 2008. Bellour, Raymond. LEntre-images: Photo, Cinema, Video. Paris: La Diffrence, 2002. . The Analysis of Film. Constance Penley (ed.), Bloomington: Indiana University Press, 2000. Biesenback, Klaus; Gordon, Douglas. Douglas Gordon: Timeline. New York: Museum of Modern Art, 2006. Brown, Katrina M. Douglas Gordon. Tate Publishing: London, 2004. Burgin, Victor. The Remembered Film. London: Reaktion, 2004. Burke, T. Patrick. The Major Religions: An Introduction with Texts, Malden, USA; Oxford, UK; Carlton, Australia: Blackwell Publishing, 2004. Caldwell, John Thornton, and Anna Everett, eds. New Media: Theories and Practices of Digitextuality, London and New York: Routledge, 2003. Campany, David. Photography and Cinema. London: Reaktion Books, 2008. Carroll, Nol. Theorizing the Moving Image. New York: Cambridge University Press, 1996. Cherchi Usai, Paolo. The Death of the Cinema: History, Cultural Memory and the Digital Dark Age. London: BFI Publishing, 2001. Cranny-Francis, Anne. Multimedia, London: SAGE, 2005.

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DArgenzio, Mirta; and Giorgio Verzotti, eds. Prettymucheverywordwritten, spoken, heard, overheard from 1989Voyage in Italy, Italy: S.p.A., 2006. Dillon, Brian. Ruins, Whitechapel Gallery: Cambridge, London; MIT Press: Massachusetts: 2011. Deleuze, Gilles. Cinema 2: The Time Image. Cintinuum: London, 2005. Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. London and New York: Routledge, 2002. First published as Les mots et les choses, Editions Gallimard: Paris, 1966. Harrington, Jan L. Technology and Society, Sudbury, MA: Jones & Bartlett Publishers, 2009. Iversen, Margaret. Beyond Pleasure: Freud, Lacan, Barthes. University Park, Pennsylvania: Pennsylvania State University Press, 2007. Leighton, Tanya, ed. Art and the Moving Image: A Critical Reader. London: TATE Publishing, Afterall, 2008. Marclay, Christian. Replay, Zurich: JRP, 2007. . The Clock: Christian Marclay, London: White Cube, 2010. Moore, Rachel O. Savage Theory: Cinema as Modern Magic. Durham and London: Duke University Press, 2000. Moradi, Iman, ed. Glitch: Designing Imperfection, New York: Mark Batty Publisher, 2009. Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaktion, 2006. Museum of Modern Art. Scream and Scream Again, Film in Art, Museum of Modern Art: Oxford, 1996. Ogden, Gordon J. The Kingdom of Dust. Chicago: Popular Mechanics Company, 1912. Olalquiaga, Celeste. The Artificial Kingdom: A Treasury of the Kitsch Experience. London: Bloomsbury Publishing, 1999. Patton, Paul, ed. The Deleuze Critical Reader. Blackwell Publishers Ltd: Oxford, 1996. Trigg, Dylan. The Aesthetics of Decay: Nothingness, Nostalgia and the Absence of Reason. New York: Peter Lang Publishing Inc, 2009.

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Shapiro, Gary. Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying, Chicago: University of Chicago Press, 2003. Smithson, Robert, and Jack D. Flam, ed. Robert Smithson: The Collected Writings, Berkley and Los Angeles: University of California Press, 1996. Sutton, Damian. Photography, Cinema, Memory: The Crystal Image of Time. Minneapolis: The University of Minnesota Press, 2009. Svendsen, Lars. A Philosophy of Boredom. London: Reaktion Books, 2005. Wees, William C. Recycled Images: The Art and Politics of Found Footage Films. New York: Anthology Film Archives, 1993. . Light Moving in Time: Studies in Visual Aesthetics of Avant-Garde Film. Berkeley: University of California Press, 1992.

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Rothenberg, Jeff. Ensuring the Longevity of Digital Documents, Scientific American, Vol. 272, Number 1, January (1995): 24-29.

