Littérature scientifique sur le sujet « Of Cinematographic Archive »
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Articles de revues sur le sujet "Of Cinematographic Archive"
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Knotek, V., P. Korandová, R. Kalousková et M. Ďurovič. « Study of triacetate cinematographic films and magnetic audio track by infrared spectroscopy ». Koroze a ochrana materialu 62, no 1 (1 février 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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Severiche, Guillermo. « Cuerpos que caen, cuerpos que sienten. Archivo familiar, memoria queer y lenguaje háptico en tres documentales recientes de América Latina ». Clepsydra. Revista de Estudios de Género y Teoría Feminista 21 (2021) : 187–202. http://dx.doi.org/10.25145/j.clepsydra.2021.21.09.
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This essay compares the formal elements shared by three recent documentaries from Latin America: 108 (dir. Renate Costa, Paraguay, 2010), Memories of a Penitent Heart (dir. Cecilia Aldarondo, Puerto Rico, 2016), and Silence is a Falling Body (dir. Agustina Comedi, Argentina, 2017). Based on Laura Marks and Vivian Sobchack’s contributions, it is possible to affirm that these films recreate the physical presence of absent subjects by using haptic language and other cinematographic tools that reconstruct a past affective network. To do so, the films use three distinctive resources: 1) the capture of tactile objects that pass from hand to hand and that evoke a physical presence, 2) the use of images from personal archives and 3) the intervention or experimentation of images, either from the archive or from the director’s own camera, to evoke an unrecovered memory.
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Sputnitskaya, Nina Yu. « Screening Zurbagan : On Use of Animation in Russian Feature Cinema ». Journal of Flm Arts and Film Studies 7, no 4 (15 décembre 2015) : 73–83. http://dx.doi.org/10.17816/vgik7473-83.
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The subject of this research is prose of Alexander Grin, the object being the specifics of cinematographic perspective at the images of the Silver Age representative. The article covers both historical and theoretical aspects, its goal is to unveil the previously unknown archive documents (with material of RGALI foundation and Mosfilm) and experimental films, which add to the history of the usage of special effects in national cinema. The analysis of films conducted by the author of the article allows to examine the evolution of the aesthetics in sci-fi cinema in the period of 1960-2010. The article also unravels the little known aspects of the work of notable Russian animators.
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Hafifi, Hoirul. « COPY PASTE VIDEO TEATER SAE DALAM KERJA POLITICAL DRAMATURGY DAN REENACTMENT DALAM KERJA SUTRADARA ». IKONIK : Jurnal Seni dan Desain 2, no 2 (29 juillet 2020) : 115. http://dx.doi.org/10.51804/ijsd.v2i2.741.
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Artikel ini membahas copy paste video Teater Sae yang dilakukan Artery Performa pada senin, 8 Juli 2019 di Graha Bakti Budaya, Taman Ismail Marzuki dalam Djakarta Teater Platform merupakan cara kerja dramaturgi baru, yang mendudukkan kerja operasi sistem gagasan ke atas panggung merupakan kerja riset terhadap hubungan gambar dan estetika yang sudah menjadi arsip dalam tataran sinematografinya, maunpun reenactment dalam kerja penyutradaraan. Bukan kerja bentuk yang sama persis dengan video; tetapi lebih kepada usaha pencapaian dalam memberikan spektrum kerja performativitas yang berlapis-lapis antara arsip dan medium, antara estetika dan teknologi, juga perbedaan kodifikasi makna berdasarkan konteks arsip. Selain itu, konteksnya bagaimana memperlakukan video dokumenter yang di-copy paste dalam analisis teks, makna, dari aktor-aktor masa lalu ke arah tekstual hari ini yang bisa memiliki perbedaan dan persamaan dari beragam perspektif, termasuk pada ranah politik dalam Teater Sae, yang muaranya dilakukan oleh Dendi Madiya dalam Political Dramaturgy.This article discusses copy paste of Teater Sae video conducted by Artery Performa on Monday, July 8, 2019 at Graha Bakti Budaya, Taman Ismail Marzuki in Djakarta Theater Platform is a new dramaturgy way of working, which puts the work of the idea system operation on stage is a research work on the relationship pictures and aesthetics that have become archives in the cinematographic level, and reenactment in directing work. Not working the exact same shape as the video; but rather the effort to achieve in providing a spectrum of work performance in layers between the archive and the medium, between aesthetics and technology, as well as differences in the codification of meaning based on the context of the archive. In addition, the context is how to treat documentary videos that are copied and pasted in the analysis of texts, meanings, from past actors in the textual direction today that can have differences and similarities from various perspectives, including in the political sphere in the Sae Theater, which is done by Dendi Madiya in Political Dramaturgy.
