Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

La question de la conservation, de la restauration et de la diffusion du patrimoine cinématographique et audiovisuel devient de plus en plus cruciale. Des pans entiers de l'histoire du cinéma demeurent toujours difficiles d'accès et sont souvent menacés de disparition. Que faire de ces gisements de films et de documents audiovisuels que les archives ont de moins en moins les ressources et la possibilité de faire connaître ? Où commence et où s'arrête la notion de patrimoine filmique ? Quels sont les critères de pertinence qui mènent une cinémathèque ou une archive à favoriser la restauration de telle œuvre plutôt que telle autre ? Comment la redécouverte de certains corpus de films contribue à modifier notre connaissance de l'histoire du cinéma ? Quelle influence la conservation et la patrimonialisation du cinéma a eu sur les créateurs de cinéma ? Comment ces œuvres participent d'une forme de valorisation singulière du patrimoine filmique ? Quels sont les nouveaux défis des cinémathèques et des archives dans la conservation et la restauration du patrimoine filmique ? Quels rôles jouent les « nouveaux supports » dans la conservation de certaines zones oubliées du patrimoine cinématographique ? Sans avoir la prétention d’épuiser les multiples ramifications de ces questions pressantes, vastes et complexes, cet ouvrage voudrait poser quelques jalons d’une réflexion plus que jamais nécessaire sur l’avenir de la mémoire des archives cinématographiques et audiovisuelles.

Motion picture film --- Motion picture film collections --- Motion pictures --- Audio-visual archives --- Visual Arts --- Art, Architecture & Applied Arts --- Photography --- Preservation --- Archival resources --- Archives, Audio-visual --- Film collections --- Film libraries --- Motion picture collections --- Motion picture libraries --- Moving-picture film collections --- Conservation and restoration --- Preservation and storage --- Archives --- Special libraries --- Film archives --- archives --- cinéma --- cinémathèque --- mémoire --- restauration --- Audio-visual archives. --- Preservation. --- Archival resources.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Hollywood Vault is the story of how the business of film libraries emerged and evolved, spanning the silent era to the sale of feature libraries to television. Eric Hoyt argues that film libraries became valuable not because of the introduction of new technologies but because of the emergence and growth of new markets, and suggests that studying the history of film libraries leads to insights about their role in the contemporary digital marketplace. The history begins in the mid-1910s, when the star system and other developments enabled a market for old films that featured current stars. After the transition to films with sound, the reissue market declined but the studios used their libraries for the production of remakes and other derivatives. The turning point in the history of studio libraries occurred during the mid to late 1940s, when changes in American culture and an industry-wide recession convinced the studios to employ their libraries as profit centers through the use of theatrical reissues. In the 1950s, intermediary distributors used the growing market of television to harness libraries aggressively as foundations for cross-media expansion, a trend that continues today. By the late 1960s, the television marketplace and the exploitation of film libraries became so lucrative that they prompted conglomerates to acquire the studios. The first book to discuss film libraries as an important and often underestimated part of Hollywood history, Hollywood Vault presents a fascinating trajectory that incorporates cultural, legal, and industrial history.

Motion pictures --- Motion picture studios --- Motion picture industry --- Motion picture film collections --- Distribution. --- History --- Finance. --- Economic aspects. --- Book acquisition --- Film --- anno 1900-1999 --- Los Angeles [California] --- Film collections --- Film libraries --- Motion picture collections --- Motion picture libraries --- Moving-picture film collections --- Special libraries --- Film archives --- Companies, Motion picture --- Film companies --- Film studios --- Motion picture companies --- Motion picture production companies --- Moving-picture studios --- Production companies, Motion picture --- Studios, Motion picture --- Business enterprises --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- american culture. --- business and industry. --- cinema. --- contemporary digital marketplace. --- cross media expansion. --- cultural studies. --- film industry. --- film libraries. --- film. --- filmmaking. --- films with sound. --- history of cinema. --- history. --- hollywood history. --- hollywood. --- industrial history. --- industry transformation. --- legal studies. --- long term implications. --- movie industry. --- new markets. --- old films. --- remakes. --- retrospective. --- silent era of film. --- star system. --- studio libraries. --- technology. --- television. --- theatrical reissues.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"A majority of all films ever made no longer exist. Those that are left will deteriorate rapidly unless kept in optimum conditions. Since the 1930s film archives around the world have been struggling to preserve our cinematic heritage through preservation, restoration and the search for lost films. But the questions of what to keep and how are complex ... and what about television?" "Keepers of the Frame tells the intriguing story of how the archive movement came into being, describes preservation policies and technical developments, and communicates the fascination and romance of rescuing the flickering images of the past."--Jacket.

Motion picture film collections. --- Film archives. --- Motion picture film --- Preservation. --- Cinéma --- Conservation et restauration --- Film archives --- Motion picture film collections --- Motion picture theaters --- film --- filmgeschiedenis --- filmproductie --- filmrestauratie --- twintigste eeuw --- filmarchieven --- filmarchivering --- 791.43 --- Motion pictures --- Special libraries --- Film collections --- Film libraries --- Motion picture collections --- Motion picture libraries --- Moving-picture film collections --- Archives --- Archives, Motion picture --- Motion picture archives --- Preservation --- Conservation and restoration --- Preservation and storage --- Films (Motion pictures) --- Conservation

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Iris Barry (1895-1969) was a pivotal modern figure and one of the first intellectuals to treat film as an art form, appreciating its far-reaching, transformative power. Although she had the bearing of an aristocrat, she was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, Barry attracted the attention of Ezra Pound and joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats. She fell in love with Pound's eccentric fellow Vorticist, Wyndham Lewis, and had two children by him. In London, Barry pursued a career as a novelist, biographer, and critic of motion pictures. In America, she joined the modernist Askew Salon, where she met Alfred Barr, director of the new Museum of Modern Art. There she founded the museum's film department and became its first curator, assuring film's critical legitimacy. She convinced powerful Hollywood figures to submit their work for exhibition, creating a new respect for film and prompting the founding of the International Federation of Film Archives. Barry continued to augment MoMA's film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Huston, and Frank Capra. Yet despite her patriotic efforts, Barry's "foreignness" and association with such filmmakers as Luis Buñuel made her the target of an anticommunist witch hunt. She eventually left for France and died in obscurity. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's phenomenal life and work while recasting the political involvement of artistic institutions in the twentieth century.

Archivists --- Film critics --- Motion picture film --- Motion picture film collections --- Music, Dance, Drama & Film --- Film --- Preservation --- History --- Archival resources --- Barry, Iris, --- Museum of Modern Art (New York, N.Y.). --- History. --- Archival resources. --- Film collections --- Film libraries --- Motion picture collections --- Motion picture libraries --- Moving-picture film collections --- Cinematographic film --- Film, Cinematographic --- Film, Motion picture --- Films, Cinematographic --- Motion pictures --- Moving-picture film --- Motion picture critics --- Moving-picture critics --- Museum of Modern Art Film Library (New York, N.Y.) --- Film Library of the Museum of Modern Art (New York, N.Y.) --- Special libraries --- Film archives --- Cinematography --- Photography --- Critics --- Equipment and supplies --- Films --- Preservation&delete& --- E-books