Journal of Film Preservation - FIAF

More documents

Recommendations

Info

Note: Several excellent studies of Edison’s involvement with motion pictures have been written, most notably the recent efforts by historian Charles Musser, including Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company and Edison Motion Pictures, 1890-1900: An Annotated Filmography, to which this article is indebted. Patrick G. Loughney’s A Descriptive Analysis of the Library of Congress Paper Print Collection and Related Copyright Materials has been extremely useful in detailing the history of the Paper Prints. 56ème Congrès de la FIAF à Londres en 2000 Le congrès du millénaire sera organisé à Londres, du 3 au 10 juin, par la National Film and Television Archive du British Film Institute, en collaboration avec la Film and Video Archive of the Imperial War Museum. L'Assemblée Générale, les symposia et les ateliers seront traduits simultanément en français et en espagnol. Le symposium principal qui durera deux jours, sous le titre The Last Nitrate Picture Show, a pour sujet tous les aspects du nitrate de cellulose: l'histoire, la technologie, la chimie, l'archéologie, son impact sur l'art du cinéma, et le rôle qu'il a joué dans l'évolution des archives du film. Ce thème sera présenté par des spécialistes et illustré par des exemples à l'écran. Des films en relation avec le thème seront projetés en soirée (Cinema Paradiso, La valigia dei sogni, The Love Test, Raging Bull, etc.). Le projet de publication du livre du nitrate, comprenant une bibliographie et une filmographie complètes lancé par Roger Smither, reste ouvert à toute contribution. audiences around the world via the World Wide Web. The influence of Edison’s entertainment inventions remains with us still, in no small part due to the collections existing at the Library of Congress. FIAF 56th Congress, London 2000 Clyde Jeavons The 56th Annual Congress of FIAF - the Millennial Congress - will take place in London from 3 to 10 June 2000 under the aegis of the National Film and Television Archive (NFTVA) of the British Film Institute (BFI), in collaboration with the Film and Video Archive of the Imperial War Museum (IWM). June is one of the best months to visit London, with a good chance of fine weather and the tourist season not yet at its height, although we don’t know yet what impact the Millennium festivities will have. It is easy to get around, especially on the Underground system, and its cultural and culinary opportunities are fairly limitless. It is, however, an expensive city, and we shall endeavour to give the best advice possible on how to keep costs down, especially when eating out. Venue The symposia, workshop and General Assembly will take place in the main auditorium of the BFI’s National Film Theatre (NFT1) on the South Bank, near Waterloo, which also houses the Museum of the Moving Image (MOMI). The NFT has full facilities for film, video and slide projection, translation, catering and office needs, and smaller meetings can also be arranged on the premises. We shall also try to hold at least one evening reception in the Museum itself. Translation into English and French and/or Spanish will be provided at the General Assembly, symposia and workshop. Symposia and Special Events The main symposium, scheduled over two days, is called The Last Nitrate Picture Show and will be a celebration of nitrate cellulose in all its aspects: its history, technology, chemistry and archaeology; its rescue, conservation and restoration; its impact on the art of cinema; and the role it has played in the evolution of film archives. It will be copiously illustrated with screened examples (the NFT is licensed to show nitrate), presented by expert speakers, and complemented at the evening 102 Journal of Film Preservation / 58/59 / 1999
screenings in the NFT and Museum Cinema by films linked to the theme of nitrate and film archiving (Cinema Paradiso, La Valigia dei sogni, The Love Test, Raging Bull, etc.). We hope also to publish an accompanying book or dossier telling the whole story of nitrate, including a full filmography and bibliography, and its editor, Roger Smither, remains anxious to receive contributions, anecdotes and ideas from FIAF members. The second symposium, The Archive of the Future, will be a half-day glimpse into the crystal ball to try to predict the techno-cultural future of moving-image archives: what will they become and what will they look like in the 21st Century? Also planned is a half-day workshop on Special Collections - their purpose, management and documentation - led by Janet McBain of the Scottish Film Archive. In addition, to mark the end of the 20th Century, we invite all FIAF’s archives to suggest and supply from their collections at least one moving image “moment” of their choice - an extraordinary or iconic (but actual) event of one or two minutes’ duration captured on film with which to symbolise their country’s history in the film era (they can be on nitrate!). We will show these surprises as “punctuation” through the Congress week as opportunities occur. We shall launch the 56th Annual Congress on Saturday, 3 June, with a gala presentation of a new and definitive restoration of Abel Gance’s Napoleon, complete with authentic tinted-and-toned scenes and accompanied by a full orchestra playing an updated version of Carl Davis’ celebrated score. This will be screened during the afternoon and evening of 3 June at the Royal Festival Hall, with the Opening Reception of the Congress taking place in the extended intermission. Visits will include a tour of the NFTVA’s J Paul Getty Conservation Centre at Berkhamsted, 35 miles from London (ending with an evening barbecue); and - at the invitation of the Imperial War Museum and the Scottish Film Archive - a reception at the IWM in Lambeth, with an opportunity to tour the refurbished Museum and its film and video installations. For those who plan to stay through Saturday, 10 June, we hope to arrange an optional river trip on the Thames to Kew Gardens with suitable refreshments on board. And for anyone extending their trip, there is an open invitation from the recognised regional film archives in the UK to pay them a visit. 