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Journal articles on the topic 'Film archive'
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1
Henry, Claire. "Awakening the film censors’ archive in [CENSORED] (2018)." Frames Cinema Journal 19 (February 18, 2022): 260–76. http://dx.doi.org/10.15664/fcj.v19i0.2388.
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[CENSORED] (2018) is a feature-length collage of clips excised from international films by the Australian Film Censorship Board between 1958 and 1971, which historian and artist Sari Braithwaite uncovered in the National Archives of Australia. While the censored clips were archived alphabetically, Braithwaite curates them by motif, capturing the numbness generated by archivists’ and censors’ processes through repetitive bombardment of similar imagery in various categories of sex and violence. Compiling and re-categorising this trove of censored fragments produces a new perspective not only into past practices of censorship but more insightfully, into patterns of gendered dynamics and action in narrative cinema. Through feminist critical practice, Braithwaite deploys a ‘layered gaze’ and expands a critique of censorship to a critique of cinema. Braithwaite’s film mobilizes ‘productive misuse’ (Baron 2020), not for her original goal of damning censorship, but to reflect on cinematic fixations (including female nudity and sexual violence) and spectatorial implication. By suturing the censors’ excisions, Braithwaite draws attention to her own growing feminist ‘disenchantment’ (Elsaesser 2005) with cinema culture as she engages with the censors’ offcuts. [CENSORED] documents an awakening of – and from – the censors’ archive. The film evolves through sensory engagement with this archive, and in doing so, provides insight into the comparable – and sometimes complicit – processes of film spectatorship, censorship, and audio-visual archival research.
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Palis, Eleni. "Uploading the Archive, Copy/Pasting the “Classical”." Frames Cinema Journal 19 (February 18, 2022): 301–7. http://dx.doi.org/10.15664/fcj.v19i0.2392.
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This video essay combines a series of fiction feature films, made between the late-1990s and 2010s, in which futuristic androids and robots trade in digitised classical Hollywood archival film fragments as pedagogical and expressive traces, amassing an amateur archive. I call these fragments “film quotations” to denote the process of selection, citation, and reappropriation in these film-within-a-film moments. In this video essay, Flubber (Mayfield, 1997), S1m0ne (Niccol, 2002), Teknolust (Leeson, 2002), WALL-E (Stanton, 2008), and Prometheus (Scott, 2012) all “quote” classical Hollywood films, in the form of short excerpts of sound and image, projecting (or uploading?) Hollywood’s archival past onto their imagined versions of the future. As this cohort of robots explore and amass personal visual archives, mining Hollywood history for meaning and mimicry, their viewership reveals several interrelated classical Hollywood ideologies and biases: the robot-amassed archives replicate hyper-traditional behaviour, both in conforming to strict copyright rules and in depictions of gender, sexuality, and monogamy. While only Teknolust self-consciously and critically replicates hegemonic, heternormative media logics, this essay seeks to reveal how these robots’ sensorial experience of the archive select and project a misleading selection of history into the future. While touting a paradoxically easy-to-access Hollywood history, these robots cling to a tightly limited, licensed, entirely white and compulsorily cis-het digitised Hollywood archive.
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Eck, Carly, and Hannah Kauffman. "The Screen Archive South East: Non-Fiction Film in Fashion History." Costume 45, no. 1 (March 1, 2011): 75–84. http://dx.doi.org/10.1179/174963011x12978768537618.
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Regional screen archives, including film, video and digital media, protect the local vicinity’s film heritage. Such archives generally fall outside the fashion historian’s consciousness. There is a wealth of information on fiction film and fashion, but non-fiction film remains an underused source. This article examines the Screen Archive South East (SASE) based at the University of Brighton. The archive has a rich collection of amateur and professional non-fiction film from the late nineteenth century to the present day. The archive’s resources inspired a collaborative project between the SASE and the Royal College of Art (RCA) entitled Screen Search Fashion. It investigated dress from the inter-war period, an era that saw significant changes in fashion. The resulting online resource includes film clips, stills, descriptions, contextual information and links to further archival sources. This article iscusses the Screen Search Fashion project and presents three case studies showing how the films at SASE offer a rare glimpse into people’s lives and their clothing choices.
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Turczyn, Katarzyna. "Educational Activities of the National Film Archive in Warsaw Connected with Pre-World War II Films." Panoptikum, no. 18 (December 29, 2017): 178–90. http://dx.doi.org/10.26881/pan.2017.18.11.
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This article describes the educational actions (including the use of them in education) related to pre-war films conducted by the National Film Archive in Warsaw. First to exemplify this phenomenon, I focused on the works of three silent films: Mania. The history of a cigarette factory worker (Mania. Die Geschichte einer Zigarettenarbeiterin, 1918, directed by Eugen Illés), Pan Tadeusz ([Sir Thaddeus, 1928, directed by Ryszard Ordyński) and Zew morza ([The call of the sea], 1927, directed by Henryk Szaro), which have undergone a complete digital reconstruction during the Nitrofilm project (2008–2014) in the National Film Archive. The aim is to show how knowledge about silent film is communicated to the audience, and how these movies can be used to achieve educational goals/targets. The theoretical framework of this essay is examining the changing function of film archives, where technological change, the possibilities of restoration and digitization of films contributes to increasing popularisation of audiovisual heritage by film archivists and museums. An essential category in this essay is the authenticity both for the reconstructed film and its presentation. The perception of authenticity often determinates strategies for presentation of this heritage. The article is based on qualitative research (interviews with the audience and workers at the film archive;participant observation, press materials and websites).