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Nahmad Rodríguez, Ana Daniela. « Mexicans in Nicaragua : Revolution and propaganda in Sandinista documentaries of the University Center for Cinematographic Studies (CUEC-UNAM) ». Studies in Spanish & ; Latin-American Cinemas 17, no 2 (1 juin 2020) : 233–51. http://dx.doi.org/10.1386/slac_00020_1.
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Film production played a decisive role in the Nicaraguan Revolution. During the preparation of the 1979 Ofensiva Final (Final Offensive), the Sandinistas clearly understood the need to produce audio-visual documents that would serve as testimony and political propaganda of this historic moment. To do so, they sought the support of internationalist filmmakers among whom a group of Mexicans were most prominent. This article focuses on materials on the Sandinista Revolution preserved at the film archive of the University Center for Cinematographic Studies (CUEC) of the National Autonomous University of Mexico (UNAM). It analyses them in relation to the role of left-wing film internationalism in political documentary in Latin America and builds an ‘other’ history of a Mexican film institution that in the 1970s was uniquely politicized as a result of the 1968 Mexican student movement and, later, the influence of Latin American exiles. As a particular case study, this article rescues one of the key figures of Mexican internationalism during the Sandinista Revolution, Adrián Carrasco Zanini Molina, and the role of Mexican filmmakers in the creation of institutions dedicated to film production in Nicaragua such as the Nicaraguan Film Institute (INCINE).
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McBain, Janet. « Greens of Glasgow : ‘We Want “U” In’ ». Film Studies 10, no 1 (2007) : 54–57. http://dx.doi.org/10.7227/fs.10.6.
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This short essay draws on research undertaken by the curator of the Scottish Screen Archive on the few surviving films credited to Greens Film Service of Glasgow in the teens and twenties. The research revealed a dynamic family business, born out of the travelling cinematograph shows of the late nineteenth century, growing to assume a dominant role in the Scottish cinema trade in the silent era, across exhibition, distribution and production. One small part of a lost film history waiting for rediscovery – early cinema in Scotland.
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Palmar, D. C. « Behind the Naturalist’s Lens – Celebrating the life and contribution to natural history of Charles Eric Palmar (1920-1986) ». Glasgow Naturalist 27, no 1 (2019) : 39–44. http://dx.doi.org/10.37208/tgn27106.
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Charles Eric Palmar was Curator of Natural History in Kelvingrove Art Gallery and Museum, Glasgow from 1949 to 1984 and a long-standing member of the Glasgow Natural History Society. This article provides an outline of his life and the major achievements in both his professional career and natural history activities. The latter included pioneering studies on the golden eagles (Aquila chrysaetos) of Scotland and made much use of photography and cinematography. A project is currently under way to scan, archive and make publicly accessible many of his photographs and films.
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Kalenichenko, Mariya Vladimirovna. « The works of Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s ». Культура и искусство, no 4 (avril 2021) : 19–29. http://dx.doi.org/10.7256/2454-0625.2021.4.35584.
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This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.
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Fallon, Donal. « Challenging ‘Imperialist’ Cinematography : IRA Attacks on Dublin Cinemas, 1925-1939 ». Review of Irish Studies in Europe 2, no 2 (24 octobre 2018) : 119–33. http://dx.doi.org/10.32803/rise.v2i2.1900.
