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This media history explores a series of portable small cameras, playback devices, and storage units that have made the production of film and video available to everyone. Covering several storage formats from 8mm films of the 1900s, through the analogue videotapes of the 1970s, to the compression algorithms of the 2000s, this work examines the effects that the shrinkage of complex machines, media formats, and processing operations has had on the dissemination of moving images. Using an archaeological approach to technical standards of media, the author provides a genealogy of portable storage formats for film, analog video, and digitally encoded video. This book is a step forward in decoding the storage media formats, which up to now have been the domain of highly specialised technicians.

Motion picture film --- Image files --- Computer files --- Cinematographic film --- Film, Cinematographic --- Film, Motion picture --- Films, Cinematographic --- Motion pictures --- Moving-picture film --- Cinematography --- Photography --- History. --- Film --- Equipment and supplies --- Films --- media history. --- moving image.

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Motion picture film --- Film archives --- Films (Pellicules cinématographiques) --- Archives cinématographiques --- Film archives. --- Preservation --- Conservation --- Preservation. --- Archives, Motion picture --- Motion picture archives --- Cinematographic film --- Film, Cinematographic --- Film, Motion picture --- Films, Cinematographic --- Motion pictures --- Moving-picture film --- Conservation and restoration --- Preservation and storage --- Film --- Archives --- Motion picture film collections --- Cinematography --- Photography --- Equipment and supplies --- Films --- Films (Pellicules cinématographiques) --- Archives cinématographiques

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"Handmade films stretch back to cinema's beginnings, yet until now their rich history has been neglected. Process Cinema is the first book to trace the development of handmade and hand-processed film in its historical and contemporary contexts, and from a global perspective. Mapping the genealogy of handmade film, and uncovering confluences, influences, and interstices between various international movements, sites, and practices, Process Cinema positions the resurgence of handmade and process cinema as a counter-practice to the rise of digital filmmaking. This volume brings together a range of renowned academics and artists to examine contemporary artisanal films, DIY labs, and filmmakers typically left out of the avant-garde canon, addressing the convergence between the analog and the digital in contemporary process cinema. Contributors investigate the history of process cinema - unscripted, improvisatory manipulation of the physicality of film - with chapters on pioneering filmmakers such as Len Lye and Marie Menken, while others discuss an international array of collectives devoted to processing films in artist-run labs from South Korea to Finland, Australia to Austria, and Greenland to Morocco, along with historical and contemporary practices in Canada and the United States. Addressing the turn to a new, sustainable creative ecology that is central to handmade films in the twenty-first century, and one that defines today's reinvigorated film cultures, Process Cinema features some of the most beautiful handcrafted films and the most forward-thinking filmmakers within a global context."--

Motion picture film. --- Cinematography --- Motion picture film --- Splicing (Motion picture film) --- Joints (Engineering) --- Cinematographic processing --- Darkroom technique in cinematography --- Processing, Cinematographic --- Photographic chemistry --- Cinematographic film --- Film, Cinematographic --- Film, Motion picture --- Films, Cinematographic --- Motion pictures --- Moving-picture film --- Photography --- Processing. --- Splicing. --- Darkroom technique --- Film --- Equipment and supplies --- Films

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791.44.02 --- Motion picture film --- -#SBIB:309H1315 --- Cinematographic film --- Film, Cinematographic --- Film, Motion picture --- Films, Cinematographic --- Motion pictures --- Moving-picture film --- Cinematography --- Photography --- Filmproductie: methoden en technieken; vakmanschap. Filmtechnologie. Technologische aspecten van de film --- Preservation --- -History --- Filmwezen: technologie (met inbegrip van de sociale implicaties) --- Film --- Equipment and supplies --- Films --- 791.44.02 Filmproductie: methoden en technieken; vakmanschap. Filmtechnologie. Technologische aspecten van de film --- #SBIB:309H1315 --- Preservation&delete& --- History --- Preservation and storage --- United States --- Motion picture film - Preservation and storage - United States - History.

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It is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there were just above forty minutes of moving images to be seen, and most of them are now preserved. Today, for every film made, thousands of them disappear forever without leaving a trace. Meanwhile, public and private institutions are struggling to save the film heritage with largely insufficient resources and ever increasing pressure from the commercial world. Are they wasting their time? Is the much feared and much touted Death of Cinema already occurring before our eyes? Is digital technology the solution to the problem, or just another illusion promoted by the industry? In a provocative essay designed as a collection of aphorisms and letters, Paolo Cherchi Usai brings an impassioned scrutiny to bear on these issues with a critique of film preservation, an indictiment of the crimes perpetuated in its name, and a proposal to give a new analytical framework to a major cultural phenomenon of our time. 'The Death of Cinema' is published in Italian as 'L'ultimo spettatore'. Sulla distruzione del cinema 1999, Editore Il Castoro.

Film --- Motion pictures --- Motion picture film --- Cinéma --- Films (Pellicule cinématographique) --- Philosophy. --- Preservation. --- Philosophie --- Conservation --- -Motion picture film --- -#SBIB:309H1312 --- #SBIB:309H1319 --- #SBIB:033.AANKOOP --- Paolo Cherchi Usai --- film --- twintigste eeuw --- filmtheorie --- filmconservatie --- filmgeschiedenis --- kunst en technologie --- Scorsese Martin --- 791.41 --- Cinematographic film --- Film, Cinematographic --- Film, Motion picture --- Films, Cinematographic --- Moving-picture film --- Cinematography --- Photography --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Philosophy --- Preservation --- Filmwezen: bedrijfseconomische aspecten, productie- en distributiestructuren --- Filmwezen: andere aspecten --- Equipment and supplies --- History and criticism --- Cinéma --- Films (Pellicule cinématographique) --- #SBIB:309H1312 --- Conservation and restoration --- Preservation and storage --- CDL