Websites Blais, Joline, and Jon Ippolito. Rewind the Future. http://www.electrohype.org/rom/jodi/backtobasic.html [accessed 10/07/2011] Briz, Nick. Thoughts on Glitch [Art] v1.0, 2009. http://nickbriz.com/glitchwebessay.html [accessed 10/07/2011] . Glitch Art Historie[s], 2010. http://www.nickbriz.com/glitchresearch/Glitch_Art_Historie_s_.pdf [accessed 10/07/2011] Cloninger, Curt. GltchLnguistx: The Machine in the Ghost / Static Trapped in Mouths, 2010. http://lab404.com/glitch/ [accessed 10/07/2011] The Film Foundation: Filmmakers for Preservation, Film Preservation. http://www.film-foundation.org, [accessed 04/08/2011] Finch, Charlie. Whatever Happened to Douglas Gordon?, Artnet. http://www.artnet.com/magazineus/features/finch/finch6-8-06.asp [accessed 04/10/2011] Goslow, Brian. Lossless: A Video Installation by Rebecca Baron and Douglas Goodwin, Artscope: New Englands Culture Magazine. http://artscopemagazine.com/asdyn/index.wr?is=16&a=11 [accessed 02/08/2011] Habib, Andr. Matter and Memory: A Conversation with Bill Morrison. http://www.horschamp.qc.ca/new_offscreen/interview_morrison.html, November 30, 2004 [accessed 21/07/2011] Harris, Robert A. Robert A. Harris' Statement at the Film Preservation Study: Washington, D.C. Public Hearing, February 1993, Widescreen Museum. http://www.widescreenmuseum.com/rah.htm [accessed 04/08/2011]

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Hunt, Holly. Art Review: Blink! Light, Sound, and the Moving Image at the Denver Art Museum. March 16 2011. California Literary Review. http://calitreview.com/14804 [accessed 20/03/2011] Huxley, John. The Digital Dark Age, Sydney Morning Herald, September 2005. http://www.smh.com.au/news/technology/the-digital-darkage/2005/09/22/1126982184206.html [accessed 31/05/2011] Jones, Jonathan. Ghost world, The Guardian, September 26, 2003. http://www.guardian.co.uk/film/2003/sep/26/art [accessed 21/07/2011] Kehr, Dave. Film Riches, Cleaned Up For Posterity, New York Times, October 14, 2010. http://www.nytimes.com/2010/10/15/movies/15restore.html? _r=1&scp=1&sq=flm%20preservation&st=cse [accessed 04/08/2011] McAndrew, John. Destructural Video. B.A. dissertation, Fine Arts, University of Cumbria, 2009, https://docs.google.com/fileview? id=0B5wuaeJRnoGMOTlkODRkZmItZTRiZS00ZDkzLThlZjYtMjMwNDkxMzU xZDAx&hl=en_GB [accessed 10/07/2011]. Moradi, Iman. Glitch Aesthetics, B.A. dissertation, Multimedia Design, The University of Huddersfield, 2004. http://www.oculasm.org/glitch/download/Glitch_dissertation_print_with_pics.pdf, [accessed 10/07/2011] Rafman, Jon. John Rafman.. http://www.jonrafman.com. [accessed 19/07/2011] . IMG MGMT: The Nine Eyes of Google Street View, Art Fag City, August 12, 2009. http://www.artfagcity.com/2009/08/12/img-mgmt-the-nine-eyes-of-google-streetview/ [accessed 19/07/2011] . Sixteen Google Street Views, Chicago: Golden Age. http://googlestreetviews.com/16GoogleStreetViews.pdf, 2009 [accessed 19/07/2011] Rothenberg, Jeff. Avoiding Technological Quicksand: Finding a Viable Technical Foundation for Digital Preservation, January 1998, Council on Library and Information Resources. http://www.clir.org/pubs/reports/rothenberg/contents.html [accessed 31/05/2011]

