Journal of Film Preservation - FIAF

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Name / Nom e-mail Order Form/Bulletin de commande/Pedidos The Journal of Film Preservation Subscribe for 2 years at the price of 45 euro Abonnez-vous pour 2 ans au tarif spécial de 45 euro Annual Subscription / Abonnement annuel 30 euro + 7.5 euro for banking costs if bank transfer / + 7,50 euro frais bancaires si virement Tel Fax Address / adresse Postal code / Code postal Town / Ville Country / Pays Please charge my credit card for the amount of / Je paie par ma carte de crédit ■ American Express ■ Visa ■ Diners Club ■ MasterCard / Eurocard N° ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ Expiry date / date d’expiration or please transfer directly from your bank account to FIAF account, Brussels ou veuillez transférer de votre compte bancaire au compte de la FIAF, Bruxelles ■ Crédit Communal 068-2107754-68, Av. Brugmann 247, 1180 Bruxelles, Belgique Date: Signature FIAF - rue Defacqz, 1 - 1000 Bruxelles, Belgium Advertising Rates/Tarifs publicitaires 1€/$ exchange rate 1€/$ taux de change 1€/$ tasa de cambio 1€ ± $1.08 The FIAF Journal of Film Preservation has a print-run of 1000 and reaches more than 200 film and television archives, libraries and more than 2000 individual professionals all over the world. Le Journal of Film Preservation de la FIAF est tiré à 1000 exemplaires et touche plus de 200 archives et bibliothèques, soit plus de 2000 professionnels dans le monde. Printing / impression black and white / noir et blanc Journal page format / format de page 23.6 x 17.8cm To be provided / matériel à fournir copy in camera-ready form, graphics and text/ prêt à imprimer tel quel, graphiques et textes inclus Price / Prix 1 year (2 ads) / 1 an (2 annonces) 600 euros each / par annonce 2 years (4 ads) / 2 ans (4 annonces) 450 euros each / par annonce Special offer for FIAF Subscribers: two years (4 ads) 300 euros each Offre spéciale FIAF Souscripteurs: 2 ans (4 annonces) 300 euros par annonce ✂
Contributors to this issue... Ont participé à ce numéro... Han colaborado en este número … Jaime Pena es Responsable de la programación en el Centro Galego de Artes da Imaxe (A Coruña). Ségolène Bergeon est Conservateur Général du Patrimoine, Direction de l’architecture et du patrimoine du Ministère de la Culture de France (Paris). Stephen Bottomore is Founding Member of the Society of Early Cinema “Domitor” (London). Eileen Bowser is Honorary Member of FIAF, writer and author of numerous books on American film history (New York). José Luis Cabo Villaverde is Director of Centro Galego de Artes da Imaxe (A Coruña). Eric de Kuyper est romancier, essayiste, historien et cinéaste; il a été associé au Filmmuseum d’Amsterdam en tant que conservateur (Nijmegen). Cecilia Díaz González es Jefe del Departamento de Conservación, Cineteca Nacional (México). Ray Edmondson is President of SEAPAVAA and Deputy Director of the National Film and Sound Archive (Canberra). Paulina Fernández Jurado is Director of the Cinemateca Argentina (Buenos Aires). Sylvia Frank is Director of The Film Reference Library (Toronto). Jennifer Gallego Christensen es investigadora técnica en la Filmoteca española (Madrid). Ge Xiangbei is Technical Researcher at the China Film Archive (Beijing). Silvan Furlan is Director of the Slovenska Kinoteka (Ljubljana). ISSN 1017-1126 Irma Hernández is Film Historian at the Cineteca Nacional (México). Clyde Jeavons is Consultant Curator of the NFTVA (London). Marilyn Koolik is Director of the Steven Spielberg Jewish Film Archive at the Hebrew University (Jerusalem). Karen C. Lund works at the National Digital Library (Washington). Fernando Osorio is Curator at the Cineteca Nacional (México). Susan Oxtoby is Director of Programming at Cinematheque Ontario (Toronto). Pierre Pageau est critique, historien et professeur de cinéma (Montréal). Yulia Prokopenko is PR at the Scientific Department of the Gosfilmofond of Russia (Belye Stolby). Alojzij Tersan is Head of the Slovenski Filmski Arhiv (Ljubljana). Hillel Tryster is Deputy Director and Researcher at the Steven Spielberg Jewish Film Archive at the Hebrew University (Jerusalem). Ken Wlaschin is Vice-Chairman of the National Center for Film and Video Preservation of AFI (Los Angeles). Daniel Woodruff is Curator and Preservationist for the Academy of Motion Picture Arts and Sciences (Beverly Hills). Xu Jianhe is Technical Researcher at the China Film Archive (Beijing).
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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
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Figura 12: Ejemplo de un fotograma
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Diagnóstico de acidez en acetato d
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Recreating Motion Pictures From Vis
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collection represents a rare and re
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A corrected and expanded inventory
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Ecole de Pointe-aux-Trembles: l’I
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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
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Page 81 and 82: Not to Hollywood Hillel Tryster The
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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
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Page 95 and 96: para impulsar la ganadería importa
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Page 99 and 100: own motion picture camera, filing a
Page 101 and 102: Asia. Cameras were also sent to Cub
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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 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: JTS Paris 2000 - Joint Technical Sy
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Journal of Film Preservation - FIAF

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