103 Journal of Film Preservation / 58/59 / 1999 Le deuxième symposium, The Archive of the Future, sur l'avenir des archives du film, durera une demi journée. Les archives affiliées à la FIAF sont invitées à sélectionner, dans leur collection, un “moment cinématographique” d'une durée d'une ou deux minutes qui pourrait symboliser l'histoire du cinéma de leur pays. Une restauration définitive de Napoléon d'Abel Gance sera projetée pour la soirée d'ouverture. 56° Congreso de la FIAF en Londres 2000 El último congreso del milenio se llevará a cabo en Londres, del 3 al 10 de junio, y será organizado por el National Film and Television Archive del British Film Institute, en colaboración con el Film and Video Archive del Imperial War Museum. La Asamblea General, los simposios y los talleres serán traducidos simultáneamente al francés y al español. El simposio principal, intitulado The Last Nitrate Picture Show, abordará durante dos días todos los aspectos del nitrato de celulosa: su historia, tecnología, química, arqueología, impacto sobre el arte cinematográfico, y papel que desempeñó en la evolución de los archivos de cine. El tema será presentado por especialistas en la materia, e ilustrado con proyecciones. Por las noches, se programarán películas vinculadas con el tema (Cinema Paradiso, La valigia dei sogni, The Love Test, Raging Bull, etc.). El proyecto del libro del nitrato a cargo de Roger Smither se encuentra en vías de realización y sigue abierto a toda contribución. El segundo simposio abordará, durante una media jornada, el futuro de los archivos cinematográficos, bajo el título de The Archive of the Future. Por otra parte, los afiliados de la FIAF quedan invitados a presentar un "momento de cine" de uno o dos minutos de duración, seleccionado en sus colecciones, que simbolice la historia del cine de su país. La restauración reciente del Napoleón de Abel Gance será proyectada en la función de apertura.
Page 1 and 2:
Journal of Film Preservation 58/59
Page 3 and 4:
October / octobre / octubre 1999 Ne
Page 5 and 6:
Cette classification n’est pas an
Page 7 and 8:
aussi les atteintes biologiques et
Page 9 and 10:
culturel : cette demande externe es
Page 11 and 12:
et d’usage (39). A leur tour les
Page 13 and 14:
Au fur et à mesure que le temps pa
Page 15 and 16:
porte une part de perte d’informa
Page 17 and 18:
narité et recherche» Conférence
Page 19 and 20:
La mémoire des archives Eric de Ku
Page 21 and 22:
idéologies particulières qui gouv
Page 23 and 24:
Si tout semble apte à devenir mati
Page 25 and 26:
de l’architecture classée de la
Page 27 and 28:
première des logiciels ; une fois
Page 29 and 30:
tout autant pour sa valeur de “be
Page 31 and 32:
n’existent que projetés ; un peu
Page 33 and 34:
automatiquement exclues de ces acti
Page 35 and 36:
Soyons clair. Il n’est nullement
Page 37 and 38:
Film & Photo Ltd Specialist motion
Page 39 and 40:
. Transplantation of image layer 1.
Page 41 and 42:
3. Place a small strip of the cut e
Page 43 and 44:
the faded color image. Take the fer
Page 45 and 46:
y different processing techniques,
Page 47 and 48:
pollutant. But it has three disadva
Page 49 and 50:
3. sodium sulfite anhydrous 15g 4.
Page 51 and 52:
A la hora de utilizar este tipo de
Page 53 and 54: una formulación a otra y cualquier
Page 55 and 56: como adhesivo en cintas sensibles a
Page 57 and 58: adhesividad del polímero dan lugar
Page 59 and 60: transformaciones sufridas por la pl
Page 61 and 62: Figura 12: Ejemplo de un fotograma
Page 63 and 64: Diagnóstico de acidez en acetato d
Page 65 and 66: Recreating Motion Pictures From Vis
Page 67 and 68: collection represents a rare and re
Page 69 and 70: A corrected and expanded inventory
Page 71 and 72: Ecole de Pointe-aux-Trembles: l’I
Page 73 and 74: qui prône une éducation rigoureus
Page 75 and 76: He organized and led a series of in
Page 77 and 78: A Coruña Centro Galego de Artes da
Page 79 and 80: Toronto Cinematheque Ontario/The Fi
Page 81 and 82: Not to Hollywood Hillel Tryster The
Page 83 and 84: and Milka Badjura. In the thirties
Page 85 and 86: efore 1945. As an economic organisa
Page 87 and 88: source text now used by the archivi
Page 89 and 90: addition, it will endeavour to acqu
Page 91 and 92: 1. Anthology Film Archives Awarded
Page 93 and 94: de estas tareas, se han resuelto di
Page 95 and 96: para impulsar la ganadería importa
Page 97 and 98: years? Currently, Iskusstvo kino (
Page 99 and 100: own motion picture camera, filing a
Page 101 and 102: Asia. Cameras were also sent to Cub
Page 103: collections, the George Kleine Coll
Page 107 and 108: We cannot be complacent: we know ho
Page 109 and 110: provided by the Ahmanson Foundation
Page 111 and 112: Comedies, and comedy-dramas: It’s
Page 113 and 114: In addition to the traditional sect
Page 115 and 116: Scuola Nazionale di Cinema, N°1, d
Page 117 and 118: Réseau Européen de Formation pour
Page 119 and 120: This publications list and the orde
Page 121 and 122: In order to guarantee safe passage
Page 123 and 124: FIAF International FilmArchive CD-R
Page 125 and 126: JTS Paris 2000 - Joint Technical Sy
Page 127: Contributors to this issue... Ont p
show all

Journal of Film Preservation - FIAF

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?