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Littérature scientifique sur le sujet « Film archive »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 27 avril 2022

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Articles de revues sur le sujet "Film archive"

Henry, Claire. « Awakening the film censors’ archive in [CENSORED] (2018) ». Frames Cinema Journal 19 (18 février 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 (18 février 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, et Hannah Kauffman. « The Screen Archive South East : Non-Fiction Film in Fashion History ». Costume 45, n^o 1 (1 mars 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, n^o 18 (29 décembre 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, n^o 3 (mai 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, n^o 11 (1 janvier 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 et June Givanni. « June Givanni’s Pan-African Cinema Archive : A Diasporic Feminist Dwelling Space ». Feminist Review 125, n^o 1 (juillet 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, n^o 46 (28 août 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, n^o 2 (décembre 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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Thèses sur le sujet "Film archive"

Wang, Xiaosong. « Automatic quality improvement of archive film ». Thesis, University of Bristol, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556740.

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This thesis describes our work towards a unified framework for automatic restoration of dirt and blotches in archive film. The framework we present here is composed of three stages, i. e. defect detection, false alarm elimination, and defect removal. First, we propose a novel probabilistic approach to detect defects in digitized archive film. An HMM is characterized and trained to model the statistical changes of temporal pixel transitions over several frames before and after the current frame. The trained HMM is then applied to measure how the likelihood of an unseen observation sequence being normal varies if each single observation within it was missing, one at a time in a leave-one-out fashion. The centre pixel of the observation sequence will be marked in the defect map, if the likelihood of the observation sequence without the centre pixel is larger, by a certain degree, than the average of all likelihoods. The resulting defect maps from our proposed defect detector encapsulates the true defects very well, but can suffer from many false alarms. Therefore, we extend the defect detection method to add a two-stage false alarm elimination process, which is developed based on investigating the characteristics and causes of false alarms. The proposed false alarm approach first applies MRF modelling on the defect map to propagate neighbouring normal pixels into the false alarm region using spatial continuity constraints. Then, the pyramidal Lucas-Kanade feature tracker is adopted to impose temporal correlation constraints on spatially isolated false alarm regions. This helps increase the accuracy of the proposed method significantly. Finally, we present a novel restoration method for defects and missing regions in archive films. Our statistical framework is based on Random Walks to examine the spatiotemporal path of a degraded pixel, and uses texture features in addition to intensity and motion information traditionally used in previous restoration works. The degraded pixels within a frame are restored in a multiscale framework by up- dating their features (intensity, motion and texture) at each level with reference to the attributes of normal pixels and other defective pixels in the previous scale as long as they fall within the defective pixel's random walk-based spatiotemporal neighbourhood. The proposed algorithms are compared against state-of-the-art and industry-standard methods to demonstrate their improved detection and restoration performance using our archive film restoration dataset.·.

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Op, den Kamp Claudy Wilhelmina Elisabeth. « The go-between : the film archive as a mediator between copyright and film historiography ». Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3378.

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Based on the premise that only in being accessible can the film reach its potential for history making, the contribution of the film archive to a particular film historical narrative is fragmented: the films that are extant are not necessarily available and the ones that are available are not necessarily publicly accessible. The contention of the thesis is that ‘doing’ film history in the context of the film archive should always be seen in light of an ever increasingly narrowing fragmentation of accessible material that takes place in the film archive. What is new about the contribution of this thesis is not that the film archive can be seen simultaneously as a result of a particular historical narrative as well as contributing to one, but that this debate is put in the context of copyright as a determining factor of why the accessible part of the film archive is only a partial picture. To this end, the thesis proposes a reorganisation of existing categories of analysis in the form of a cross-section of the film archive based on copyright ownership plotted against the material’s ‘availability’. By such practices as using a risk-managed approach to copyright clearance for archival digitisation projects, the film archive can be seen to act as a mediator between copyright and film historiography. On the one hand, the film archive is subjected to copyright law, against the constraints of which it can be seen to resist. On the other hand, the archive makes productive use of copyright in its involvement in the interplay between the ownership of the physical objects and the ability to control the subsequent use and dissemination of those objects. Some of these resistant and productive practices, such as found footage filmmaking as a historiographic intervention and providing access to public domain material, are analysed in the context of some of the digital access practices of EYE Film Institute Netherlands between 2002-2005, in which the film archive can be seen to actively shape access to its film archival holdings as well as a particular potential for film history writing.

