Nitrate Won't Wait: A History of Film Preservation in the United States

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McFarland, Jan 1, 2000 - Performing Arts - 240 pages
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This study looks at the preservation process: newsreel, television, and color preservation; the often controversial issue of colorization; and commercial film archives. It provides detailed histories of the major players in the preservation battle including the International Museum of Photography at George Eastman House, the American Film Institute, the Museum of Modern Art, the UCLA Film and Television Archive, and the Library of Congress. This first historical overview of film preservation in the United States is also highly controversial in its exposure and criticism of the politicization of film preservation in recent years, and the rising bureaucracy which has often lost sight of preservation and restoration as the ultimate purpose of film archives.
 

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Contents

Introduction
1
Early Years and the Museum of Modern Art
9
Newsreel Preservation and the National Archives
25
The Library of Congress
36
Thanks to the Film Collectors
45
The Fifties and Sixties
61
Things Are Seldom What They Seem
74
Specialization in the Seventies
89
Into the Nineties
145
Members of FIAF
163
Major U S Noncommercial Film Archives
168
Major NonU S Commercial Film and Video Libraries
172
Major U S Commercial and Stock Footage Libraries
175
Subject Guide to U S Films Preserved in U S Archives
179
Recommendation for the Safeguarding and Preservation of Moving Images
181
Restoring Josef von Sternbergs The Saga ofAnatahan
184

New Areas of Preservation
102
Colorization
122
Stock Footage Libraries
134
The Scandinavian Way
193
Index
219
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About the author (2000)

Film historian Anthony Slide of Studio City, California was hailed by Lillian Gish as "our preeminent historian of the silent film era." He is the author of numerous works of film scholarship.

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