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Morris, Keith J. "The Scanning of Colour and B&W Film and Photographs for Image Processing, Analysis and Archiving - On a Tight Budget." Microscopy Today 14, no. 3 (May 2006): 42–49. http://dx.doi.org/10.1017/s1551929500057667.
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Despite the advent of the new PC based digital camera era, there is still a vast archive of film. The obvious thing to do is to scan film optically using a high resolution film scanner and to convert the image into a digital file for digital distribution, PC archiving, and image processing. The likes of NASA can easily afford the best $20k plus PMT drum scanners and pro flatbed scanners for their spaceflight photo archives. See some professional scanners at http://www.imacon.dk, http://www.aztek.com, http://graphics.kodak.com (Creo) and http://www.flatbed-scanner-review.org. You can download selections from the NASA digitised archive at http://grin.hq.nasa.gov.
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Suchenek, Renata. "Prasa i film II Rzeczypospolitej Polskiej wobec handlu białymi niewolnicami." Studia Europaea Gnesnensia, no. 11 (January 1, 2015): 123–46. http://dx.doi.org/10.14746/seg.2015.11.6.
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This article presents, from a historical perspective, the role that the press and film played in the fight against slave trade in 2nd Republic of Poland, in the years 1918-1939. Source material for the paper had been obtained from state archives (the Archive of New Acts in Warsaw, the State Archive in Poznań) and the Archdiocesan Archive in Poznań, as well as excerpted from magazines and films from the period. Articles and press statements which provided information on human trafficking, human traffickers, socio-political countermeasures employed in Europe and in Poland conveyed the image of Polish involvement in the fight against human trafficking, the victims of which were Polish women. Films (scientific, feature films) were the means of propaganda in the fight against human trafficking, the main goal of which was mostly raising public awarenesssłowa klucze
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Roberts, Andrew D. "Africa on Film to 1940." History in Africa 14 (1987): 189–227. http://dx.doi.org/10.2307/3171838.
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In the course of bibliographical work on volume 7 of the Cambridge History of Africa, I realized that there was no guide to film as a historical source for this or any other period in African history. Lists had been made of films on Africa available for loan or hire in the U.S.A., but no one had tried to list at all comprehensively what had actually been made or what had survived. I therefore decided to compile such a guide myself, tracing the making of non–fiction film in Africa from early days up to 1940: this seemed a suitable cutoff date, since it was clear that from the Second World War the scale of filmmaking in Africa, as elsewhere, increased very considerably, and in any case was beginning to attract the attention of historians.I was emboldened in this project by the publication in 1980 of the non–fiction catalog of the British National Film Archive. This immediately showed that a wide variety of relevant films had been not only made, but preserved, and for several there are viewing as well as archive copies. Unfortunately, there is no equivalent published catalog for any other major film archive. I have been able, however, to glean much information from a variety of guides, filmographies, and historical studies. Among lists of films in archival collections, the most useful were those in the U.S. of UNESCO for ethnographic films, McClintock for films on North Africa, and South's guide to African materials in the U.S. federal archives.
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Jaganathan, Aditi, Sarita Malik, and June Givanni. "June Givanni’s Pan-African Cinema Archive: A Diasporic Feminist Dwelling Space." Feminist Review 125, no. 1 (July 2020): 94–109. http://dx.doi.org/10.1177/0141778920913499.
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What is the role of cultural archives in creating and sustaining connections between diasporic communities? Through an analysis of an audiovisual archive that has sought to bring together representations of and by African, Caribbean and Asian people, this article discusses the relationship between diasporic film, knowledge production and feminist solidarity. Focusing on a self-curated, UK-based archive, the June Givanni Pan-African Cinema Archive, we explore the potentiality of archives for carving out spaces of diasporic connectivity and resistance. This archive assembles the holdings of pan-African films and film-related materials, built over several decades by June Givanni, a Guyanese-born London-based film curator. Givanni’s archive embodies her long relationship with the intersecting worlds of African and Asian diasporic cinema, which hold deep connections to Black British heritage through global networks spanning across empire. In the making of this cultural analysis, we employ a co-produced, decolonial methodological approach by designing and producing the article in collaboration with Givanni over a two-year period. We aim to foreground the role of feminist labour (academic and practitioner) as agents of change who are reclaiming stories, voices and memory-making. The wider backdrop to this co-produced analysis is the ongoing resilience of a cultural amnesia that has pervaded the Black British experience and the current fragility of Black arts and cultural spaces in the UK. Our question is how might archives help us map the connections between racialised ideas of belonging, memory politics and the reconfiguration of colonial power whilst also operating as a site of feminist connectivity?
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Op den Kamp, Claudy. "Too Good To Be Forgotten." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 46 (August 28, 2017): 33–41. http://dx.doi.org/10.35320/ij.v0i46.6.