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Schianchi, Alejandro. Error in apparatus as aesthetic value. http://gli.tc/h/blog/wp-content/uploads/2010/10/Error-in-apparatus-as-aestheticvalue.pdf [accessed 10/07/2011] Stanworth, Kate. Projected Lives Douglas Gordons Timeline, The Argentina Independent, 19/10/2007. http://www.argentinaindependent.com/the-arts/art/projected-lives-douglasgordons-timeline-/ [accessed 04/10/2011] Weaver, Tom. Janet Leigh: The Star of Psycho Relives Her Finest Shower. http://www.bmonster.com/horror19.html [accessed 24/07/2011]

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Film clips used in Isabella Andronos, Motion Picture Ruins, 2011, video, 6 mins, no sound (in order of appearance) Clueless, 1995, directed by Amy Heckerling, 97 mins, colour, with sound, Paramount Pictures. Clip used from Chick Flick Kisses, by Piamj, 4:44 mins, uploaded March 24, 2007, http://www.youtube.com/watch?v=7Yxkac1e9nk [accessed 25/08/2011] Charlie's Angels 2: Full Throttle, 2003, directed by McG, 106 mins, colour, with sound, Columbia Pictures Corporation/ Flower Films (II); Tall Trees Productions; Wonderland Sound and Vision. Clip used from 1 Movie Kiss , by romeoandjuliet93, 3:06, uploaded on September 17, 2008, http://www.youtube.com/watch?v=K4d_aGk9GRg [accessed 13/10/2011] Hitch, 2005, directed by Andy Tennant, 118 mins, colour, with sound, Sony Pictures. Clip used from 3 movie kisses, by romeoandjuliet93, 4:10, uploaded on October 4, 2008, http://www.youtube.com/watch?v=BsLCEZYszWk [accessed 13/10/2011] The Seduction of Joe Tynan, 1979, directed by Jerry Schatzberg, 108 mins, colour, with sound, Universal Pictures. Clip used from The Best Kisses of Meryl Streep by RenataBernabe, 8:29, uploaded on May 26, 2010, http://www.youtube.com/watch?v=9orYO-QGGsE [accessed 10/10/2011] House, 2004 current, directed by David Shore, 45 mins, colour, Heel & Toe Films; Shore Z Productions; Bad Hat Harry Productions; Moratim Produktions; NBC Universal Television (2004-2007);Universal Media Studios (UMS) (2007-). Clip used from Huddy Kiss - Slow Motion, by JustHuddy, 1:23, uploaded October 29, 2008. http://www.youtube.com/watch?v=R8u3Xw1VAVU [accessed 10/10/2011]

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Femme Fatale, 2002, directed by Brian De Palma, 114 mins, colour, with sound, Epsilon Motion Pictures/ Quinta Communications. Clip used from bM1249 RebeccaRomijn@FemmeFatale 2, by Krepps777, 1:32, uploaded on June 24, 2009, http://www.youtube.com/watch?v=z1zqiDvyKWg [accessed 13/10/2011] Honey, 2003, directed by Bille Woodruff, 94 mins, colour, with sound, Universal Pictures; Marc Platt Productions; NuAmerica Entertainment. Clip used from 3 movie kisses, by romeoandjuliet93, 4:10, uploaded on October 4, 2008. http://www.youtube.com/watch?v=BsLCEZYszWk [accessed 13/10/2011] The Tourist, 2010, directed by Florian Henckel von Donnersmarck, 103 mins, colour, with sound, GK Films; Spyglass Entertainment; Birnbaum/Barber; Studio Canal. Clip used from Angelina jolie all kisses in the tourist, by rangeroverjen, 0:45, uploaded on February 3, 2011, http://www.youtube.com/watch?v=92p5kslrjgA [accessed 10/10/2011] Hallmark Hall of Fame, The Secret Garden, #37.1, 1987, directed by Alan Grint, 100mins, colour, with sound, Hallmark Hall of Fame Productions; Rosemont Productions; Viacom Productions. Clip used from Colin Firth in The Secret Garden 1987, by forevergreenning, 0:41, 2:00, uploaded on November 27, 2010, http://www.youtube.com/watch?v=OHe9JZc-YmU [accessed 10/10/2011] The Curious Case of Benjamin Button, 2008, directed by David Fincher, 166 mins, colour, with sound, Warner Bros. Pictures; Paramount Pictures; Kennedy/Marshall Company. Clip used from The Curious Case of Benjamin Button Love Scene Brad Pitt, by CherryPout, 3:42, uploaded on February 26, 2010, http://www.youtube.com/watch?v=F5bE6aXITMo[accessed 13/10/2011] The Mask of Zorro, 1999, directed by Martin Campbell, 136 mins, colour, with sound,