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McDonald, Mary Catherine. « National Museum of Film and Photography ». Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/33106.

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Between the National Gallery of Art and the National Museum of Natural History in Washington, D.C., the National Museum of Film and Photography design thesis explores issues of architecture at a scale of cultural significance. This thesis is the architectural manifestation of a museum as a research institution, separate from, yet contributing to an educational mission. It is inspired by the thin line between the two worlds, the public museum and the unseen, though often larger, private archive. In this thesis, a home for a treasury of artifacts was designed, so that they might be experienced, and for their intrinsic value. This design thesis explores the role of context, scale, and geometry in a building for the National Mall, as well as the critical requirements and specialized program of a museum. The orthogonal and radial geometry of the city are echoed in the plan. The building program, as well as the physical opportunities of the site, led to the form of the building. The simultaneous cycles of the artifact, the visitor, and the worker, and how they related to the role and amount of natural light also contributed to the form. The thesis is also developed based on the relationship between an object or a film, and a viewer.
Master of Architecture

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DeLassus, Leslie Marie. « Salvage historiography : viewing, special effects, and Norman O. Dawn's unpreserved archive ». Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2203.

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This dissertation excavates the work of early special effects cinematographer Norman O. Dawn in order to explore film spectatorship, the ephemerality of the cinematic image, and motion picture preservation and archival practices. Best known for his innovations of glass and matte shot techniques, Dawn produced 861 composite images while working in the U.S. film industry between 1906 and 1954. Although technological film historians acknowledge the importance of Dawn’s innovations to the development of motion picture special effects, the composite images themselves as well as the films for which they were produced remain in relative obscurity. Rather than attempting to recover these objects for inclusion in an existing film canon, my research interrogates their obscurity by analyzing Dawn’s special effects processes against the broader economic concerns that inform the dominant practices of the US film industry during the first half of the twentieth-century. My research begins with the Norman O. Dawn collection housed at the Harry Ransom Humanities Research Center, which is the most comprehensive historical record of Dawn’s work in the film industry. Constructed by Dawn himself between 1962 and 1974, this collection consists of 164 poster-sized collages of archival ephemera that illustrate the special effects processes employed in the production of 235 composite images for eighty-five films. While these eighty-five film titles constitute a tentative corpus upon which to base my research, seventy of these films are lost, which raises questions concerning the relationship between motion picture preservation and film history, specifically why these films have not been preserved while others have and to what extent the economic imperatives of the film industry have determined these conditions. I address these questions in my analysis of archival material related to these films, finding that they traverse several distinct domains of film practice—including early scenic footage for newsreels and the amusement park ride Hale’s Tours of the World, early one-reel travel films, silent-era studio shorts, serials, and B features, and poverty row and independently-produced silent and sound feature-length films—thereby situating Dawn’s special effects at the intersection of the early and contemporary cinematic modes often aligned in studies of cinematic special effects. I argue that this heterogeneous corpus points to a studio-era Hollywood cinema alternative to the classical model, largely forgotten because it is dominated by low-budget product intended to supplement more costly feature films. In contrast to the classical model, this alternate cinematic mode emphasizes the scenic and thrilling elements that characterize both early exhibitionist films and contemporary effects-driven blockbusters. In this context, Dawn’s special effects processes constitute a historically marginalized practice precisely because they are non-routine techniques that provide cost-effective means to produce otherwise economically infeasible scenes, and, as such, operate on the periphery of conventional film production.

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Machová, Jana. « Digitalizace filmového materiálu v kontextu filmových archivů ». Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-264350.

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The thesis is devoted to the topic of film material archiving, digitization, digital restoration and possibilities of preserving a digital copy of the film. In the theoretical part, the reader will be introduced to the basic concepts related to topic of film material preservation and digitization. The digitization process will be explained both in theory and on practical examples from digitization of film Old Czech Legends. Based on the theoretical knowledge from the first part, the situation regarding digitization of film material in the Czech Republic and Slovak Republic will be discussed in the practical part. This thesis aims to find the fundamental differences in film material digitization approaches in these two countries.

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Nolan, Petra Désiréé. « The cinematic flâneur : manifestations of modernity in the male protagonist of 1940s film noir / ». Connect to thesis, 2004. http://eprints.unimelb.edu.au/archive/00000122.