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Film archives own, or hold on deposit, many physical works of film, whereas the copyright holder to these might be someone quite different. The colourisation debate of the late 1980s in the US and Als twee druppels water (The Spitting Image, NL 1963, Fons Rademakers), an embargoed film in a public-sector archive, are both examples of this copyright dichotomy between material and intellectual property. The examples expose the archive as a vulnerable place. On the one hand, the archive cannot guarantee a fixed and stable environment for cinematic memories. On the other hand, an inhibited visibility of important works of film that are arguably crucial to an understanding of the history of film is the result if a film archive cannot provide access to its holdings. The examples provide new insights into the wider cultural implications of the intellectual property (IP) system. They demonstrate how IP underpins understandings of public accessibility to (a limited range of) primary source material and their subsequent potential for history making.
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Imanjaya, Ekky. "Mondo Macabro as Trashy/Cult Film Archive: The Case of Classic Indonesian Exploitation Cinema." Plaridel 15, no. 2 (December 2018): 137–56. http://dx.doi.org/10.52518/2018.15.2-05imjaya.
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Film archiving and local exploitation films, let alone the trashy film archive, are marginal in the discourses of film journalism, scholarship, policies, and criticism in Indonesia (Imanjaya, 2009c; Imanjaya, 2012a; Imanjaya, 2014). However, this paper will demonstrate the importance of Indonesian exploitation cinema, alternative film archives, and exploitation film preservation. It will focus on the output of Mondo Macabro, a transnational DVD label that consistently preserves world trashy films, including Indonesian films produced from the 1970s to the 1990s. By focusing on its DVD paratexts, that is, its DVD covers, special features, and online promotional materials, and applying the Chaperone archiving model also applied by Criterion Collection, this paper will also argue that Mondo Macabro gives trashy or cult films a new lease on life, and more importantly, treats them as collector’s items.
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Zaharieva, Maia, Matthias Zeppelzauer, Dalibor Mitrovic, and Christian Breiteneder. "Archive Film Comparison." International Journal of Multimedia Data Engineering and Management 1, no. 3 (July 2010): 41–56. http://dx.doi.org/10.4018/jmdem.2010070103.
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In this paper, the authors present an approach for video comparison, in which an instantiated framework allows for the easy comparison of different methods that are required at each step of the comparison process. The authors’ approach is evaluated based on a real world scenario of challenging video data of archive documentaries. In this paper, the performed experiments aim at the evaluation of the performance of established shot boundary detection algorithms, the influence of keyframe selection, and feature representation.
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Khorakiwala, Ateya. "An Archive of Development." Comparative Studies of South Asia, Africa and the Middle East 40, no. 3 (December 1, 2020): 541–64. http://dx.doi.org/10.1215/1089201x-8747513.
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Abstract This article argues that a fantasy of Indian road infrastructure was archived in official documentary films. It analyzes two 1960s road construction projects through three corresponding Films Division of India documentaries, which represented India's northern borders. These show how the playfulness of film, the unruliness of infrastructure, and the precariousness of the border and its imaginary have meant that even propaganda films with set narratives erupted with an aesthetics of pleasure and violence. Replete with such dramatic signifiers, the films offer a psychic archive of the developmental state. The projective capacity of architectural knowledge enables this article to speculate on this archive of fantasy and thus interrogate infrastructure, modernization, and development, not as normative categories, but as aesthetic techniques. These produced for the Indian state a spatial narrative of fraught borders contiguous with metropoles, a condition that created a new tyranny of proximity.
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Groo, Katherine. "Paula Amad (2010) Counter-Archive: Film, the Everyday, and Albert Kahn's Archives de la Planète." Film-Philosophy 16, no. 1 (December 2012): 263–69. http://dx.doi.org/10.3366/film.2012.0020.
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Runcan, Miruna. "The Active Archive: Interview with Film Critic Andrei Rus." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (October 30, 2021): 167–71. http://dx.doi.org/10.24193/subbdrama.2021.2.11.
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"The interview with dr. Andrei Rus, associate professor at UNATC Bucharest, tried to cover both the motivations and the developing process of the Active Archive projects, a work in progress activity of research, selection, digitalization, and dissemination of several old documentaries from the Sahia Studio Archives, on one hand, and several experimental movies made by students of the UNATC in the Sixties and Seventies on the other hand. Keywords: Andrei Rus, archives, archives activation, film archives. "
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Paalman, Floris. "Visions of Reconstruction." VIEW Journal of European Television History and Culture 4, no. 8 (December 30, 2015): 91. http://dx.doi.org/10.18146/2213-0969.2015.jethc096.
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After WWII, films accompanied the reconstruction of Europe’s destroyed cities. Many contained historical footage. How was this material used, to articulate visions of reconstruction, what happened to the material later on, and how do the films relate to municipal film archives? This question is approached in terms of collective cognitive functions, applied to a media archaeological case study of Rotterdam. In focus are two audiovisual landmarks, from 1950 and 1966, and their historical footage, all with different temporal horizons. This study attempts to position the city film archive in media history.
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Malyshev, Vladimir Sergeyevich. "Sociocultural Functions of Film Libraries and Archives." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 6–19. http://dx.doi.org/10.17816/vgik42-36-19.
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The article surveys the sociocultural principles of the functioning of film libraries and archives in terms of the evolution of the film archive sphere, mainly as exemplified by the history of the FIAF, whose ideology and practical activity the new trends in this field reflect.
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Gallagher, Mia. "The Irish Film Archive." Circa, no. 59 (1991): 48. http://dx.doi.org/10.2307/25557667.
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Arenson, RL. "All-digital film archive." American Journal of Roentgenology 144, no. 6 (June 1985): 1318–19. http://dx.doi.org/10.2214/ajr.144.6.1318.