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TriStar Pictures; Amblin Entertainment; David Foster Productions. Clip used from ZORRO" Kiss - Antonio Banderas and Catherine Zeta Jones - HD, by sagapo4, 3:56, uploaded April 2, 2011, http://www.youtube.com/watch?v=cbvAjfYU8JY [accessed 13/10/2011] Romeo and Juliet, 1996, directed by Baz Luhrmann, 120 mins, colour, with sound, Bazmark Films; Twentieth Century Fox Film Corporation. Clip used from romeo and juliet balcony scene, by tuttyxxfruity, 9:13, uploaded on Mar 13, 2008. http://www.youtube.com/watch?v=XLWPg3SCYH4 [accessed 13/10/2011] Herbie Fully Loaded, 2005, directed by Angela Robinson, 101 mins, colour, with sound, Walt Disney Pictures; Robert Simonds Productions. Clip used from 3 movie kisses, by romeoandjuliet93, 4:10, uploaded on October 4, 2008. http://www.youtube.com/watch?v=BsLCEZYszWk [accessed 13/10/2011] The Wedding Singer, 1998, directed by Frank Coraci, 95 mins, colour, with sound, Juno Pix; New Line Cinema; Robert Simonds Productions. Clip used from The Wedding Singer - Church Kiss, by moviescenes4u, 1:26, 2:20, uploaded on November 1, 2008, http://www.youtube.com/watch?v=eetoyOPtzLg [accessed 10/10/2011] The Royal Tenenbaums, directed by Wes Anderson, 2001, 110 mins, colour (technicolor), with sound, Touchstone Pictures; American Empirical Pictures. Clip used from The Royal Tenenbaums, by bekinho, 4:36, uploaded on February 9, 2008. http://www.youtube.com/watch?v=QKnvD5Ok5iY [accessed 10/10/2011]

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The Lord of the Rings: The Two Towers, 2002, directed by Peter Jackson, 179 mins, colour, with sound, New Line Cinema; WingNut Films; The Saul Zaentz Company. Clip used from viggo mortensen kissing in lord of the ring, by 1supercoolboy, 3:00, uploaded on August 12, 2010. http://www.youtube.com/watch?v=SpE9P7V-Ai0 [accessed 13/10/2011] The Mummy, 1999, directed by Stephen Sommers, 125 mins, colour, with sound, Universal Pictures, Alphaville Films. Clip used from The Mummy - Evy and Rick, by blackdahlia1879, 1:32, 1:46, uploaded September 6, 2007, http://www.youtube.com/watch?v=8pCnUVElo_A [accessed 10/09/2011] Notting Hill, 1999, directed by Roger Michell, 124 mins, colour, with sound, Polygram Filmed Entertainment. Clip used from Top 20 Movie Romances, by skimguard, 10:38 mins, uploaded on November 23, 2008, http://www.youtube.com/watch? v=oJQYOGG7ro0 [accessed 25/08/2011] The Lake House, 2006, directed by Alejandro Agresti, 99 mins, colour, with sound, Warner Bros. Pictures. Clip used from Movie Kisses Crash Into Me, by louise107, 5:14 mins, uploaded on May 8, 2007, http://www.youtube.com/watch?v=anMVWtF_lgM [accessed 25/08/2011] The Lady Eve, 1941, directed by Preston Sturges, 94 mins, black and white, with sound, Paramount Pictures. Clip used from Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009, http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011 The Adventures of Robin Hood, 1938, directed by Michael Curtiz, William Keighley, 102 mins, colour (Technicolor), with sound, Warner Bros. Pictures. Clip used from Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009, http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011