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Michelon, Pierre. « Les déportations politiques au sein de l'empire colonial français. Des récits, des archives et des voix pour dessiner une carte cinématographique de la décolonisation, telle qu'elle n'a pas pu être, telle qu'elle n'est pas encore ». Thesis, Paris Sciences et Lettres (ComUE), 2019. https://tel.archives-ouvertes.fr/tel-02873555.

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« Ubi solitudinem faciunt, pacem appellent » (italiques)« Là où ils ont créé la solitude, là où ils ont fait le vide et le silence, ils appellent cela la paix » (italiques)Tacite, Discours de Calgacus en 83, cité par l’historien Louis-José Barbançon dans « La Conférence de Louis-José Barbançon sur les déportations politiques », Mwà Véé, Revue culturelle kanak, n°51, 2006, p.51De Guyane française ("française" en italiques), de Kanaky, d’Algérie ou de France des voix s’élèvent, celles des condamné.e.s politiques déporté.e.s par la puissance coloniale face à laquelle ils ou elles tentaient de faire front.Une histoire méconnue se dévoile et se construit : elle mêle des espaces géographiques et des destins multiples ; des idéologies et des contextes de luttes qui se rencontrent, s’associent ou s’opposent ; des correspondances clandestines, acheminées ou non ; des « travaux » forcés, des évasions ou des disparitions. C’est un passé commun, un passé traduit et pluriel. C’est écrire ou parler l’histoire de la violence.Cette fable politique se construit avec celles et ceux qui se souviennent. Quelques enfants de condamné.e.s, quand ils le peuvent, quand ils le veulent, évoquent la mémoire de leurs parents déportés ; d’autres militant.e.s parlent de leurs luttes au présent de l’indicatif, depuis la « postcolonie », depuis « l’outre-mer ». Avec elles et avec eux, Pierre Michelon collecte et produit un ensemble de poèmes, de traductions et de films, qui raconteraient - conditionnel - une histoire des décolonisations, telles qu’elles n’ont pas pu être, telles qu’elles ne sont pas encore
« Ubi solitudinem faciunt, pacem appellent » (italiques)« [...] and where they make a desert they call it peace » (trad. Oxfordrevised edition)« There where they brought desolation, where they imposed nothingness and silence, they call that peace » (italiques) (traduction : Tom Stockton)Tacitus, Discourse pronounced by Calgacus in 83, excerpt from Agricola, quoted by the historian Louis-José Barbançon in « La Conférence de Louis-José Barbançon sur les déportations politiques », Mwà Véé, Revue culturelle kanak, n°51, 2006, p.51Timidly the winds have been whispering in the rushes and from French Guiana ("french" en italiques), Kanaky, Viêt Nam, Algeria or France rising voices have started to escape. These voices are those of political prisoners, deported by the colonial powers that they were trying to oppose.Across this story’s complex cloth diverse geographies and multiple destinies have been woven ; manifold ideologies and contexts of struggle have met and thereafter twined or opposed one another ; bright threads from clandestine correspondences (arrived or not) have been stitched ; forced “labour”, stories of escapes and disappearances have recurred as disturbing patterns.With some of the prisoners descendants, when they are able to, when they want, Pierre Michelon is gathering a serie of poetic videos, translations, and collective memories.(traduction : Tom Stockton)

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Rich, Philip. « The culture of cruising : Post-war images form the NMM'S film archive ». Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527202.

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This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture it within the cruise film. The 1960s cruise ship and its filmic representation is examined as a floating microcosm of emergent hedonistic and capitalistic tendencies. In an era of empowerment, liberation and increasing individualism, the cruise film balanced the traditional with the contemporary in its sometimes conflicted portrayals of life at sea. The final chapter of the thesis is devoted to the cruise film's reflection of fading British colonialism. As the British Empire fragmented and political liberalism spread throughout a new generation of young people, the cruise film's latent traditionalism and nationalism became anachronistic. Yet, beneath its swinging '60s aesthetic, the post-war cruise film continued to market its product as an implicit emulation of the colonial process. In conclusion, light is shed on the cruise film's paradoxical position, as advertisers sought to retain the allure of the ocean voyage in an era of mainstream jet travel.

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Fernandez, Escareño Itzia Gabriela. « La compilation, un outil paradoxal de valorisation des films muets recyclés par Peter Delpeut et coproduits par le Nederlands Filmmuseum [1989-1999] ». Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00759225.