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Duong, Lan. "Archives of Memory: Vietnamese American Films, Past and Present." Film Quarterly 73, no. 3 (2020): 54–58. http://dx.doi.org/10.1525/fq.2020.73.3.54.
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Vietnamese American filmmaking must be seen in the context of a community's diasporic formations. As such, it maps out a politics of representation that encapsulates the issues of community and history that invariably striate the ways in which Vietnamese American films and videos have been produced, distributed, received, and archived. This article focuses on the role of the Viet Film Fest, in Orange Country, California, as a major site for the archiving of South Vietnamese and Vietnamese American cinematic memory. In examining how this vital archive is shaped by both transnational politics and local practices of commemoration, Duong proposes its status as an archive of memory for a refugee community that wants to rectify how its members have been represented by U.S. and Vietnamese national cultures in film, both in the past and in the present moment.
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Watkins, Liz. "The Politics of Nostalgia: Colorization, Spectatorship and the Archive." Comparative Cinema 9, no. 17 (December 19, 2021): 123–45. http://dx.doi.org/10.31009/cc.2021.v9.i17.07.
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Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, practices and exhibition. An examination of They Shall Not Grow Old (Jackson, 2018) finds a use of digital editing and coloring techniques in the colorization of First World War film footage held in the Imperial War Museum archives that is familiar to the director’s fiction films. Jackson’s film is a commemorative project, yet the “holistic unity” of authorial technique operates across fragments of archive film and photographs to imbricate of fiction and nonfiction, signaling vital questions around the ethics and ideologies of “natural color”, historiography, and the authenticity of materials and spectator experience.
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Lundemo, Trond. "Archives and Technological Selection." Cinémas 24, no. 2-3 (May 22, 2014): 17–39. http://dx.doi.org/10.7202/1025147ar.
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The archive is not a place for the undifferentiated storage of the past: the political role of the archive is to select what to include as the past and what to discard, in order to regulate the future. These selections are prescribed by laws and regulations, but they are also determined by the archival techniques available for inscription, storage, indexing and access. The author analyses the technological selections of two ages of the archive. The first age is that of the intermedial archive emerging after the end of the text archive monopoly, with the gramophone, photograph and, in particular, film. The gaps and contradictions resulting from this configuration of media are investigated through a discussion of the media set-up of Albert Kahn’s Les archives de la planète (1908-1931). The second age is that of the digital archives, and the digitization of analogue material, again with Les archives de la planète as an example. Instead of understanding these ages of archival technologies as autonomous and separate, the author argues that they should be approached as “superimposed” archival regimes in order to tease out the current interrelations between analogue and digital archives.
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Hanan, David. "Sinematek Indonesia: Formidable Achievements in Film Collection and Research - But a Collection Under Threat." Plaridel 15, no. 1 (June 2018): 29–54. http://dx.doi.org/10.52518/2018.15.1-03hanan.
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Sinematek Indonesia, the archive for feature films in Indonesia, was the first film archive established in South East Asia. The article outlines the circumstances of its establishment in 1975, as a result of negotiations between a progressive governor of Jakarta and filmmakers and educators, but shows how this, and subsequent funding frameworks outside of central government funding, has led to its current situation. The history of the Sinematek is discussed in the context of changing eras of Indonesian history. While highlighting the achievements of Sinematek Indonesia in film collection and research, it emphasizes that its remarkable collection of films on celluoid is under threat because there is no regular budget for film restoration or even for proper preservation. Also outlined is recent cooperation between Sinematek and the newly established ‘Indonesian Film Center’ in the digitization of its collection. The article is as much a memoir, as an academic article, for much of the information here is based on Hanan’s regular engagement with the archive since 1981, which has included providing subtitles for film classics in its collection, and organizing occasional film preservation projects for educational purposes.
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Knotek, V., P. Korandová, R. Kalousková, and M. Ďurovič. "Study of triacetate cinematographic films and magnetic audio track by infrared spectroscopy." Koroze a ochrana materialu 62, no. 1 (February 1, 2018): 26–32. http://dx.doi.org/10.2478/kom-2018-0005.
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Abstract Most of the cinematographic film collections stored in film archives are made on a triacetate base, and from the 1950s to the 1980s, a magnetic track was used to record sound. With a large number of archive materials, archives often do not know the chemical composition of film bases, history of use and degradation rates. Therefore, the chemical composition of three films with a magnetic audio track and one representative of the modern film FOMAPAN were investigated by infrared spectroscopy. Selected samples were artificially aged at elevated temperatures and humidity, and the rate of degradation of the film was evaluated by infrared spectroscopy, dimensional changes and gravimetric analysis. Based on the measurements, all of the examined films were made from cellulose triacetate and the binder of the magnetic trackswas cellulose nitrate. To determine the degree of degradation of the binder of the audio track and the triacetate base, a degradation index was created which expresses the ratio of the bandwidths of the characteristic groups in the infrared spectra. It is shown that infrared spectroscopy makes it easy to determine the chemical composition of cinematographic films and to quantify the rate of degradation and the current state of the film base using a suitably chosen degradation index.
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Hediger, Vinzenz. "Gene, Gehirn, Archiv." Zeitschrift für Medien- und Kulturforschung 8, no. 2 (2017): 11–28. http://dx.doi.org/10.28937/1000107968.
