From a 2002 interview with Peter Kubelka on the translation of Arnulf Rainier to video. Youtube wasn’t created until 2005.
PK: My film Arnulf Rainer on a television is…it is…
HC: It is an anomaly!
PK: Exactly! That does not make any sense! Once again, there are various categories of cinema. But even a film very literary, Hollywood, loses content when one watches it on a television. It is very important! That joined with what I said earlier on the relationship between Super 8 and video: to make a film on film, let say in the 1930’s and 1950’s, the director and the operator were much more intense. Of course for economic reasons, but also because they could not see the final result immediately, which is possible in video. Dreyer would wait three days to see his rushes. For those who handle the archives, we must ask firstly: for whom is the cinema being preserved for? For the producers? They preserve it only for the money. They destroyed an immense part of the silent films in the 1930’s, believing it was better to make a profitable new speaking version than a keeping a silent film with an exhausted commercial potential. But with television, they understood that one can make money with old films, and now they preserve them all. And unfortunately, it is their idea which dominates: we preserve for the paying public, for commercial use. It is very difficult to render comprehensible with the directors of museums and the State museums, which subsidize these cinematheques, that we preserve for archaeology. We preserve for future generations who will want to understand what the filmmakers thought by making their films. For example, if today my films are digitalized and that, within fifty years, three new supports appear on which the film will be transferred again, then in 2050 will it be possible to understand what I wanted to do with my work? The sources will be lost because it is the film strip that taught me what to make. For example when I talk about the ancient music, music of the Middle Ages, one can play it on a flute of the time, but one can also play it on a synthesizer! This melody of the Middle Ages, played on a keyboard, is very easy to interpret, so much that one can say that it is a primitive music which, slowly, evolved to another kind of erudite music…That immediately gives a condescending position towards the past. Only, when one rebuilds instruments like those used in the Middle Ages, this melody becomes very difficult to play and especially very beautiful. Add to this music the play of architecture with echo, in contrast to the controlled digital levelling of the sound. One can then understand the genius in the music. I basically believe in this intrinsic link between the work, its content, and in the hardware on which it is recorded.