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In mid-November 1925, the Masterpiece cinema in Dublin was called upon by armed men, who seized seven of its eight copies of the First World War film The Battle of Ypres. Shortly afterwards, on 20 November, it was reported that the showing of its remaining copy was enough for the IRA to explode ‘a powerful landmine in the wide entrance to the Masterpiece cinema in Talbot Street’. This marked the beginning of a series of attacks upon Dublin picturehouses. The 1920s and 1930s witnessed sustained denunciation of war cinematography in republican publications such as An Phoblacht and Irish Freedom, as well as occasional violent assaults upon cinemas. This was part of a broader ‘Boycott British’ movement, and an IRA campaign against what it saw as cultural imperialism. Drawing on state intelligence files, such as the Crime and Security papers of the Department of Justice, contemporary newspaper reports from both the mainstream and separatist press, and the archives of leading IRA figures such as Chief of Staff (1926-1936) Moss Twomey, this article demonstrates the manner in which the republican movement attempted to impose censorship on the Dublin cinema industry. It examines the manner in which several war films were selectively censored and amended before they were presented to the Irish public, indicating the fears of the authorities regarding potential political assault.
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Ogrodnik, Benjamin. « Silenced Images, Fragmented Histories ». Feminist Media Histories 5, no 2 (2019) : 211–39. http://dx.doi.org/10.1525/fmh.2019.5.2.211.
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Sharon Green's short film Self Portrait of a Nude Model Turned Cinematographer (1971) represents a collision of incipient cinefeminism and autobiographical filmmaking. Containing a blend of still photographs and subjective moving-image shots of her body, the work has largely been overlooked because of a reductive framing of it as mere homage to male avant-garde artists such as Stan Brakhage, for whom Green was a nude model. By analyzing aspects of visual form, production, and exhibition, this article performs a corrective “microhistory” that reclaims Green's film as an important hybrid of erotic self-portraiture and social critique. It also situates Green in relation to proximate artists Carolee Schneemann and Yvonne Rainer. Despite ongoing neglect of the work, Green's Self Portrait remains a potent visual archive that reveals the power hierarchies of the 1970s film community in Pittsburgh, while it questions the masculinist assumptions that underlie avant-garde media and historiography.
Thèses sur le sujet "Of Cinematographic Archive"
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McVeigh, Kathryn Margaret. « Mosaic narrative a poetics of cinematic new media narrative ». University of Southern Queensland, Faculty of Arts, 2008. http://eprints.usq.edu.au/archive/00006235/.
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This thesis proposes the Poetics of Mosaic Narrative as a tool for theorising the creation and telling of cinematic stories in a digital environment. As such the Poetics of Mosaic Narrative is designed to assist creators of new media narrative to design dramatically compelling screen based stories by drawing from established theories of cinema and emerging theories of new media. In doing so it validates the crucial element of cinematic storytelling in the digital medium, which due to its fragmentary, variable and re-combinatory nature, affords the opportunity for audience interaction. The Poetics of Mosaic Narrative re-asserts the dramatic and cinematic nature of narrative in new media by drawing upon the dramatic theory of Aristotle’s Poetics, the cinematic theories of the 1920s Russian Film Theorists and contemporary Neo-Formalists, the narrative theories of the 1960s French Structuralists, and the scriptwriting theories of contemporary cinema. In particular it focuses on the theory and practice of the prominent new media theorist, Lev Manovich, as a means of investigating and creating a practical poetics. The key element of the Poetics of Mosaic Narrative is the expansion of the previously forgotten and undeveloped Russian Formalist concept of cinematurgy which is vital to the successful development of new media storytelling theory and practice. This concept, as originally proposed but not elaborated by Kazansky, encompasses the notion of the creation of cinematic new media narrative as a mosaic – integrally driven by the narrative systems of plot, as well as the cinematic systems of visual style created by the techniques of cinema- montage, cinematography and mise-en-scene.
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Olcèse, Rodolphe. « L'archive, une puissance de nouveauté dans la pratique contemporaine de l'image en mouvement ». Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES045.