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Cruel Intentions, 1999, directed by Roger Kumble, 97 mins, colour, with sound, Columbia Pictures Corporation. Clip used from Favorite kissing scenes, by ilovenateriver, 1:31mins, uploaded on May 22, 2009, http://www.youtube.com/watch?v=2MD_1WQzUrw [accessed 25/08/2011] The Breakfast Club, 1985, directed by John Hughes, 97 mins, colour (Technicolor), with sound, Universal Pictures. Clip used from Favorite kissing scenes, by ilovenateriver, 1:31 mins, uploaded on May 22, 2009, http://www.youtube.com/watch?v=2MD_1WQzUrw [accessed 25/08/2011] The Sound of Music, 1965, directed by Robert Wise, 174 mins, colour, with sound, Twentieth Century Fox Film Corporation. Clip used from Greatest Story Ever Told TV and Movie Kisses, by FirstTwinBorn, 4:15 mins, uploaded on August 30, 2008, http://www.youtube.com/watch?v=8-N6xrLNQN4 [accessed 25/08/2011] Miss Congeniality, 2000, directed by Donald Petrie, 109 mins, colour, with sound, Castle Rock Entertainment. Clip used from Chick Flick Kisses, by Piamj, 4:44 mins, uploaded March 24, 2007, http://www.youtube.com/watch?v=7Yxkac1e9nk [accessed 25/08/2011] Roman Holiday, 1953, directed by William Wyler, 118 min, black and white, with sound, Paramount Pictures. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011]

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Ever After: A Cinderella Story, 1998, directed by Andy Tennant, 121 mins, colour (Technicolor), with sound, Twentieth Century Fox Film Corporation. Clip used from Best Films Kisses, by elsewhatelse95, 3:46 mins, uploaded on August 8, 2009, http://www.youtube.com/watch?v=KAFVYSH7KJM [accessed 25/08/2011] The Princess and the Marine, 2001, directed by Mike Robe, 100 mins, colour, with sound, Aloe Entertainment; Columbia Tristar Television; Proud Mary alm260, 4:39 mins, uploaded on October 26, 2008, http://www.youtube.com/watch?v=TdqU9KRMCWM [accessed 25/08/2011] Casablanca, 1942, directed by Michael Curtiz, 102 mins, black and white, with sound, Warner Bros. Pictures. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] First Daughter, 2004, directed by Forest Whitaker, 106 mins, colour, with sound, Regency Enterprises. Clip used from Chick Flick Kisses, by Piamj, 4:44 mins, uploaded March 24, 2007, http://www.youtube.com/watch?v=7Yxkac1e9nk [accessed 25/08/2011] Manhattan. 1979, directed by Woody Allen, 96 mins, black and white, with sound, Jack Rollins & Charles H. Joffe Productions. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] Entertainment; Stephanie German Productions. Clip used from Hollywood Romantic Scenes, by

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Nuovo Cinema Paradiso, 1988, directed by Giuseppe Tornatore, 155 mins, colour, with sound, Cristaldifilm. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] You Were Never Lovlier, 1942, directed by William A. Seiter, 97 mins, black and white, with sound, Columbia Pictures Corporation. Clip used from Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009, http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011] Bridget Joness Diary, 2001, directed by Sharon Maguire, 97 mins, colour (Technicolor), with sound, Little Bird; Studio Canal; Working Title films. Clip used from Movie Kisses Crash Into Me, by louise107, 5:14 mins, uploaded on May 8, 2007, http://www.youtube.com/watch?v=anMVWtF_lgM [accessed 25/08/2011] Friends, 1994 - 2004, created by David Crane, Marta Kauffman, 22 mins, colour, with sound, Warner Bros. Television, Bright/Kauffman/Crane Productions. Clip used from Best Kisses in TV/Movies 3/3 Hanging by a Moment, by citychicbasic, 3:42 mins, uploaded on February 17, 2009, v=xI7pHsCDMro [accessed 25/08/2011] The Dreamers, 2003, directed by Bernardo Bertolucci, 115mins, colour, black and white (archival footage), with sound, Recorded Picture Company (RPC); Peninsula Films; Fiction Cinematografica S.p.a. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] http://www.youtube.com/watch?

