All the worlds memory

If every cinematic work is a file of frames, a repository of representations, and a catalogue of desires, then the publication accompanying the major tribute of the Thessaloniki International Film Festival, All the World’s Memory, necessarily constitutes an archival object. As it categorizes, classifies, codifies, and annotates different films and forms of discourse, it preserves and records, in its own way, the relationship between the moving image and archival practice, attempting a poetics of the language of data.