Film anchors in pastness while video inhabits a continuous present

Evidence

Perhaps more measuredly, David Rodowick argues that temporality is transformed in the shift from film to video: while the constitutive function of the pro-filmic event means that film “always returns us to a past world, a world of matter and existence” and thereby anchors itself in the presentation and even preservation of the past, in video the deemphasized pro-filmic and the manipulability or inventability of what is captured amounts to a different temporal regime—one not of pastness but of “simple duration or the real time of a continuous present.” — Anna Kornbluh, Immediacy, or The Style of Too Late…, 201

David Rodowick argues that temporality is transformed in the shift from film to video: while the constitutive function of the pro-filmic event means that film “always returns us to a past world, a world of matter and existence” and thereby anchors itself in the presentation and even preservation of the past, in video the deemphasized pro-filmic and the manipulability or inventability of what is captured amounts to a different temporal regime—one not of pastness but of “simple duration or the real time of a continuous present.” — Anna Kornbluh, Immediacy, or The Style of Too Late…, 201

Categorization

• DEFINE: A precise, citable definition distinguishing film’s pro-filmic pastness from video’s continuous present — exactly the kind of definitional content the reader asked to name.
• XREF: Connects to the reader’s broader ‘collapse of mediation’ argument — video as presentism is the medium-level version of autofiction’s present-tense collapse. — connects to: Postmodern nostalgia-laden films yearn for the present while rendering the actual past inaccessible. — Perry Anderson, The Origins of Postmodernity, 158; Lifestreaming simultaneously creates ambient co-presence and audience-driven drama — Alice E. Marwick, Status Update: Celebrity, Publicity,…, 553; Clip-show culture operates like anterograde amnesia, unable to make new memories — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 2426 (+2 more)
• corroborated: 2 independent passages support this claim — Anna Kornbluh, Immediacy, or The Style of Too Late…, 201