Abstract This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs records the telecine process that transforms the classic silent film Tom, Tom, the Piper’s Son from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images. Moreover, Jacobs focuses on the moment of transition from a material medium (the film strip) to the immaterial (the image, the video), so that the noise brings the viewer closer to a perception or brief capture of the medium in itself. Images are both figured and disfigured along this process. The second work is The Guests, an unconventional 3D film in which Jacobs transforms a short take from a Lumière Brothers film by discovering unseen views of the original footage. In his remediation of the 3D technology, Jacobs employs the Pulfrich effect, which allows him to blur the images of the archival film and to create instances of uncertainty between the views coming from the two human eyes. As a result of this procedure, the characters in the film seem to look directly at the audience. The analysis of both films highlights the poetry of the typical manoeuvre by which Jacobs perverts the archival medium, whereupon the viewing mode between media denaturalizes the usual media gaze (framed and representational), focusing on the moment of viewing in itself. This, as a result, favours the medium for what it is and subverts the gaze that expects something representational, discursive, perhaps story-driven.

中文翻译：

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肯·雅各布斯和变态的档案图像

摘要本文分析了美国电影制片人肯·雅各布斯（Ken Jacobs）的近期两部有关补救措施的作品。第一个是《汤姆汤姆追赶者》，其中雅各布斯录制了电视电影制作过程，该过程将经典的无声电影《汤姆，汤姆，吹笛者之子》从化学转化为电子媒体。这部电影充满诗意的转折，邀请观众重新发现图像隐藏的中间噪音。此外，Jacobs专注于从实物介质（胶卷）到非物质介质（图像，视频）的过渡时刻，因此噪声使观看者更容易感知或短暂捕获介质本身。在此过程中，图像都被计算和毁容。第二部作品是《客人》，这是一部非常规的3D电影，其中Jacobs通过发现原始镜头的看不见的景象，转变了LumièreBrothers电影的一小段镜头。在修复3D技术时，雅各布斯采用了Pulfrich效果，这使他可以模糊档案电影的图像，并在两只人的眼睛之间产生不确定的实例。由于此过程，电影中的角色似乎直接看着观众。这两部电影的分析都突出了雅各布斯（Jacobs）歪曲档案媒体的典型手法的诗意，于是，媒体之间的观看模式使通常的媒体凝视（框架式和代表性）自然化，着眼于观看本身的时刻。结果，这有利于媒介的存在，并颠覆了期望具有代表性的注视，