In Young will become , Noah Baumbach is to say Ben Stiller , 50 year-old who suddenly began attending their twenties very hipster who see him as a Myth: “ Their home is full of all those things that we got rid about 10 years ago because we considered unnecessary “. It is the juice very revival and return of analogue of these years and the perfect comment at the news of the return on the market of cameras Super 8.
Before you go out in special version, limited and expensive (between 400 and 750 dollars) then they will be successful and actually return to the fashion Kodak will sell at normal prices for all, in a version produced on a large scale then. In a manner not unlike what happens to other historical landmarks such as analog cameras Lomo.
We can see it as an extreme gesture of hipsterismo, such as Kodak, in a corner of the end of the film, tries to regain center stage in the audiovisual world, or as an epiphenomenon of the biggest fight for the survival of the film that sees directors like Quentin Tarantino, Christopher Nolan, Paul Thomas Anderson and many other turn their films on celluloid (if not in size from 70mm master) at a time when digital is the rule.
Tarantino , that all of this movement is the flagship best-known, there is nothing like the film, is the reason why the film you look at the film and not at home, what is the object of affection for him and what gives meaning to filmmaking. J.J. Abrams is a “ dream come true ” the only return on the market of Super 8 (remember how he shot a movie with that title, one that revolves around that size and possibilities to the boys from small cameras, then it was asked to first event) for Christopher Nolan “ very exciting “.
In fact, we know all the revolutionary things that the Super 8 camera allowed to do in the ’60s and then even more in the 70s, are less than those which allows a smartphone today. Then it was the first time that anyone could turn (without audio) Motion pictures, develop the film and then project them to a reasonably low cost (compared to the equipment professional at least). A showy step back from the video for all the phones and the global sharing with YouTube.
But what really distinguishes the Super 8 smartphone is limiting film, support that does not last long enough and costs. That sense of “valuable”, “rare” and “limited” is a general feeling that we link to all analog technologies and we feel we have lost in the transition to digital (world where the quantity is not a problem). Music, like photography and audiovisual, went from a size where they can do little, to one in which anyone can produce unlimited (or almost). And you feel the need to have the magic of limitation. It makes no sense logically, but emotionally.
This is obviously not true at high levels, the levels of cinema, there in addition to the emotional reasons there are also qualitative yield, dynamic, pasta and so on, purely visual reasons and techniques. At low levels, in amateur levels, not there are good reasons to prefer the Super 8 but those emotional and passion back. The same Kodak wants to try and it could even be a success.
The impression, however, is more and more the need to return to analog is not due to something that we actually lost in the transition to digital or with the dematerialization of the supports. It is not the quality nor the wealth nor the possibility of the format to attract. The impression, if anything, is that there is something that draws in those grainy and the colors slightly faded, something fascinating is lacking in modern technology, quality much much much more than the Super 8 and also a harbinger of more options for editing video and then exploitation.
But something that has nothing to do with the support itself and its possibilities. Because the Super 8 is not only less good digital but also less useful and less manageable. No coincidence that the new Super 8 film cameras incorporate some features “modern” as an LCD screen and USB slot or SD card, plus Kodak also announced a service film digitizers Super 8. That is, anyone who purchases the new cameras can send their rollers and get them back into digital format, so that seems to understand, they can use them, share them, mount them, upload them online or use them for all those uses that digital donated audiovisual amateur.
What really drives many to feel a sense of charm and proximity analog technology is much about the sense of loss for something that is no more nor no turning, is the desire to back in the shoes of an era and a way of understanding the things or feel nostalgia (if you lived in those years) or that is longed for personal taste (if you do not they are experienced). What Kodak has in trade with the new Super 8 is the promise of an impossible run-up to our memories of moments that, for one reason or another, seem best in our heads or in the images we see on television and to the movies, in yellowed photos and advertisements. And the desire to take something that we have taken for lost and then, now that we know that he could not have more, desire. It is the past of our fellows, the world of our parents, our country when we looked better or even just when art seemed more sincere and authentic.
It is the collective imagination at the turn of years’ 70 and 80 what we desire, not a small camera without sound, by supporting very expensive, impossible to manage, difficult to mount, complex (and again expensive) to project and finally for anything shared with anyone. Of that, fortunately, we do not need.
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