The project uses the idea of the "archive" as a backdrop for a discussion on film archives and spatio-temporal narrativity as a point of interest. By considering the role of montage in the film archive, the project attempts to challenge the conditions of the production of the archive by re-creating the conditions of the production of the moving image, without the use of montage technology to achieve spatiotemporal narrativity.

Cinema serves as the basis for a large archive of historical images, and there are ontological similarities between cinema and history. As Philp Rosen (1984) suggests, history and film can be thought to share the common project of presenting us with an absence, that of the represented past.¹

Dai Vaughan mentions, in 'Let There Be Lumiere', that with the development of film technology, editing and fictionality gradually replaced spontaneity in early cinema.² Specifically, filmmakers controlled the scenes in their films through editing to complete a full narrative in a specific time and space in the past, and in doing so, realized their motives and intentions.

However, in the film archive, the edited form is dominant, in which the filmmaker has imagined missing elements of the narrative, and imposes them on the raw images so that it is difficult for the viewer to escape from this frame of consciousness to realize a new interpretation of the content presented.

An intriguing question arises: Is it feasible to impose a narrative on an image of a particular time and space without resorting to montage techniques?

In 1966, during the Vietnam War, a Toronto television reporter narrates scenes of life in a newly liberated village. The reporter historicises life in the village by telling the narrative of the time and space in which he imposes his presence.³ At the same time, the camera helps the two spaces (the space where the reporter/camera is and the space where the viewer/figure) and the time (the reporter/camera is and the time where the viewer is) merge through the language of the reporter. Thus, completing the narrativity of space-time through language and transforming what is happening in the present into history is how this project addresses the research question above.

This project attempts to achieve a complete narrative in a specific space and time through the use of verbal narration in the absence of montage. Using video as a medium and words as a tool, I would like to challenge the traditional mono-temporal attributes and ways of generating archives by re-creating the conditions of the production of the film archive.