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Cette thèse s’efforce de penser le remploi d’archives comme un acte de création qui signale une possibilité fondamentale du medium filmique, à même d’exercer un retour à sa propre matérialité. Pour ce faire, elle s’appuie sur l’analyse de trois films contemporains - X+ (2010) de Marylène Negro, The Uprising (2012) de Peter Snowdon et Pays barbare (2013) de Yervant Gianikian et Angela Ricci Lucchi. L’hypothèse que cette recherche entend vérifier est qu’il n’y a de cinéma que de seconde main. A partir d’une lecture des thèses de Benjamin sur le langage et la traduction, la reprise et la répétition au principe de toute expression filmique sont étudiées comme les conditions requises pour que puissent émerger des formes radicalement neuves. Les propositions filmiques analysées, en travaillant des formes fragmentaires ou en explorant la dimension polyrythmique du remploi d’images, invitent à envisager l’écran et au-delà l’archive elle-même comme des opérateurs de l’événement. Reposant sur une dimension dialogique et relationnelle de l’image filmique, le montage d’archive est indissociablement poétique et politique. Les formes qu’en proposent les artistes étudiés invitent à considérer d’un même tenant pratique filmique, archéologie des techniques et histoire des peuples. Le remploi d’archives opère un acte duel : manifester ce que le monde a été et dire dans le même temps ce qu’il peut devenir. Le montage d’archives se comprend alors comme un geste exécuté au présent, pour le présent, à travers lequel pointe l’image d’un monde ouvertBased on the analysis of three contemporary films (X+ by Marylène Negro, Pays barbare by Yervant Gianikian and Angela Ricci Lucchi, The Uprising by Peter Snowdon), this PhD aims to reconsider the found footage practice as a creative act that points to a fundamental potential of cinematographic media to perform a feedback on its own materiality. This PhD states as an initial hypothesis that all cinema is a second hand cinema. Using as a starting point Walter Benjamin’s works on language and translation, the reemployment and the repetition as principle of every filmic expression are considered as essential conditions for the rise of radically new forms. The topic follows three main lines : forms, rhythm and events. Theses issues are tackled in order to highlight that the cinematographic works analysed in this PhD – combining fragmentary forms or exploring the polyrhythmic dimension of found footage - allow to consider the screen and further more, the archive itself, as agents of the event. Based on the dialogic and relational dimension of moving image, the archive editing is inextricably poetic and political. Hence cinematographic practice, archaeology of techniques and political history are considered as fundamental materials by the filmmakers studied in this PhD. The reemployment as used by these artists operate a dual act : show the world as it has been and in the mean time say what this world could become. The archive editing can thus be understood as a gesture performed in the present time, for the present, a gesture that reveals the image of a world full of possibilities
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Silveira, Germán. « La résistance dans l'obscurité : le public de la Cinémathèque Uruguayenne pendant la dictature militaire (1973-1984) ». Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30015/document.
