The issue of the preservation of photographic heritage involves much more than vintage prints. Other unoriginal prints – that is, images we only know as reprints of (lost) original prints – are also a matter of concern, and the film photonovel may help raise significant issues in this regard that would otherwise risk being overlooked. At first sight, the specific medium of the film photonovel – that is, the reissue in photonovel format of original movies, a cultural practice that was extremely popular in the second half of the 1950s and the beginning of the 1960s – raises all of the questions that arise when discussing the materiality of photographic archives: issues of material fragility and decay, authorship and authenticity, and completeness and value. At the same time, the utterly uncanonical status of this corpus, sometimes described as the ‘lumpen’ version of what is generally considered an illegitimate genre, provides an opportunity to ask different kinds of questions with regard to the very definition of key notions such as photography, photographic record, and photographic archive. In this sense, the film photonovel opens a range of questions that continue – yet in a very different direction – Rosalind Krauss’s provocative question on the discursive spaces of photography.

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如何保存非原创照片？电影光小说的几个问题

保护摄影遗产的问题不仅仅涉及复古印刷品。其他非原创印刷品——即我们只知道是（丢失的）原始印刷品的重印图像——也是一个值得关注的问题，而电影摄影小说可能有助于在这方面提出重大问题，否则可能会被忽视。乍一看，电影光小说的特定媒介——即以光小说形式重新发行的原创电影，这是一种在 50 年代后半和 60 年代初期非常流行的文化实践——提出了所有问题在讨论摄影档案的物质性时会出现：物质的脆弱性和腐烂性、作者身份和真实性以及完整性和价值等问题。同时，这个语料库完全不规范的状态，有时被描述为通常被认为是非法类型的“流氓”版本，它提供了一个机会，可以就摄影、摄影记录和摄影档案等关键概念的定义提出不同类型的问题。从这个意义上说，电影光小说开启了一系列问题，这些问题继续——但在一个非常不同的方向——罗莎琳德克劳斯关于摄影话语空间的挑衅性问题。