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La recherche interroge la valorisation des archives du Nederlands Filmmuseum [NFM] à partir du travail de compilation du cinéaste Peter Delpeut. Ce corpus de dix films [1989-1999] se situe à cheval entre deux ambitions qui ne sont pas toujours compatibles, entre une volonté d'archiviste de rendre accessible des films muets [1895-1931] parfois de simples fragments, en restituant leur couleur, en créant une sonorisation et une quête artistique, plus personnel et liée à un cinéaste. Convoquant des sources audiovisuelles mais également écrites et orales, il s'agit d'abord de se demander comment le NFM en vient à produire ces compilations afin de mettre en valeur ses collections, de tracer l'histoire de cette cinémathèque et de suivre la trajectoire de Delpeut, en somme de comprendre la rencontre entre cet homme riche d'une expérience de recherche, de critique et de réalisation et une institution en plein bouleversement de sa philosophie dans les années 1990. Le questionnement s'oriente ensuite sur le processus de fabrication lui-même et de la façon dont fonctionnent ces compilations en vue de montrer comment elles sont prises en tension entre le sensoriel et l'analytique, étant au-delà et en deçà d'une stricte valorisation des films muets du NFM. La dernière partie interroge les usages des compilations, la manière dont elles sont liées à la politique de programmation du NFM, comment elles affectent la dynamique de l'institution et du cinéaste, mais aussi comment elles sortent du cadre de la cinémathèque, évaluant à chaque fois les apports et les limites en terme de transmission d'un patrimoine cinématographique.

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Pennell, Miranda. « Film as an archive for colonial photographs : activating the past in the present ». Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9ww05/film-as-an-archive-for-colonial-photographs-activating-the-past-in-the-present.

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This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.

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Plus de sources

Livres sur le sujet "Film archive"

Scottish Film Archive catalogue. Glasgow : Scottish Film Council, 1995.

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Hewitt, Marion. North West Film Archive : Film catalogue. Manchester : Manchester Polytechnic, 1985.

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McBain, Janet. Scottish film archive : A companion to the Scottish Film Archive catalogue. [Glasgow] : Scottish Film Council, 1996.

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Project, Activision Irish. Film and Video Archive Catalogue. London : AIP, 1990.

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Group, Society of Archivists (Great Britain) Film and Sound. Film and sound archive sourcebook. London : Society of Archivists, 1999.

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Society of Archivists. Film and Sound Group. Film and sound archive sourcebook. London : Society of Archivists, 1999.

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Reclaiming the archive : Feminism and film history. Detroit : Wayne State University Press, 2010.

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Film, Imperial War Museum Department of. A working guide to the film archive. (London) : The Museum, 1987.

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filminstitut, Danske. Det første filmarkiv = : The first film archive. [S.l.] : Danish Film Archive, 2002.

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Callahan, Vicki. Reclaiming the archive : Feminism and film history. Detroit : Wayne State University Press, 2010.

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Chapitres de livres sur le sujet "Film archive"

Bettges, Christian. « 4.2 Das Innen und das Außen der Archive ». Dans Film, 221–45. Bielefeld, Germany : transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839461297-019.

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Julien, Isaac. « Undoing the Colonial Archive ». Dans Film and the End of Empire, 273–75. London : British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92502-5_17.

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Forné, Anna, et Patricia López-Gay. « Autofiction and Film : Archival Practices in Post-millennial Documentary Cinema in Argentina and Spain ». Dans Palgrave Studies in Life Writing, 227–46. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_12.

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AbstractThis chapter examines three recent autofictional documentaries produced in Argentina and Spain—Albertina Carri’s Cuatreros (Rustlers), Mercedes Álvarez’s Mercado de futuros (Futures Market), and Víctor Erice’s Vidros partidos (Broken Windows)—which share a distinctive “archival impulse.” These films propose a meaning in a specific political sense which we read in relation to the contexts of the Iberian financial crisis and the memories of political violence during the last dictatorship in Argentina. We address the autofictional strategies through which the filmmakers “re-stage” the archive by adopting an aesthetics of ambiguity that unsettles the modern paradigm of the archive as static evidence of a given reality, revolving instead around a conception of the archive as a self-reflective process that becomes the subject matter in its own right.

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Jaikumar, Priya. « An ‘accurate imagination’ : Place, Map and Archive as Spatial Objects of Film History ». Dans Empire and Film, 167–88. London : British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92498-1_9.

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Wang, Xiaosong, et Majid Mirmehdi. « Archive Film Restoration Based on Spatiotemporal Random Walks ». Dans Computer Vision – ECCV 2010, 478–91. Berlin, Heidelberg : Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15555-0_35.

