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Provenance and early cinema /
Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, ""How did these moving images get here for me to see them?This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cin...
| Clasificación: | Libro Electrónico |
|---|---|
| Otros Autores: | , , , , , , , , , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Bloomington :
Indiana University Press,
2021.
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| Colección: | Early Cinema in Review: Proceedings of Domitor Ser.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 245 | 0 | 0 | |a Provenance and early cinema / |c edited by Joanne Bernardi, Paolo Cherchi Usai, Tami Williams, and Joshua Umibe. |
| 260 | |a Bloomington : |b Indiana University Press, |c 2021. | ||
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| 490 | 1 | |a Early Cinema in Review: Proceedings of Domitor Ser. | |
| 500 | |a Description based upon print version of record. | ||
| 505 | 0 | |a Cover -- Title page -- Copy right -- Contents -- Domitor Series -- Précis -- Introduction: Provenance and Early Cinema: From Preservation and Collection to Circulation and Repurposing -- Part I. Studying Provenance: From Analog to Digital -- 1. Film Provenance: A Framework for Analysis -- 2. Origins: Early Films and Archival Collections -- 3. From Provenience to Provenance: The Kerstrat-d'hauterives Collection -- 4. Provenance and Film Historiography: 1910s Films at the George Eastman Museum -- 5. Issues of Provenance and Attribution for the Canon: Bookending Robert Paul | |
| 505 | 8 | |a 6. Shattered Provenance in the Digitization of Early Colorfilms -- Part II. Preservation and Collection -- 7. Dreaming in Color: The Image and the Artifact -- 8. Where Did the Costumes in Early Cinema Come From? -- 9. Thinking With Provenance: Drawing Trajectories in the Francis Doublier Collection at the George Eastman Museum -- 10. Revisiting the Films of Albert Kahn's Archives De La Planète: a Material Survey -- 11. The Thanhouser Studio Filmography: Analysis and Extant Prints | |
| 505 | 8 | |a 12. The Great War at Scale: New Opportunities for Provenance in World War I Collections at the National Archives (Nara) -- Part III. Circulation -- 13. Chicago's "censored Casualties" and the Provenance of Archive Prints -- 14. What Made the Mechanicals Move? Postcards in Transit -- 15. "The End of a Foreign Monopoly": Bausch and Lomb and the Wartime Provenance of Optical Glass -- 16. Pathé Films in Brazil: The Archives of Marc Ferrez & Sons (1908-1916) -- 17. Establishing the Provenance of Early Advertising Films: Film Catalogs and the Creation of the Nontheatrical Market | |
| 505 | 8 | |a 18. A Journey on the World's Most Northerly Railway: The Renaming and Remaking of Swedish Industrial Films -- 19. In Search of "The Edison Biograph Company": Film History through Philippine Archives -- 20. Ownership, Exploitation, Stewardship: Tracking the Footage of the 1911-1913 Australian Antarctic Expedition -- Part IV. Repurposing -- 21. Finding Early Cinema in the Avant-Garde: Research and Investigation -- 22. Ernie Gehr's The Collector (2003) and Ernie Gehr the Collector -- 23. Flicker: Thom Andersen Takes Muybridge to the Movies | |
| 505 | 8 | |a 24. Provenance on Ice: Dawson City: Frozen Time and the Dawson City Collection -- 25. Praxis as Media Historiography: The Peep Box's "expanding View" as Virtual Reality -- 26. How Newspaper Novels and Their Illustrations Shaped Japanese Films -- 27. Archival Object or Object Lesson? Bricolage as Process and as Concept in the Edmundo Padilla Collection -- Appendix: French Language Essay -- 28. La Collection De Kerstrat-d'hauterives, De Sa Provenience À Sa Provenance -- Appendix: French Language Essay -- 29. D'où Viennent Les Costumes Du Cinéma Des Premiers Temps? | |
| 500 | |a Appendix: Dryden Theatre Screening Program. | ||
| 520 | |a Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, ""How did these moving images get here for me to see them?This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives. | ||
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| 650 | 0 | |a Art |x Provenance. | |
| 650 | 6 | |a Art |x Provenance. | |
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| 650 | 7 | |a Art |x Provenance. |2 fast |0 (OCoLC)fst00815319 | |
| 700 | 1 | |a Bernardi, Joanne, |e editor. | |
| 700 | 1 | |a Cherchi Usai, Paolo, |e editor. | |
| 700 | 1 | |a Williams, Tami, |d 1970- |e editor. | |
| 700 | 1 | |a Yumibe, Joshua, |e editor. | |
| 700 | 1 | |a Blot-Wellens, Camille, |e contributor. | |
| 700 | 1 | |a Lacasse, Germain, |e contributor | |
| 700 | 1 | |a Ingravalle, Grazia, |e contributor | |
| 700 | 1 | |a Christie, Ian, |e contributor | |
| 700 | 1 | |a Daugaard, Noemi, |e contributor | |
| 700 | 1 | |a Stutz, Olivia Kristina, |e contributor | |
| 776 | 0 | 8 | |i Print version: |a Bernardi, Joanne |t Provenance and Early Cinema |d Bloomington : Indiana University Press,c2021 |z 9780253053022 |
| 830 | 0 | |a Early Cinema in Review: Proceedings of Domitor Ser. | |
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