Film Preservation 1993: A Study of the Current State of American Film Preservation Volume 1: Report

Related records

• Television and Video Preservation 1997: A Report on the Current State of American Television and Video Preservation Bibliography

• Film preservation Chronology

  New York State Council on the Arts (NYSCA) Film Program establishes a separate category for film preservation

• Preservation Links Preservation

  Compiled list of web references used in the Preservation area; entries comprise archival bodies, professional associations, museums, conservation and media preservation organizations, technical vendors and preservation initiatives. Notable institutions cited include the Library of Congress, American Film Institute, George Eastman House Selznick School of Film Preservation, UCLA Film and Television Archive, National Film Preservation Foundation and WGBH Universal Preservation Format Initiative. The list also cites regional alliances, laboratories and specialty service providers for audiovisual and document conservation.

• Film Preservation Center Chronology

  Groundbreaking for the Film Preservation Center of the Museum of Modern Art.

• Anthology Film Archives Chronology

  Anthology Film Archives initiated a video preservation project in 1983 with pilot funding from the New York State Council on the Arts; the project aimed to identify and locate independent video-makers in the United States, borrow and rerecord video works endangered by age or format obsolescence, and preserve the re-recordings under specified temperature/humidity conditions. As of August 1983 work was underway in all three areas; the next issue of Video Texts will present a report on the project's first year.

• Video Preservation: A Report from the Trenches Preservation

  A Video Data Bank author reports on videotape preservation practice and supervised preservation of the Castelli-Sonnabend collection and the compilation of 65 titles for Surveying the First Decade; core procedures described include transfers among formats (1/2" open reel, 1" IVC, 3/4" U-matic, digital), cleaning, reference copies, two masters, cataloging and storage. He details technical problems (drop-out, skew, deck differences, TBC use) and aesthetic/legal dilemmas about edits and distribution; institutional activity by BAVC, Media Alliance and MoMA and funders such as the Andy Warhol Foundation and Getty Grant Program are noted. Events cited include Playback 1996 (SFMOMA, March 29–30) and Library of Congress hearings in March 1996 in New York, Washington, DC and Los Angeles; texts by Deirdre Boyle, Jim Hubbard and Jim Lindner are referenced.