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The Philadelphia Story, 1940, directed by George Cukor, 112 mins, black and white, with sound, Loew's; Metro-Goldwyn-Mayer (MGM). Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] Pretty in Pink, 1986, directed by Howard Deutch, 96 mins, colour (Technicolor), with sound, Paramount Pictures. Clip used from Best Kisses in TV/Movies 3/3 Hanging by a Moment, by citychicbasic, 3:42 mins, uploaded on February 17, 2009, http://www.youtube.com/watch?v=xI7pHsCDMro [accessed 25/08/2011] Candy, 2006, directed by Neil Armfield, Australia: 116 min; UK, USA: 108 min, colour, with sound, Film Finance; The New South Wales Film and Television Office; Paradigm Hyde Films. Clip used from Best Films Kisses elsewhatelse95, 3:46 mins, uploaded on August 8, 2009, v=KAFVYSH7KJM [accessed 25/08/2011] Big Fish, 2003, directed by Tim Burton, 125 mins, colour, with sound, Columbia Pictures Corporation; Jinks/Cohen Company; The Zanuck Company. Clip used from Hollywoods best kisses HollywoodGirl1245, 4:25 mins, uploaded on August19, 2008, http://www.youtube.com/watch?v=5dnYbKp5q6E [accessed 25/08/2011] Titanic, 1997, directed by James Cameron, 194 mins, colour, with sound, Twentieth Century Fox Film Corporation; Paramount Pictures; Lightstorm Entertainment. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] http://www.youtube.com/watch?

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To Catch a Thief, 1955, directed by Alfred Hitchcock, 106 mins, colour (Technicolor), with sound, Paramount Pictures. Clip used from From Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] Xena: Warrior Princess, 1995 2001, created by John Schulian, Robert G. Tapert, 60 mins, colour, with sound, MCA Television; Renaissance Pictures; Studios USA Television. Clip used from From Lonely Day-a xena and marcus music video, by georgiemaryk, 2:56 mins, uploaded on February 1, 2008, http://www.youtube.com/watch?v=3GyIdJfIyGA [accessed 25/08/2011] Cover Girl, 1944, directed by Charles Vidor, 107 mina, colour (technicolor), with sound, Columbia Pictures Corporation. Clip used from From Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009, http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011] Get Over It, 2001, directed by Tommy O'Haver, 87 mins, colour, with sound, Miramax International; Ignite Entertainment; Keshan. Clip used from Chick Flick Kisses, by Piamj, 4:44 mins, uploaded March 24, 2007, http://www.youtube.com/watch?v=7Yxkac1e9nk [accessed 25/08/2011] A Cinderella Story, 2004, directed by Mark Rosman, 95 mins, colour, with sound, Warner Bros. Pictures/ Gaylord Films/ Clifford Werber Productions. Clip used from Favorite kissing scenes, by ilovenateriver, 1:31 mins, uploaded on May 22, 2009, http://www.youtube.com/watch?v=2MD_1WQzUrw [accessed 25/08/2011] Camille, 1936, directed by George Cukor, 109 mins, black and white, with sound, MetroGoldwyn-Mayer (MGM). Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011]

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Bring It On, 2000, directed by Peyton Reed, 98 mins, colour, with sound, Beacon Communications. Clip used from Chick Flick Kisses by Piamj, 4:44 mins, uploaded March 24, 2007, http://www.youtube.com/watch?v=7Yxkac1e9nk [accessed 25/08/2011] Cleopatra, 1963, directed by Joseph L. Mankiewicz, 192 mins, colour, with sound, Twentieth Century Fox Film Corporation; MCL Films S.A.; Walwa Films S.A. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] Vertigo, 1958, directed by Alfred Hitchcock, 128 mins, colour (Technicolor), with sound, Alfred J. Hitchcock Productions; Paramount Pictures. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] From Here to Eternity, 1953, directed by Fred Zinnemann, 118 mins, black and white, with sound, Columbia Pictures Corporation. Clip used from Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009, http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011] Room with a View, 1985, directed by James Ivory, 117 mins, colour, with sound, Goldcrest Films International. Clip used from Top 20 Movie Romances, by skimguard, 10:38 mins, uploaded on November 23, 2008, http://www.youtube.com/watch?v=oJQYOGG7ro0 [accessed 25/08/2011]