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Les années de dictature militaire (1973-1984) furent paradoxalement la période la plus importante dans l’histoire de la Cinémathèque Uruguayenne. En ces temps obscurs l'institution s’est forgé une réputation au niveau local et international sur la base d’un travail culturel indépendant. Malgré les circonstances répressives propres au régime, le public de la cinémathèque a montré des signes de vie publique et a participé activement à la création d'un espace symbolique de résistance. En ce sens, pendant la période de dictature, la Cinémathèque Uruguayenne va s’inscrire en tant qu’institution de médiation, comme un « nouveau » acteur culturel qui émerge dans des circonstances critiques particulières, pour assumer un rôle que ne l’avait pas été réservé jusqu'à ce moment-là. Ainsi, nous croyons que dans le contexte latino-américain des années 1960-70, le cinéma s’est transformé, suivant l’expression de Pierre Sorlin, en un « lieu de conflits » L’objectif principal de ce travail consiste donc en décrire, à travers le témoignage des abonnés qui assistaient aux séances programmées par l’institution tout au long de la période de dictature, le lieu social où se déroulait la réception. A la suite de l’approche historique des études de réception développée par la théoricienne américaine Janet Staiger, nous nous proposons de comprendre l’influence du contexte dans les formes de réception cinématographiques et de discerner les mécanismes à travers lesquels le public s’est approprié le cinéma comme un « espace de résistance culturelle », appellation que recevait la Cinémathèque à l’époqueThe years of military dictatorship (1973 – 1984) ironically turned into the most important period in the history of Uruguayan Cinematheque. Based on an independent cultural work, back in those dark times, the institution was able to consolidate a task acknowledged both locally as well as internationally. Despite the repressive circumstances of the regime, the public of the institution showed signs of a public life and actively participated in the creation of a symbolic space for the resistance. As a cultural mediation institution, the Cinematheque so appeared as a "new" actor emerging in specific critical circumstances to assume a role that it did not have in store until then. In this way, we believe that in the 70s and 80s Latin American context, cinema transformed into a “place of conflicts” (lieu de conflits), following Pierre Sorlin’s expression. The main objective of this work is to describe – through the testimony of the spectators who attended the films programmed by the institution during the dictatorship period – the social place where the reception occurred. Following the historical focus of the reception developed by American theorist Janet Staiger, we intend to understand the influence of the sociopolitical context in the ways of cinematographic reception and to discern the mechanisms whereby the public got hold of the cinema as a “cultural resistance space”, name given to Uruguayan Cinematheque back then
Los años de dictadura militar (1973-1984) se transformaron, paradójicamente, en el período más importante de la historia de la Cinemateca Uruguaya. En base a un trabajo cultural independiente, en esos tiempos oscuros, la institución supo consolidar una tarea reconocida tanto a nivel local como a nivel internacional. A pesar de las circunstancias represivas del régimen, el público de la Cinemateca mostró signos de vida pública y participó activamente en la creación de un espacio simbólico de la resistencia. Como institución de mediación cultural, la Cinemateca apareció así como un "nuevo" actor, que emergía en circunstancias críticas específicas para asumir un papel que no tenía reservado hasta entonces. De esta manera, creemos que en el contexto latinoamericano de los años 1970 a 1980, el cine se transformó, siguiendo la expresión de Sorlin, en un "lugar de conflictos." El objetivo principal de este trabajo es describir - a través del testimonio de los socios que asistieron a las funciones programadas por la institución durante el período de dictadura - el lugar social donde se desarrollaba la recepción. Siguiendo el enfoque histórico de la recepción desarrollado por la historiadora norteamericana Janet Staiger, nos proponemos entender la influencia del contexto socio-político en las formas de recepción cinematográfica y discernir los mecanismos mediante los cuales el público se apropió del cine como un “espacio de resistencia cultural”, apelativo que recibía la Cinemateca Uruguaya en aquel momento
Livres sur le sujet "Of Cinematographic Archive"
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Color and the moving image : History, theory, aesthetics, archive. New York : Routledge, 2012.
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(Germany), Bundesarchiv. Nachlass Max Skladanowsky : Bestand N 1435. Koblenz : Bundesarchiv, 1995.
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Bundesarchiv (Germany). Nachlass Oskar Messter : Bestand N 1275. Koblenz : Bundesarchiv Koblenz, 1994.
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Vaz, Mark Cotta. From Star wars to Indiana Jones : The best of the Lucasfilm archives. San Francisco : Chronicle Books, 1994.
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From grain to pixel : The archival life of film in transition. Amsterdam : Amsterdam University Press, 2009.
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Trimborn, Jürgen. Sammlung Max Skladanowsky : Aus dem Nachlass eines Filmpioniers ; ein Bestandsverzeichnis der Theaterwissenschaftlichen Sammlung, Universität zu Köln. Köln : Leppin, 1997.