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Hottman, Tara. « The Language of the Archive : Alexander Kluge’s Film Histories ». Dans Stichwort : Kooperation, 209–28. Göttingen : V&R unipress, 2017. http://dx.doi.org/10.14220/9783737007498.209.

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Florin, Bo, Nico De Klerk et Patrick Vonderau. « Parsing the Archive of Rudolf Mayer Film, Vienna, 1937–9 ». Dans Films that Sell, 257–65. London : British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-894-8_19.

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César, Filipa. « Notes on the Making of Black Balance : An Ongoing Film Essay on the Colonial Archive ». Dans Film and the End of Empire, 265–66. London : British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92502-5_15.

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Beinroth, Carolin. « Between Practice and Theory : Silent Film Sound and the Music Archive ». Dans Today’s Sounds for Yesterday’s Films, 29–44. London : Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137466365_3.

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Ware, Vron. « ‘Johnny Gurkha loves a party’:The Colonial Film Archive and the Racial Imaginary of the Worker-Warrior ». Dans Film and the End of Empire, 119–31. London : British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92502-5_7.

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Actes de conférences sur le sujet "Film archive"

Sommerville, S. M. « Archangel automated real-time archive restoration ». Dans IEE Seminar Digital Restoration of Film and Video Archives. IEE, 2001. http://dx.doi.org/10.1049/ic:20010025.

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Marshall, S. « Film and video archive restoration using mathematical morphology ». Dans IEE Seminar Digital Restoration of Film and Video Archives. IEE, 2001. http://dx.doi.org/10.1049/ic:20010029.

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Gusev, K. « Image unsteadiness correction in archive film scanners ». Dans 2013 IEEE International Conference on Consumer Electronics (ICCE). IEEE, 2013. http://dx.doi.org/10.1109/icce.2013.6486821.

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Spence, Peter. « Re-considering History and Narrative Through the Short Factual Film The Archive (UK 2018) ». Dans – The Asian Conference on Media, Communication and Film 2021. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2186-5906.2022.2.

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Xiaosong Wang et Majid Mirmehdi. « Archive film defect detection based on a hidden Markov model ». Dans 2009 10th Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2009. http://dx.doi.org/10.1109/wiamis.2009.5031490.

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Ren, Jinchang, et Theodore Vlachos. « Detection and Recovery of Film Dirt for Archive Restoration Applications ». Dans 2007 IEEE International Conference on Image Processing. IEEE, 2007. http://dx.doi.org/10.1109/icip.2007.4379943.

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Wang, Xiaosong, et Majid Mirmehdi. « HMM based Archive Film Defect Detection with Spatial and Temporal Constraints ». Dans British Machine Vision Conference 2009. British Machine Vision Association, 2009. http://dx.doi.org/10.5244/c.23.34.

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Kim, Byunggeun, Kyung-tai Kim et Eun Yi Kim. « Reconstruction of degraded images using genetic algoritm for archive film restoration ». Dans 2009 16th IEEE International Conference on Image Processing ICIP 2009. IEEE, 2009. http://dx.doi.org/10.1109/icip.2009.5414136.

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McKee, Sean, et Victor Panov. « Visionary Archive - Archiving Color Images to Single Strip B&W 35mm Film ». Dans SMPTE Technical Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001360.

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Winter, Renee. « Intertwining spheres ». Dans SOIMA 2015 : Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.20.

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Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the 1980s and 1990s. The challenges are not only to develop a collection and archiving strategy for a type of content on which there is little to no scientific research but also to master the technical challenges of archiving such materials for the long term. This paper examines the development and the workflow of the project and goes on to consider the historical functions of home videos and their qualities as historical sources.

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Rapports d'organisations sur le sujet "Film archive"

Dolan, Daniel H., et Tommy Ao. Sandia Data Archive (SDA) file specifications. Office of Scientific and Technical Information (OSTI), février 2015. http://dx.doi.org/10.2172/1171596.

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Nixdorf, U. Experience with a run file archive using database technology. Office of Scientific and Technical Information (OSTI), décembre 1993. http://dx.doi.org/10.2172/93589.

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Hick, Jason, John Hules et Andrew Uselton. The Fifth Workshop on HPC Best Practices : File Systems and Archives. Office of Scientific and Technical Information (OSTI), novembre 2011. http://dx.doi.org/10.2172/1055705.