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Notorious, 1946, directed by Alfred Hitchcock, 101 mins, black and white, with sound, Vanguard Films; RKO Radio Pictures. Clip used from Tribute to Love and Romance Thru Hollywood movies, by 0Dior, 3:31 mins, uploaded on February 11, 2010, http://www.youtube.com/watch?v=hqMdpA-Hi0M [accessed 25/08/2011] West Side Story, 1961, directed by Jerome Robbins; Robert Wise, 152 mins, colour (technicolor), with sound, The Mirisch Corporation/ Seven Arts Productions/ Beta Productions. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011] The Nanny, 1993 1999, created by Fran Drescher; Peter Marc Jacobson, 30 mins, colour, with sound, Columbia Broadcasting System (CBS); Highschool Sweethearts; Sternin & Fraser Ink. Clip used from Greatest Story Ever Told TV and Movie Kisses, by FirstTwinBorn, 4:15 mins, uploaded on August 30, 2008, http://www.youtube.com/watch?v=8-N6xrLNQN4 [accessed 25/08/2011] Sabrina, 1954, directed by Billy Wilder, 113 mins, black and white, with sound, Paramount Pictures. Clip used from Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009, http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011] The Perfect Catch/ Fever Pitch, 2005, directed by Bobby Farrelly; Peter Farrelly, 103 mins, colour, with sound, Fox 2000 Pictures; Flower Films (II); Wildgaze Films. Clip used from Movie Kisses Crash Into Me, by louise107, 5:14 mins, uploaded on May 8, 2007, http://www.youtube.com/watch?v=anMVWtF_lgM [accessed 25/08/2011]

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The X-Files: I Want to Believe, 2008 directed by Chris Carter, 104 mins, colour, with sound, Twentieth Century Fox Film Corporation; Ten Thirteen Productions; Dune Entertainment III. Clip used from Mulder and Scully Kissing, by BTSRiload,2:09 mins, uploaded on May 20, 2010, http://www.youtube.com/watch?v=UsHRgftSxaw [accessed 25/08/2011] When Harry Met Sally, 1989, directed by Rob Reiner, 96 mins, colour, with sound, Castle Rock Entertainment; Nelson Entertainment. Clip used from Top 20 Movie Romances, by skimguard, 10:38 mins, uploaded on November 23, 2008, http://www.youtube.com/watch?v=oJQYOGG7ro0 [accessed 25/08/2011] Sunset Boulevard, 1950, directed by Billy Wilder, 110 mins, black and white, with sound, Paramount Pictures. Clip used from Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009, http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011] Star Wars: Episode V - The Empire Strikes Back, 1980, directed by Irvin Kershner, 124 mins, colour, with sound, Lucasfilm. Clip used from Movie Kisses Crash Into Me, by louise107, 5:14 mins, uploaded on May 8, 2007, http://www.youtube.com/watch?v=anMVWtF_lgM [accessed 25/08/2011] Blind Date, 1987, directed by Blake Edwards, 95 mins, colour, with sound, TriStar Pictures; Permut Presentations; Delphi V Productions. Clip used from romantic movie moments, by gvanchitaa, 3:50 mins, uploaded on August 24, 2009, http://www.youtube.com/watch?v=HaKhpdglh2k [accessed 25/08/2011] Grand Hotel, 1932, directed by Edmund Goulding, 112 mins, black and white, with sound, Metro- Goldwyn-Mayer (MGM). Clip used from Top 10 Greatest Hollywood Kisses, by lottenkalenius, 10:00 mins, uploaded on July 15, 2009, http://www.youtube.com/watch?v=LbN_-E36pfE [accessed 25/08/2011]

