A Light Affliction: a History of Film Preservation and Restoration » książka
A Light Affliction: a History of Film Preservation and Restoration
ISBN-13: 9781326002725 / Angielski / Miękka / 2014 / 332 str.
A Light Affliction: a History of Film Preservation and Restoration
ISBN-13: 9781326002725 / Angielski / Miękka / 2014 / 332 str.
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A history of film preservation and restoration, telling the story from the earliest days of the cinema to the modern days of digital restorations. The cinema was invented in the Victorian era, but for the first four decades of its existence almost no effort was made to preserve the millions of feet of celluloid which rolled through the cameras and projectors of the world. As a result, thousands of movies were lost forever. In the 1930s, the first concerted attempts at film preservation were begun by pioneering individuals such as Iris Barry at New York's Museum of Modern Art; Ernest Lindgren at the British Film Institute, and the indomitable Henri Langlois at the Cinematheque francaise, a man who performed heroics in occupied France to save the world's cinematic heritage from destruction by the Nazis. The 1980s video boom encouraged the studios finally to instigate asset protection programmes and in the digital age new methods of producing, exhibiting and restoring motion pictures emerged.
A history of film preservation and restoration, telling the story from the earliest days of the cinema to the modern days of digital restorations. The cinema was invented in the Victorian era, but for the first four decades of its existence almost no effort was made to preserve the millions of feet of celluloid which rolled through the cameras and projectors of the world. As a result, thousands of movies were lost forever. In the 1930s, the first concerted attempts at film preservation were begun by pioneering individuals such as Iris Barry at New Yorks Museum of Modern Art; Ernest Lindgren at the British Film Institute, and the indomitable Henri Langlois at the Cinémathèque française, a man who performed heroics in occupied France to save the worlds cinematic heritage from destruction by the Nazis. The 1980s video boom encouraged the studios finally to instigate asset protection programmes and in the digital age new methods of producing, exhibiting and restoring motion pictures emerged.
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