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"Das Humanethologische Filmarchiv ist eine Sammlung von rund 800 Stunden Filmmaterial und 2000 Stunden Tonaufzeichnungen, zusammengetragen vom Verhaltensforscher Irenäus Eibl-Eibesfeldt und seinen Mitarbeitern über einen Zeitraum von vier Jahrzehn- ten. Die Humanethologie versteht sich als Biologie des menschlichen Verhaltens und fragt nach den phylogenetischen Bedingungen komplexer motorischer Abläufe, die sie in einer kulturvergleichenden Perspektive untersucht. Aber wovon genau ist das Human- ethologische Filmarchiv ein Archiv? Dieser Beitrag geht dieser Frage nach, in dem er nach den operativen Ontologien der menschlichen Natur und der photographischen Evidenz fragt, die in das Forschungsdesign der Humanethologie eingelassen sind. The film archive of human ethology is a collection of about 800 hours of footage and 2000 hours of sound recordings, compiled by behavioral scientist Irenäus Eibl-Eibesfeldt and his collaborators over a period of four decades. Human ethology is understood as biology of human behavior and asks about the phylogenetic conditions of complex motor processes, which are investigated in a comparative perspective on culture. But what exactly is archived in the film archive of human ethology? The paper tackles this question by asking about the operational ontologies of human nature and the photographic evidence incorporated into the research design of human ethology. "
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Broomer, Stephen. "Borrowed Dreams: Joseph Cornell and the Archive as Psychic Imprint." Frames Cinema Journal 19 (February 18, 2022): 292–300. http://dx.doi.org/10.15664/fcj.v19i0.2391.
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During the first screening of Joseph Cornell’s Rose Hobart at the Julien Levy Gallery in New York City in 1936, the Surrealist painter Salvador Dalí forcefully knocked over the film projector in a rage, accusing Cornell of having stolen the idea for the film from Dalí’s own subconscious. A foundational figure in American surrealism, Cornell had produced a new and startling variation on the compilation film. Rose Hobart represented the first attempt by the filmmaker to produce an intimate psychological exploration through found images drawn from the informal archive of the junk shop, a dramatic break from the compilation filmmakers for whom the archive primarily served an evidentiary role. In this video essay, Stephen Broomer surveys Cornell’s films, focusing on the artist’s relationship to his own rough, provisional archive as a site of psychic provocation. This video essay addresses the oneiric singularity of Cornell's films by visually remixing the films, integrating them alongside compilation, surrealist, and trance films, and in doing so explores Cornell’s use of the hard cut to suggest reaction, contrast and equivalence.
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McBride, Stephanie. "Archive Films, Irish Film Institute Dublin, May - June." Circa, no. 47 (1989): 33. http://dx.doi.org/10.2307/25557457.
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McBain, Janet. "Two Mocogni films in the Scottish Film Archive." Innes Review 44, no. 1 (June 1993): 85–87. http://dx.doi.org/10.3366/inr.1993.44.1.85.
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Hamilton, Annette. "Fragments in the Archive: The Khmer Rouge Years." Plaridel 15, no. 1 (June 2018): 1–14. http://dx.doi.org/10.52518/2018.15.1-01hmlton.
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Cambodia’s cinema history is strange and surprising. Popular films from France and the United States circulated through the Kingdom during the French colonial period. The 1950s and 60s saw extensive local production with the enthusiastic support of King Norodom Sihanouk, himself a passionate film-maker, but the Khmer Rouge regime (1975-1979) destroyed most of the existing material, including hundreds of feature films, raw footage and countless other ephemeral documents. In 2006, after representations by film-maker Rithy Panh and others, the Bophana Audio-Visual Research Centre was established in Phnom Penh to comb the world for every fragment of film and audio material relating to Cambodia’s history in order to reproduce it in an accessible digitized form. The archival preservation and duplication has continued apace. However the ethical use of these materials presents challenges. Contemporary documentary makers and digital enthusiasts frequently use fragmentary footage to support their political or historical interpretations without attribution or context. This paper discusses a propaganda film featuring the former King Norodom Sihanouk and his wife Monique shot in1973 in collaboration with the Communist Chinese, the North Vietnamese and the Khmer Rouge. Short scenes and extracts from this film circulate online and appear in many documentaries. The “archive effect” of this footage raises questions about the source and circulation of archival images with significant historical and political consequences.
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Matanovic, Dragana. "Boleslas Matuszewski: Pioneer of medical film-making." Srpski arhiv za celokupno lekarstvo 133, no. 7-8 (2005): 388–89. http://dx.doi.org/10.2298/sarh0508388m.
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Boleslas Matuszewski, born in 1856, was a pioneer in medical film-making. He worked simultaneously on improving his movie camera, film-making, collecting film documentation, and the idea of establishing an archive of medical films. Although his first attempts at filming and showing surgical operations didn't gain widespread approval, he was not discouraged, and succeeded in garnering support from a number of French doctors, who realized the importance of his ideas, not only in filming and forming medical film documentation, but also in the use of film for educative purposes. His visionary ideas gained acceptance when Dr. Doyen, on the occasion of the 66th Convention of the British Medical Society, in 1898, used film material as part of his lecture. Shortly afterwards, the Medical Academy took steps to show certain operative techniques, which represented both the confirmation and fruition of Matuszewski's ideas about filmmaking and the establishment of an archive of medical films.