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Phōteinē, Kōnstantopoulou, Greece Hypourgeio Exōterikōn, Historiko Archeio tou Hypourgeiou Exōterikōn (Greece) et Greece. Hypourgeio Exōterikōn. Dept. of Cinematographic Archive., dir. Index of cinematographic archive. Athens : Kastaniotis Editions, 2000.
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Constantopoulou, Photini. Cinematographic Archive ; ministry of foreign affairs of Greece ; service of historical archives. Sous la direction de Photini Constantopoulou. Kastaniotis editions, 2000.
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Shklovskiǐ, Viktor Borisovich. Literature and Cinematography (Dalkey Archive Scholarly) (Dalkey Archive Scholarly). Dalkey Archive Pr, 2008.
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Layout Background Walt Disney Animation Archives. Disney Editions, 2011.
Trouver le texte intégralChapitres de livres sur le sujet "Of Cinematographic Archive"
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Kamboureli, Smaro. « Memory Under Siege : Archive Fever in Theo Angelopoulos’ Ulysses’ Gaze ». Dans The Cinema of Theo Angelopoulos. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697953.003.0016.
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This chapter examines the idea of recollection by focusing on Theo Angelopoulos' 1995 film Ulysses' Gaze, arguing that cultural memory creates virtual spaces in which ‘different temporalities’ are brought together and ‘experienced simultaneously’. Drawing on Jacques Derrida's concept of ‘archive fever’, it considers this aspect of cultural memory in Ulysses' Gaze and shows that the film compulsively returns to its historical antecedents, but in doing so it confronts the countervailing logic: that ‘the archive never fully yields its secrets’. Through the aesthetic tropes and complex ideological vision that have become the trademarks of Angelopoulos' cinematography, Ulysses' Gaze dramatises not only that the history embodied in cultural archives must be heard in the plural but also that the imperative to remember and who — as well as how one — remembers must be seen as the result of complex discursive forces.
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Caughie, John, et Janet McBain. « Local Films for Local People : ‘HAVE YOU BEEN CINEMATOGRAPHED?’ ». Dans Early Cinema in Scotland. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420341.003.0008.
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While evidence of a national indigenous film production industry is weak, the archive is rich with evidence of local, ‘amateur’ film production largely intended for a local audience. These films provide a ‘life’ of the period, engaging with local festivals, local work, or simply local routines, and initiating an early form of the local documentary. This chapter by John Caughie and Janet McBain consider the significance of these local topicals for the history of early cinema.
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Motrescu-Mayes, Annamaria, et Heather Norris Nicholson. « Amateur Women Filmmakers as Producers of Cultural Meaning ». Dans British Women Amateur Filmmakers, 1–29. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0001.
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Amateur women film makers expressed their changing role in society, sense of selfhood and being in the world through film. It enabled them to negotiate the complexities of class, inheritance, status, authority, geography, convention and modernity. These films are part of the twentieth century's unofficial visual histories yet until recently they have been largely neglected in Britain’s public and private collections. This discussion sets women's filmmaking against wider histories of gender, social, economic, cultural and geo-political change. This framing allows the authors to discuss film production in Britain's contrasting national and colonial settings, to question subjectivities, probe at meanings and rework assumptions and expectations associated with British ways of life in and beyond the final decades of colonialism. Discussion introduces case-studies, methodologies and related literature so that readers may follow the broadly chronological structure of subsequent chapters and individual topics. Relevant archival sources related to colonial and British-based film making are identified, as are the specialist magazines for amateur film enthusiasts and the organisational support available via cine clubs and the Institute of Amateur Cinematography. Interdisciplinary and intentionally offering different interpretative approaches, this introductory overview offers a framework for reading on and a springboard of ideas for further research.
Actes de conférences sur le sujet "Of Cinematographic Archive"
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Chambah, Majed, Alessandro Rizzi, Carlo Gatta, Bernard Besserer et Daniele Marini. « Perceptual approach for unsupervised digital color restoration of cinematographic archives ». Dans Electronic Imaging 2003, sous la direction de Reiner Eschbach et Gabriel G. Marcu. SPIE, 2003. http://dx.doi.org/10.1117/12.472019.
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