Journal of Film Preservation - FIAF

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Respuesta de Stephen Bottomore a Gillian Anderson En respuesta al artículo publicado en el Journal of Film Preservation N° 57, Dic. 1998, Stephen Bottomore agradece a Gillian Anderson por su defensa de la utilización de partituras originales para películas mudas, y reanudar de esta manera una antiguo debate sobre el carácter silente - o no - de las presentaciones de las películas Lumière y sobre la utilización discutible, según él, de los términos “películas mudas” y “películas de los primeros tiempos” por la Sra. Gillian Anderson. Errata / Fe de erratas 1920). ‘Silent film’ by contrast, has come to mean the period of cinema up to the late 1920s when synchronised sound was widely introduced. Everyone knows that silent films often had a live sound accompaniment, but everyone also knows that the film itself had no soundtrack running along its edge. Hence the term ‘silent film’. Clear, simple, well-accepted and self-explanatory. ‘When I use a word…it means just what I choose it to mean - neither more nor less,’ said Humpty Dumpty, adding that, ‘adjectives you can do anything with’. Well, that way lies the Looking- Glass world, and it is not a world we should enter. No-one should start mucking about with the adjectives silent or early, because we all know what the terms early film and silent film mean. Let us argue about more important issues in film history, such as Ms Anderson’s interesting views on scores. Not about the meanings of words. Errata in Journal of Film Preservation #57 There were several editorial errors in the Journal of Film Preservation #57. Please note the following errata and accept our apologies. 1. ‘The FIAF Nitrate Book - A Progress Report and an Appeal’ The discoveries concerning Murnau’s ‘Faust’ mentioned on page 47 of JFP #57 were actually made by Martin Koerber, although they are erroneously credited to Martin Loiperdinger in the article. Despite being noted during the preparation of the publication, this error still slipped through the final proofreading process. Apologies are extended to both Martins for the mistake, and for any embarrassment it may have caused them. The cover photograph (of Anna May Wong and Sessue Hayakawa) in the same issue is from Roger Smither’s private collection, not from the Imperial War Museum. 2. ‘The Story of the Century! An International Newsfilm Conference’ The review of the above publication, which appeared anonymously on pages 51-54 of JFP #57, was written by Iola Baines, Director of the Wales Film and Television Archive, Aberystwyth. The name of the author has however been mentioned on the back-cover. 3. On the back-cover, Hillel Tryster appears as being Deputy Director and Researcher of the Steven Spielbergh Jewish Film Archive. This refers of course to the Steven Spielberg Jewish Film Archive. 110 Journal of Film Preservation / 58/59 / 1999
In addition to the traditional section devoted to selected - and commented - bibliography, we publish this section, which includes the list of books received at the Brussels Secretariat. En complément de la traditionelle section consacrée à la bibliographie choisie et commentée, nous publions cette sous-section contenant la liste des ouvrages reçus au Secrétariat de Bruxelles. Completando la tradicional sección dedicada a una selección bibliográfica comentada, publicamos en esta sub-sección la lista de libros recibidos en el Secretariado de Bruselas. Books / Livres / Libros Catalogue of the exhibition organised by the Hong Kong Film Archive and presented by the Provisional Urban Council, The Making of Martial Arts Films, as Told by Filmmakers and Stars, Hong Kong, March - April 1999, 97 p., ill., ISBN: 962-8050-06-0 Collective publication of the Cinémathèque Royale de Belgique: Belgian Cinema, Le cinéma belge, de Belgische Film, Filmographie du cinéma belge, 1896-1996, coordination by Marianne Thys, texts by R. Michelems, J. Aubenas, L. Joris, R. Stallaerts, G. Convents, M. Apers, P. Frans, A. Joassin, D. Dufour, P. Geens, S. Meurant, A.-F. Lesuisse, forword by A. Delvaux, Brussels, Sep. 1999, 992p., 775 black and white illustrations, French, English, Dutch, ISBN: 90-5544-234-8 Collective publication of the Ministerio de educación y cultura: Soñar el cine, Fondos de la Colección de la Filmoteca Española, Volladolid, March 1999, 172 p., ill., ISBN: 84-87132-79-0 Collective publication edited by James Quandt, Shohei Imamura, Cinematheque Ontario - Toronto International Film Festival Group, Toronto, 1997, 183 p., ill., filmography, ISBN: 0-9682969-0-4 Collective publication edited by ARCI, UCCA, Cinemateca de Cuba, ICAIC, Homenaje a Pier Paolo Pasolini, XX Festival internacional del Nuevo cine latinoamericano, La Habana, Dec. 1998, 93 p., black and white illustrations Collective publication edited by Einar Nistad, Dromen om de levende bilder, Artikkelsamling Filmmuseet, Norsk Filminstitutt, Oslo, 1999, ISBN: 82-90463-90-1 Collective publication edited by Angel Luis Hueso, Catálogo del cine español, Películas de ficción 1941-1950, vol. F-4, Cátedra / Filmoteca Española, Madrid, 1998, 630 p., ISBN: 84-376-1690-5 Collective publication edited by Transeuropa, Louise Brooks l’européenne, at the occasion of the 52nd Festival International du Film, Cannes. Films restored by the co-operative effort of several film archives, in particular the Cineteca Italiana, Torino, the Cineteca del Comune di Bologna, the Cinémathèque Française, Paris. Ed. Cine Classics, Paris, Barcelona, Roma, München, 1999, 95 p., black and white illustrations. Collective publication edited by Robert A. Haller, First Light, Anthology Film Archives, New York, 108 p., ill. 111 Journal of Film Preservation / 58/59 / 1999 Publications received at the Secretariat Publications reçues au Secrétariat Publicaciones recibidas en el Secretariado de la FIAF
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Journal of Film Preservation 58/59
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October / octobre / octubre 1999 Ne
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Cette classification n’est pas an
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aussi les atteintes biologiques et
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culturel : cette demande externe es
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et d’usage (39). A leur tour les
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Au fur et à mesure que le temps pa
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porte une part de perte d’informa
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narité et recherche» Conférence
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La mémoire des archives Eric de Ku
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idéologies particulières qui gouv
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Si tout semble apte à devenir mati
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de l’architecture classée de la
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première des logiciels ; une fois
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tout autant pour sa valeur de “be
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n’existent que projetés ; un peu
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automatiquement exclues de ces acti
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Soyons clair. Il n’est nullement
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Film & Photo Ltd Specialist motion
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. Transplantation of image layer 1.
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3. Place a small strip of the cut e
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the faded color image. Take the fer
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y different processing techniques,
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pollutant. But it has three disadva
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3. sodium sulfite anhydrous 15g 4.
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A la hora de utilizar este tipo de
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una formulación a otra y cualquier
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como adhesivo en cintas sensibles a
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adhesividad del polímero dan lugar
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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
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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 and 104: collections, the George Kleine Coll
Page 105 and 106: screenings in the NFT and Museum Ci
Page 107 and 108: We cannot be complacent: we know ho
Page 109 and 110: provided by the Ahmanson Foundation
Page 111: Comedies, and comedy-dramas: It’s
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
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