Get Back — Peter Jackson’s extraordinary new reboot of Michael Lindsay-Hogg’s 1969 documentary footage following the Beatles’ penultimate recording sessions — has been revelatory in numerous ways, from its prompting of astute reconsideration of Yoko Ono’s much-maligned cultural narrative to final proof that Billy Preston utterly saved the day. The remarkable technology used to revive these old reels (and the audio) is important to attend to not only for its importance to the future of film restoration but for its increasing intrusion into filmmaking; Get Back is a highly computed film, perhaps the first movie many have seen with such dramatic and artistic contributions by an algorithm (“And the Oscar for Best Algorithm goes to…”?) — to the point that the documentary’s rotoscopic computation of imagery and sound can be seen as the construction of a kind of virtual reality.
In addition to this surface virtuality of the image, however, I’m interested in the virtuality of the individuals shown through that imagery — and the ways Get Back is less a documentary about live human beings than it is about a socially constituted band of living ghosts.
I'm THOMAS CONNER, Ph.D. in Communication (Science Studies) and culture journalist.