Fotografikus átjárók a múltba kortárs kelet-európai dokumentumfilmekben
Photographic Passages into the Past in Eastern European Non-Fiction Films

Summary/Abstract: There is a tendency in recent non-fiction film to re-contextualise archival photographs in highly mediated environments. In films like Crulic. The Path to Beyond (Anca Damian, 2011) photographs are embedded in highly abstract, animated worlds, while in Fel vi dék. Caught in Between (Vladislava Plančíková, 2014) photos appear in an avantgarde montage. At the other extreme is Radu Jude’s Dead Nation (2017) which presents a series of photographs in a cinematic context to paradoxically demonstrate the lack of images of the Romanian Holocaust. The selected Eastern European nonfiction works build ‘remembrance environments’ around photographs, they compile, juxtapose, structure photographs within the medium of film: they carry out this sequentially through montage, or form a multimedia collage within the confines of a single frame. The paper carries out the analysis from the perspective of intermediality, as these films open up new possibilities for the medium of photography, redefining through cinema (or the cinematic) the complex relationship between photography and history, or the indexical trace and history in general. In this analysis intermedial relations are addressed using the phenomenological approach to images developed by George Didi-Hubermann and László Tarnay

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