ABSTRACT This article examines my current research, which is comprised of the making of a gallery installation film, Palimpsest. This film uses contemporary images of the everyday to contemplate events of the First World War as represented in a collection of unique, first-hand, unpublished letters sent home to London by mapmaker Rifleman Barney Griew. Palimpsest has been commissioned by Changing the Landscape, a multimedia arts project developed by Sarah Kogan and supported from public finding by the National Lottery through Arts Council of England and was the first contemporary art exhibition at The National Archive, UK. My writing explores the process and methods of representing the past through contemporary spaces, and their configuration into a continuous biographical narrative denoting the journey taken by Griew. In illustrating the development of the film, I scrutinize the work of the New Topographic Photographers of the 1970s focusing on their representation of landscape, the images of Thomas Ruff and the Russian Formalists in regard to multi-image storytelling. These examples are examined to draw comparisons and evaluate the fostering of critical understanding. I conclude by discussing the importance of contemporary digital technology in shaping our perception of the past.

中文翻译：

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通过当代镜头绘制第一次世界大战档案

摘要 本文考察了我目前的研究，其中包括制作画廊装置电影《Palimpsest》。这部电影使用日常生活中的当代图像来思考第一次世界大战的事件，这体现在地图制作者 Rifleman Barney Griew 寄回伦敦的一系列独特的、第一手的、未发表的信件中。Palimpsest 受Changing the Landscape 委托，这是一个多媒体艺术项目，由 Sarah Kogan 开发，并得到了国家彩票通过英国艺术委员会的公开支持，是英国国家档案馆的第一个当代艺术展览。我的写作探索了通过当代空间表现过去的过程和方法，以及将它们配置成一个连续的传记叙事，表示格里乌所经历的旅程。在说明影片的发展过程中，我仔细审视了 1970 年代新地形摄影师的作品，重点是他们对风景的表现、托马斯·拉夫 (Thomas Ruff) 和俄罗斯形式主义者在多图像叙事方面的图像。检查这些示例以进行比较并评估批判性理解的培养。最后，我将讨论当代数字技术在塑造我们对过去的看法方面的重要性。