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Somers Miles, Rachel, Alan Osbourne, Eleni Tzialli et Esther Captain. Inward Outward, Critical Archival Engagements with Sounds and Films of Coloniality : A Publication of the 2020 Inward Outward Symposium. Inward Outward, décembre 2020. http://dx.doi.org/10.18146/inout2020.

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Neeley, Aimee, Stace E. Beaulieu, Chris Proctor, Ivona Cetinić, Joe Futrelle, Inia Soto Ramos, Heidi M. Sosik et al. Standards and practices for reporting plankton and other particle observations from images. Woods Hole Oceanographic Institution, juillet 2021. http://dx.doi.org/10.1575/1912/27377.

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This technical manual guides the user through the process of creating a data table for the submission of taxonomic and morphological information for plankton and other particles from images to a repository. Guidance is provided to produce documentation that should accompany the submission of plankton and other particle data to a repository, describes data collection and processing techniques, and outlines the creation of a data file. Field names include scientificName that represents the lowest level taxonomic classification (e.g., genus if not certain of species, family if not certain of genus) and scientificNameID, the unique identifier from a reference database such as the World Register of Marine Species or AlgaeBase. The data table described here includes the field names associatedMedia, scientificName/ scientificNameID for both automated and manual identification, biovolume, area_cross_section, length_representation and width_representation. Additional steps that instruct the user on how to format their data for a submission to the Ocean Biodiversity Information System (OBIS) are also included. Examples of documentation and data files are provided for the user to follow. The documentation requirements and data table format are approved by both NASA’s SeaWiFS Bio-optical Archive and Storage System (SeaBASS) and the National Science Foundation’s Biological and Chemical Oceanography Data Management Office (BCO-DMO).

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Caritat, P. de, et U. Troitzsch. Towards a regolith mineralogy map of the Australian continent : a feasibility study in the Darling-Curnamona-Delamerian region. Geoscience Australia, 2021. http://dx.doi.org/10.11636/record.2021.035.

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Bulk quantitative mineralogy of regolith is a useful indicator of lithological precursor (protolith), degree of weathering, and soil properties affecting various potential landuse decisions. To date, no national-scale maps of regolith mineralogy are available in Australia. Catchment outlet sediments collected over 80% of the continent as part of the National Geochemical Survey of Australia (NGSA) afford a unique opportunity to rapidly and cost-effectively determine regolith mineralogy using the archived sample material. This report releases mineralogical data and metadata obtained as part of a feasibility study in a selected pilot area for such a national regolith mineralogy database and atlas. The area chosen for this study is within the Darling-Curnamona-Delamerian (DCD) region of southeastern Australia. The DCD region was selected as a ‘deep-dive’ data acquisition and analysis by the Exploration for the Future (2020-2024) federal government initiative managed at Geoscience Australia. One hundred NGSA sites from the DCD region were prepared for X-Ray Diffraction (XRD) analysis, which consisted of qualitative mineral identification of the bulk samples (i.e., ‘major’ minerals), qualitative clay mineral identification of the <2 µm grain-size fraction, and quantitative analysis of both ‘major’ and clay minerals of the bulk sample. The identified mineral phases were quartz, plagioclase, K-feldspar, calcite, dolomite, gypsum, halite, hematite, goethite, rutile, zeolite, amphibole, talc, kaolinite, illite (including muscovite and biotite), palygorskite (including interstratified illite-smectite and vermiculite), smectite (including interstratified illite-smectite), vermiculite, and chlorite. Poorly diffracting material (PDM) was also quantified and reported as ‘amorphous’. Mineral identification relied on the EVA® software, whilst quantification was performed using Siroquant®. Resulting mineral abundances are reported with a Chi-squared goodness-of-fit between the actual diffractogram and a modelled diffractogram for each sample, as well as an estimated standard error (esd) measurement of uncertainty for each mineral phase quantified. Sensitivity down to 0.1 wt% (weight percent) was achieved, with any mineral detection below that threshold reported as ‘trace’. Although detailed interpretation of the mineralogical data is outside the remit of the present data release, preliminary observations of mineral abundance patterns suggest a strong link to geology, including proximity to fresh bedrock, weathering during sediment transport, and robust relationships between mineralogy and geochemistry. The mineralogical data generated by this study are presented in Appendix A of this report and are downloadable as a .csv file. Mineral abundance or presence/absence maps are shown in Appendices B and C to document regional mineralogical patterns.

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