I am very tied to the word film though I have not shot film for a long time, neither negative or positive film stock, neither for motion pictures or still photography.
What is film then if not a recording media and more so a particular kind of recording event.
Most films are made in the context of a 'film shoot' in which actors are blocked and positioned for the camera to record them.
Now there are many methods of recording and camera pov as the cinema moves from an early cinema of attractions, to story telling proper, to different kinds of cinema inflection and seeing, including parallel cutting, dialectical or soviet montage, French Impressionist cinema, surrealist film, early abstraction up through the talkies and studio recording through and beyond the nouvelle vague, dogma 98 and films made on video to look like video.
Film also had for a certain time strictures on how it was seen, in the theatre, on television, on cable, inn festivals, all of which for the most part determine and required certain lengths - certain modes of consumption.
Several years ago I wrote an essay, 'In search of a poetics of the spatialisation of the Image' which asks about reading and seeing the image and film in the ubounded space of the the web. Whereas the post modern could arrange the fragment in the bound mediums of film, music and literature, the web makes the idea of unit very problematic - that is where does one thing end and another begin.
if you consider the web as a recording device, as an archive of recordings - what is particular about its kind of recording and in turn reading.
Well for one it is highly distributed, collective interwoven, hypertextual where one book or fragment takes you to the next, this is to say there is no editor, there is only a reader - whereas all pieces of film come to and pass through the editor, the writer, composer - in this space, recordings are simply posted.
Can the 'posted' be turned into an aesthetic? Yes. By description of kinds of recording events.
Not through the event of coverage which we get in most films, nor even surveillance or even duration (Warhol) but through instructions and the deadpan of the content management form.