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Steinbruch, K. H. "Mecklenburg-Vorpommern State Film Archive." German History 15, no. 3 (January 1, 1997): 381–84. http://dx.doi.org/10.1177/026635549701500304.
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Steinbruch, K. H. "Mecklenburg-Vorpommern State Film Archive." German History 15, no. 3 (July 1, 1997): 381–84. http://dx.doi.org/10.1093/gh/15.3.381.
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Zimmermann, Patricia R. "Asian Film Archive at 5." Afterimage 37, no. 6 (May 1, 2010): 3. http://dx.doi.org/10.1525/aft.2010.37.6.3.
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Harper, Sue. "Film History: Beyond the Archive?" Journal of Contemporary History 39, no. 3 (July 2004): 447–54. http://dx.doi.org/10.1177/0022009404045967.
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Rossignol, Véronique. "The Bibliothèque du film of the Cinémathèque française." Art Libraries Journal 34, no. 3 (2009): 35–39. http://dx.doi.org/10.1017/s030747220001600x.
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From its position at the heart of the Cinémathèque française in Paris, the Bibliothèque du film provides all sorts of users with a unique documentary collection on the cinema: monographs, journals, posters, drawings, photographs, archives and videos. The reading rooms, the vidéothèque, the image library and the archive search room allow users to consult all these documents.
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Johnson, Veronica. "Seeking traces of women in early Irish filmmaking." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 28–37. http://dx.doi.org/10.33178/alpha.20.03.
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Recent research by Díóg O’Connell and Donna Casella has brought to light the work of Ellen O’Mara Sullivan with the Film Company of Ireland (1916–20). These scholars trace the personal archive of Ellen O’Mara Sullivan’s descendants and use this data to create a trajectory of her role within this first significant Irish film company. While the official record of the Film Company of Ireland is considered limited, there are traces of the company in trade papers, archives and newspapers. In comparison, information about the role of women in this company is difficult to discover as women often slip from the official archive in this period. In the case of Ellen O’Mara Sullivan, she is frequently hidden behind her husband’s record as owner and director of the Film Company of Ireland, or behind her more famous father and brothers, well-connected Republicans, Mayors of Limerick, and successful businessmen. This paper will examine the role of Ellen O’Mara Sullivan and her sister Mary Rynne in the development of the Film Company of Ireland by examining the archival records available and exploring how to find information about these women when they elude the official record. Working in particular on documents found in the Rynne family archive, Special Collections, NUIG, this paper will attempt to trace the financial contribution of Mary Rynne to this film company and to bring to light the role these two sisters played in the development of the early Irish film industry.
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McVeigh, Jane. "Fans of the Archive: Reading Fan Letters in Richmal Crompton's Archive." European Journal of Life Writing 5 (March 24, 2016): R1—R2. http://dx.doi.org/10.5463/ejlw.5.188.
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Richmal Crompton was a British twentieth-century writer of popular children’s stories. This seven minute film is about her fans, past and present, and is based in her archive at the University of Roehampton. It was made in collaboration with Archives and Special Collections and Media Services at the University of Roehampton, as well as members of the Just William Society and Richmal Crompton’s family.This article was submitted to the European Journal of Life Writing on February 20th 2016 and published on March 24th 2016.
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Hatton, Brynn. "On Impossibility: Finding Vietnam in a Jordanian-Soviet Film Archive." ARTMargins 9, no. 2 (June 2020): 7–32. http://dx.doi.org/10.1162/artm_a_00261.
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In 2014, an abandoned collection of over 900 16mm and 35mm film canisters was uncovered in a storage locker in Amman, Jordan. Initial findings show that the films were likely exported from Russia to Jordan between the late 1960s and early 1990s as part of a Soviet cultural exchange program, and among them are are a number of propaganda films made to highlight relations between Vietnam, Russia, and concurrent political struggles in the Arab Middle East. Work on the archive continues despite recent restrictions on researcher access levied by state custodians. This essay positions the entire archive as an aggregate object of transnational film history, rather than as a collection of individual works, in order to illuminate its function in the late 1960s as a cohesive geopolitical idea; a method that is both structurally mandated by present conditions of limited accessibility, and theoretically supported by historical context and affiliated projects initiated by artists and scholars working in Amman since 2014. I argue that the archive was conceptually formed in the political shadow of the Vietnam-American War and its local relationship to Palestinian liberation. As an ‘idea,’ the archive was shaped principally by Vietnam, its imaginative hold on concurrent Third World solidarity movements, and its centrality in the conceptual geography of the transnational 1960s-70s.
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O’Connell, Kasandra. "Archivally absent? Female filmmakers in the IFI Irish Film Archive." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 12–27. http://dx.doi.org/10.33178/alpha.20.02.
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This paper is an initial exploration of women’s contribution to collections of the IFI Irish Film Archive, specifically in the area of amateur film production. It considers two female-created collections in this sphere of practice, the Currivan and Overend Collections, examining the context in which they were created as well as the nature of the films themselves. This article also examines the reasons why women are underrepresented in film production, specifically the extent to which organisational policies and the gendered nature of leadership and employment effect what material is produced and preserved. It concludes by looking at praxis within the IFI Irish Film Archive collections and asking what measures the Irish Film Institute can adopt to improve women’s representation and visibility in its programmes of exhibition and preservation.