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Somewhere in Time, 1980, directed by Jeannot Szwarc, 103 mins, colour (technicolor), with sound, Rastar Pictures. Clip used from JANE SEYMOUR & CHRISTOPHER REEVE - THE KISS, by sukakawenkawen, 1:08, uploaded on June 7, 2007, http://www.youtube.com/watch?v=1S04PEP1XcQ [accessed 15/10/2011] Everwood, 2002 2006, created by Greg Berlanti, 60 mins, colour, with sound, Warner Bros. Television; Berlanti Liddell Productions; Everwood Utah; Film Garden Entertainment; Five Star Gate Films. Clip used from Romantic TV & Movie kisses, by RpattzDazzlezme, 3:27 mins, uploaded on December 30, 2010, http://www.youtube.com/watch?v=aqZGrVOC0zQ [accessed 12/10/2011] Calamity Jane, 1953, directed by David Butler, 101 mins, colour (technicolor), with sound, Warner Bros. Pictures. Clip used from Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009, http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011] Deathtrap, 1982, directed by Sidney Lumet, 116 mins, colour (technicolor), with sound, Warner Bros. Pictures. Clip used from Gay kiss from: Deathtrap (1982), by RobinSandza, 1:21 mins, uploaded on January 27, 2011, http://www.youtube.com/watch?NR=1&v=Pd9ImWTVX8I [accessed 15/10/2011] Prince of Persia: The Sands of Time, 2010, directed by Mike Newell, 116 mins, colour, with sound, Walt Disney Pictures; Jerry Bruckheimer Films.Clip used from Romantic TV & Movie kisses, by RpattzDazzlezme, 3:27 mins, uploaded on December 30, 2010, http://www.youtube.com/watch?v=aqZGrVOC0zQ [accessed 12/10/2011]

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The Princess Bride, 1987, directed by Rob Reiner, 98 mins, colour, with sound, Act III Communications; Buttercup Films Ltd.; The Princess Bride Ltd. Clip used from Happy Ending Kiss (Westley & Buttercup), by priscillanobre74, 0:14, uploaded on August 6, 2009, http://www.youtube.com/watch?v=AMwhAlldmOw [accessed 12/10/2011] Step Up 2: The Streets, 2008, directed by Jon M. Chu, 98 mins, colour, with sound, Touchstone Pictures; Summit Entertainment; Offspring Entertainment. Clip used from Romantic TV & Movie kisses, by RpattzDazzlezme, 3:27 mins, uploaded on December 30, 2010, http://www.youtube.com/watch?v=aqZGrVOC0zQ [accessed 12/10/2011] Twilight, 2008, directed by Catherine Hardwicke, 122 mins, colour and black and white, with sound, Summit Entertainment; Temple Hill Entertainment; Maverick Films; Imprint Entertainment; Goldcrest Pictures; Twilight Productions. Clip used from Best Films Kisses, by elsewhatelse95, 3:46 mins, uploaded on August 8, 2009, http://www.youtube.com/watch?v=KAFVYSH7KJM [accessed 25/08/2011] Just Married, 2003, directed by Shawn Levy, 95 mins, colour, Twentieth Century Fox Film Corporation; Robert Simonds Productions; Mediastream Dritte Film GmbH & Co. Beteiligungs KG. Clip used from Romantic TV & Movie kisses, by RpattzDazzlezme, 3:27 mins, uploaded on December 30, 2010, http://www.youtube.com/watch?v=aqZGrVOC0zQ [accessed 12/10/2011] Du Barry Was a Lady, 1943, directed by Roy Del Ruth, 101 mins, colour (technicolor), with sound, Metro-Goldwyn-Mayer (MGM). Clip used from Classic Movie Kisses, by BitterSweetxo13, 3:24, uploaded on August 14, 2009, http://www.youtube.com/watch?v=FWKOctKUVGQ [accessed 25/08/2011]

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An American in Paris, 1951, directed by Vincente Minnelli, 113 mins, colour, with sound, Loew's. Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007, http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 10/09/2011]

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