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Remnants of early films often have a story to tell. As material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing. If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured. When the question of origin is overlooked, the story can be lost. Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, "How did these moving images get here for me to see them?"This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.
Motion pictures --- Film archives --- History
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Le cinéma français d’après-guerre dit « de la Qualité française », longtemps éclipsé dans l’historiographie au profit de la Nouvelle Vague, plaçait au cœur de ses préoccupations la question de l’adaptation : Le Rouge et le Noir de Stendhal, Le Diable au corps de Radiguet ou le Journal d’un curé de campagne de Bernanos se voient notamment transposés à l’écran, et certains écrivains, tels Gide et Malraux, se prennent d’intérêt pour le 7e Art.Les études rassemblées ici exploitent des documents d’archives méconnus afin d’offrir un éclairage nouveau sur cette production cinématographique en l’abordant à travers l’activité scénaristique d’auteurs de premier plan (comme le tandem Aurenche et Bost). En comparant les romans ou les pièces de théâtre à leurs variantes scénaristiques et cinématographiques, les contributeurs du volume examinent les fonctions de la référence littéraire, certaines étapes de la création (notamment le découpage technique) ou certains procédés narratifs comme le flash-back ou la mise en abyme. L’œuvre filmique apparaît alors comme le résultat d’un geste nécessairement collectif, comme l’aboutissement d’un travail d’écriture mouvant dont l’étude nous en apprend beaucoup sur le pouvoir respectif des mots, des images et des sons. Le scénario est souvent étudié dans une optique normative ; le voici envisagé comme le lieu des possibles
Adaptations. --- Archives cinématographiques --- Film adaptations --- Film archives --- Film adaptations.
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Performing Moving Images : Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks : what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect ? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material ? How does the affective experience of the images, sounds and music resonate today ? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse
Film archives. --- Experimental films --- Film festivals --- Experimental films. --- Film festivals.
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A quick succession of changes - some entirely expected, some less so - has drastically reshaped the domain of preserving and exhibiting film heritage in the first two decades of the 21st century. Film production, exhibition, restoration and reflection became predominantly, almost exclusively digital affairs. Professional profiles became obsolete and new ones have emerged. Other forms of art and entertainment took the center stage of collective dreams and discussions. The principles of curatorship clashed with the idea of access. Streaming took over the world as the predominant way of experiencing moving images and private space trumped public space as the primary site of these experiences. Scratches and Glitches is a collection of essays that attempt to make sense of these changes-in-progress in the wider context of cultural history, focusing on the responsibility of film archives and museums, guardians of film heritage.
Film archives --- Motion picture film collections --- Motion picture film --- Preservation
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What are the major issues and challenges that film archives, cinémathèques, and film museums are bound to face in the digital age and at a time when there is an expectation of access on demand ? What is curatorship, and what does it imply in the context of film preservation and presentation ? Is there a concept of “cinema event" that transcends the idea of film as “content” or “art” in the era of information ? Film Curatorship is an experiment: a collective text, a montage of dialogues, conversations, and exchanges among four professionals representing three generations of film archivists and curators. It calls for an open philosophical and ethical debate on fundamental questions the profession must come to terms with in the twenty-first century.
Film archives --- Motion picture film collections --- Motion picture film --- Preservation.
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Film --- Archivistics --- Film archives. --- Digital preservation. --- Motion picture film --- Archives cinématographiques --- Numérisation --- Films (Pellicule cinématographique) --- Preservation. --- Conservation --- Digital preservation --- Film archives --- Preservation
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Film archives --- Archives cinématographiques --- History. --- Histoire --- Cinémathèque française --- History.
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"An International Study of Film Museums examines how cinema has been transformed and strengthened through museological and archival activities since its origins, and asks what paradoxes may be involved, if any, in putting cinema into a museum. Cere explores the ideas that were first proposed during the first half of the twentieth century around the need to establish national museums of cinema and how these have been adapted in the subsequent development of the five case studies presented here: four in Europe and one in the USA. The book traces the history of the five museums' foundation, exhibitions, collections, and festivals organised under their aegis and it asks how they resolve the tensions between cinema as an aesthetic artefact - now officially recognised as part of humanity's cultural heritage - and cinema as an entertainment and leisure activity. It also gives an account of recent developments around unifying collections, exhibition activities and archives in one national film centre that offers the general public a space totally devoted to film and cinematographic culture. An International Study of Film Museums provides a unique comparative study of museums of cinema in varying national contexts. The book will be of interest to academics and students around the world who are engaged in the study of museums, archives, heritage, film, history, and visual culture"--
Motion pictures --- Motion pictures --- Film archives --- Motion picture film collections --- History --- Museums --- History --- Museums
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Archival Film Curatorship is the first book-length study that investigates film archives at the intersection of institutional histories, early and silent film historiography, and archival curatorship. It examines three institutions at the forefront of experimentation with film exhibition and curatorship. The Eye Film Museum in Amsterdam, the George Eastman Museum in Rochester, NY, and the National Fairground and Circus Archive in Sheffield, UK serve as exemplary sites of historical mediation between early and silent cinema and the digital age. A range of elements, from preservation protocols to technologies of display and from museum architectures to curatorial discourses in blogs, catalogs, and interviews, shape what the author innovatively theorizes as the archive’s hermeneutic dispositif. Archival Film Curatorship offers film and preservation scholars a unique take on the shifting definitions, histories, and uses of the medium of film by those tasked with preserving and presenting it to new digital-age audiences
Film archives --- Motion pictures --- Silent films --- Curatorship. --- Motion picture film --- History --- History and criticism. --- Preservation.
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Film archives --- Motion picture film collections --- Archives cinématographiques --- Cinémathèques --- Directories. --- Répertoires
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