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Forster, Nicholas. "Unsettling the Archive." Film Quarterly 69, no. 1 (2015): 64–71. http://dx.doi.org/10.1525/fq.2015.69.1.64.
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This review essay examines the Film Society at Lincoln Center’s program Tell It Like It Is: Black Independents in New York, 1968–1986. Incorporating both television programs and cinematic (un)releases, Tell It Like It Is manages to highlight an often diminished or forgotten era in black image-making while also revealing a unique moment in television history. The double bind at the heart of such a program is the question of how to recognize and engage the wealth of material produced over the course of twenty years while still crafting a coherent series. By foregrounding testimonies from the past and standing as a testament to the failures of the present, this series challenges a film history that has repeatedly blotted out the work of black filmmakers.
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Delgado Moya, Sergio. "An Archive of Violence." Critical Times 3, no. 2 (August 1, 2020): 200–223. http://dx.doi.org/10.1215/26410478-8517719.
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Abstract This essay makes the case for sensationalism as an archive of violence. It traces the ways in which the Mexican filmmaker Felipe Cazals draws from the sensationalist tabloid Alarma! in the making of his film Las Poquianchis (1976), a film version of the story of human trafficking that led the tabloid to popularity. The visuality of sensationalism works mostly in the service of power: it keeps certain kinds of violence both out of sight and overexposed. Cazals and other artists and writers who draw materials from sensationalism complicate this visuality and counter it, but they do so by staying close to the kind of obscenity characteristic of sensationalism. The last segment of the essay revisits Elaine Scarry's seminal analysis of the relationship between language and pain. It offers a frame of interpretation for the most disturbing moments in sensationalism and in Cazals's film: moments defined by the screening of gruesome violence, traumatic bodily injury, violence by sexual means, and death.
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Grobe, Hannes, Kyaw Winn, Friedrich Werner, Amelie Driemel, Stefanie Schumacher, and Rainer Sieger. "The GIK-Archive of sediment core radiographs with documentation." Earth System Science Data 9, no. 2 (December 6, 2017): 969–76. http://dx.doi.org/10.5194/essd-9-969-2017.
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Abstract. The GIK-Archive of radiographs is a collection of X-ray negative and photographic images of sediment cores based on exposures taken since the early 1960s. During four decades of marine geological work at the University of Kiel, Germany, several thousand hours of sampling, careful preparation and X-raying were spent on producing a unique archive of sediment radiographs from several parts of the World Ocean. The archive consists of more than 18 500 exposures on chemical film that were digitized, geo-referenced, supplemented with metadata and archived in the data library PANGAEA®. With this publication, the images have become available open-access for use by the scientific community at https://doi.org/10.1594/PANGAEA.854841.
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Lim, Bliss Cua. "Fragility, Perseverance, and Survival in State-Run Philippine Archives." Plaridel 15, no. 2 (December 2018): 1–40. http://dx.doi.org/10.52518/2018.15.2-01bclim.
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This article considers the consequences of the 2004 dissolution of the Philippine Information Agency’s Motion Picture Division (PIA-MPD) on three key collections entrusted to it: films from the National Media Production Center; from the Movie and Television Review and Classification Board (themselves remnants of the previous archival collapse of the Film Archives of the Philippines in 1986); and lastly, a number of films produced by LVN Pictures, a studio founded in 1938. Using approaches from cultural policy, archival theory, feminist epistemology, and postcolonial historiography, the essay draws on an array of sources—archival films, legislative records, PIA documents, oral history interviews, and personal papers from members of the Society of Filipino Archivists for Film and the South East Asia Pacific Audio Visual Archives Association. The aftermath of the PIA-MPD’s abolition underscores the drawbacks of a narrowly profit-driven perspective on state film archiving that devalued analog cinema in relation to digital media while also ignoring the unique demands of audiovisual (AV) archiving by conflating it with paper-based librarianship. This study affirms the Filipino AV archive advocacy’s repeated calls for legislation to safeguard the institutional continuity and autonomy of Philippine film archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the decline of various state-run film collections, the article concludes by conceptualizing archival survival as not only involving the material preservation of analog or digital AV carriers but as also entailing exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.
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Eric Smoodin. "As the Archive Turned: Writing Film Histories without Films." Moving Image: The Journal of the Association of Moving Image Archivists 14, no. 2 (2014): 96. http://dx.doi.org/10.5749/movingimage.14.2.0096.
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Wessels, Chelsea. "Katherine Groo (2019) Bad Film Histories: Ethnography and the Early Archive." Film-Philosophy 24, no. 1 (February 2020): 67–70. http://dx.doi.org/10.3366/film.2020.0129.
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Young, Gwenda. "Exploring racial politics, personal history and critical reception." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 51–68. http://dx.doi.org/10.33178/alpha.6.04.
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Using archival sources from the Clarence Brown Archive at the University of Tennessee at Knoxville, newspaper clippings from a wide range of national and regional press, and unpublished interviews, this article explores how the complexities and contradictions that are central to Clarence Brown’s film version of Intruder in the Dust (1949)—complexities that, arguably, make this film the most ambiguous of all the “race issue” films released in 1949—are mirrored in the director’s own deeply divided attitude to race and to the South. These tensions also surface in the critical reception of the film in the white press, and perhaps more tellingly, in the black press of 1949. The notion that this was a film generally acclaimed in the black press can be challenged, or at the very least nuanced, through a closer examination of newspaper archives, which, in turn, reveals some of the divisions within black intellectual circles of the late 1940s.
