From Grain to Pixel: The Archival Life of Film in Transition

338 Pages·2011·12.41 MB·English

from grain to pixel
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FRAMING
FILM
framing film is a new book series dedicated to
theoretical and analytical studies in restoration,
collection, archival, and exhibition practices, in
line with the existing archive of EYE Film Institute.
With this series, Amsterdam University Press
and EYE aim to support the academic research
community, as well as practitioners in archive
and restoration. Please see www.aup.nl for more
information.
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GIOVANNA FOSSATI
FROM GRAIN TO PIXEL
The Archival Life
of Film in Transition
amsterdam university press
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to gloria
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TAble OF CONTeNTS
Acknowledgements 9 | 7

Framing Film (in Transition): an Introduction 13
part one
practice and theory of (archival) film
1 Film Practice in Transition 33
2 Theorizing Archival Film 103
part two
theorizing (archival) practice
3 Film Archival Field in Transition 149
4 Restoration Case Studies: Theorizing Archival Practice 211
A New Mindset for (Archival) Film in Transition: a Conclusion 255
Notes 261
Glossary of Technical Terms 285
List of Illustrations 291
Filmography 293
Bibliography 297
Index 311
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ACkNOwledGemeNTS
I would first of all like to thank Frank Kessler and Nanna Verhoeff at Utrecht | 9
University and William Uricchio at Utrecht University and Massachussetts
Institute of Technology who have encouraged and supported this project from
the very beginning. Their stimulating input has added greatly to the substance
of this work.
This book has also benefited from the advice and the fruitful suggestions by
Tom Gunning (University of Chicago) whom I would also like to thank for his
support.
The research for this book has been made possible by the support of the Neth-
erlands Organisation for Scientific Research (NWO).
Special thanks also to the Nederlands Filmmuseum,* and in particular to
former Director Rien Hagen and current Director Sandra den Hamer, who
believed in this project and have made it possible for me to carry it out.
Among the people who have helped me at the Nederlands Filmmuseum,
I would like to especially thank Mark-Paul Meyer, not least for all that he has
taught me in the past thirteen years. His comments on this project have been
of great value.
Many thanks also to my colleagues Leontien Bout, Andreas Busche, Cath-
erine Cormon, Guy Edmonds, Anne Gant, Irene Haan, Rixt Jonkman, Nico de
* On January 1, 2010 the Nederlands Filmmuseum merged with Holland Film, the
Nederlands Institute for Film Education, and the Filmbank to form EYE Film Insti-
tute Netherlands.
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