Exportar Publicação

A publicação pode ser exportada nos seguintes formatos: referência da APA (American Psychological Association), referência do IEEE (Institute of Electrical and Electronics Engineers), BibTeX e RIS.

Exportar Referência (APA) 
Sampaio, S. (2015). The archive’s ghosts: Looking for the invisible in the visible: a practices-based approach to the moving image archive. NECS 2015 Conference, ‘Archives of/for the Future’.
Exportar Referência (IEEE) 
P. S. Sampaio,  "The archive’s ghosts: Looking for the invisible in the visible: a practices-based approach to the moving image archive", in NECS 2015 Conf., ‘Archives of/for the Future’, Lodz, 2015
Exportar BibTeX 
@misc{sampaio2015_1776091338424,
	author = "Sampaio, S.",
	title = "The archive’s ghosts: Looking for the invisible in the visible: a practices-based approach to the moving image archive",
	year = "2015",
	howpublished = "Outro",
	url = "http://www.necs2015.eu"
}
Exportar RIS 
TY  - CPAPER
TI  - The archive’s ghosts: Looking for the invisible in the visible: a practices-based approach to the moving image archive
T2  - NECS 2015 Conference, ‘Archives of/for the Future’
AU  - Sampaio, S.
PY  - 2015
CY  - Lodz
UR  - http://www.necs2015.eu
AB  - This paper presents the main methodological premises and questions that underpin the research project “Behind the Camera: Practices of Visuality and Mobility in the Portuguese Tourist Film” (EXPL/IVC-ANT/1706/2013), which has been carried out in the National Moving Image Archive (ANIM) of the Portuguese Film Museum (Cinemateca Portuguesa – Museu do Cinema), since April 2014. I argue for the theoretical and methodological gains of a practices-driven, anthropology-informed approach to the moving image archive. In the case of the tourist film, this kind of approach has proved very productive, allowing us to move away from all encompassing theories (often influenced by the concept of ‘tourist gaze’) to pay closer attention to travel images, as far as their texts, codes, contexts and ‘doings’ are concerned. More than “a library of visual evidence” (Klerk 2008), the archive emerges as a ruin of invisible presences, a repository of hidden practices that call for further research and “excavation” (Ishizuka & Zimmermann 2008).
ER  -