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Codelli, Lorenzo. "L'Academy Film Archive de Los Angeles." 1895 Mille huit cent quatre-vingt-quinze 18, no. 1 (1995): 164–67. http://dx.doi.org/10.3406/1895.1995.1115.
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Hamers, Michelle. "The UNRWA Film and Photo Archive." Photography and Culture 14, no. 3 (July 3, 2021): 401–13. http://dx.doi.org/10.1080/17514517.2021.1927372.
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Hicks, Jan. "Well I Never! Locating Alexander Esway's Films for the Electrical Development Association in the History of Industrial Film-making." Journal of British Cinema and Television 17, no. 3 (July 2020): 375–98. http://dx.doi.org/10.3366/jbctv.2020.0534.
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The Science Museum Group's archive for the Electricity Council, held at the Science and Industry Museum in Manchester, includes films sponsored by the British Electrical Development Association (EDA). The three earliest films in the archive date from 1934 and share a director in Alexander Esway. During content development research for the collaborative exhibition Electricity: The Spark of Life and research into Esway's films for a paper given at the Material Cultures of Energy BFI film workshop Picturing Energy: Approaches to Energy Films, questions arose about the lack of attention shown to commercial and industrial films included in Rachael Low's definition of ‘quota’ films and also about Esway's significance as a film-maker and his place in the history of British industrial films. This article provides information about the three films, the man who directed them and the context of what was happening in both the electricity industry and the film-making world at the time, including why the EDA decided to use film in its publicity campaigns. It attempts to discover whether Esway has been unjustifiably neglected by film historians, with his career a footnote to those of his more famous peers, and questions whether his work for the EDA forms part of a body of commercial and industrial films that need to be re-evaluated.
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Muylaert Mager, Juliana, and Ana Maria Mauad. "EM CARTAZ: festivais de cinema de arquivo – preservação e público." Revista Observatório 3, no. 2 (April 1, 2017): 283. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n2p283.
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Nas últimas décadas, observa-se o surgimento de festivais dedicados ao cinema de arquivo. No Brasil, foi criado em 2002, pelo Arquivo Nacional, o Recine – Festival Internacional de Cinema de Arquivo, evento que foi substituído pelo Arquivo em Cartaz em 2015. O fenômeno dos festivais se relaciona com o tratamento do patrimônio audiovisual ao longo do século XX e XXI, sendo inseparável da trajetória das instituições arquivísticas. Neste artigo, pretende-se, por meio da análise dos dois festivais, discutir como esses eventos trabalham a tensão entre exibir e preservar, duas das principais funções das cinematecas, colocando em diálogo questões sobre patrimônio/preservação e a relação entre os arquivos e seus públicos.
PALAVRAS-CHAVE: Arquivo; Patrimônio Audiovisual; Público(s); Festivais de cinema.
ABSTRACT
In the last decades, we observe an increase in the number of festivals dedicated to archival films. The Brazilian National Archive, for instance, hosted Recine – Festival Internacional de Cinema de Arquivo from 2002 to 2014, and, since 2015, its sucessor festival called Arquivo em Cartaz. This “festival phenomenon” can be related to how audiovisual heritage has been viewed in the 20th and 21st centuries, being, thus, closely linked to the developement of film archives. This article aims at analysing the aforementioned festivals, in order to discuss how these events coped with the tension between exhibiting and preserving – the two foremost goals of a cinematheque –, establishing dialogues over issues such as heritage/preservation and the relationship between archives and its viewing public.
KEYWORDS: Archive; Audiovisual Heritage; Public; Film festivals
RESUMEN
En las últimas décadas, se observa el surgimiento de festivales dedicados al cine de archivo. En Brasil, fue creado en 2002 por el Archivo Nacional, Recine – Festival Internacional de Cinema de Arquivo, evento que fue sustituido por el Arquivo em Cartaz en 2015. El fenómeno de los festivales se relaciona con el tratamiento del patrimonio audiovisual a lo largo del siglo XX y XXI, siendo inseparable de la trayectoria de las instituciones archivísticas. En este artículo, se pretende, por medio del análisis de los dos festivales, discutir cómo esos eventos trabajan la tensión entre exhibir y preservar, dos de las principales funciones de las cinetecas, colocando en diálogo cuestiones sobre patrimonio/preservación y la relación entre los archivos y sus públicos.
Palabras Clave: Archivo; Patrimonio Audiovisual; Público(s); Festivales de Cine.
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VUONG, LÉA. "Art and Archive: Louise Bourgeois through a Feverish Gaze." Australian Journal of French Studies 59, no. 1 (January 1, 2022): 46–59. http://dx.doi.org/10.3828/ajfs.2022.05.
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This article examines uses of archival documents in the work of French-American artist Louise Bourgeois (1911-2010). Jacques Derrida’s seminal essay on “Archive Fever” (1995) provides a framework for the close study of Bourgeois’s multi-modal archives. The article discusses how the artist’s archives, while embedded in the site that manages them, pursue their existence outside their institutional home: displayed in exhibition spaces, reproduced in print publications and recorded on film, they are constantly moving, all the while pointing to a continuous shift in the place, value and nature of the artist’s archives and a reconsideration of their relationship with Bourgeois’s oeuvre and its evolving critical reception.