posted January 8, 2011
Northeast Historic Film, an independent nonprofit organization founded in 1986 in Bucksport ME to preserve and make available moving images of interest to the people of northern New England, is offering its 2011 William O’Farrell Fellowship, which is awarded to an individual engaged in research towards a publication, production, or presentation based on moving-image history
posted January 5, 2011
Clearly, television is not what it used to be, thanks to major developments in the way moving images are recorded, edited, stored, viewed, distributed, and everything else. Tape is dead or at least put on ice; the new day is all digital. and nonprofit TV is pointing to ways ahead for moving-image archiving, although not
posted January 4, 2011
The New Documentary Movement in China emerged in the late 1980s, and has ruffled officialdom’s feathers by examining, interpreting, and intervening in social, political, and historical issues in the nation. Contributors to a new book relate the history and character of the new works, and explain that documentary films are becoming the signature mode of
posted December 30, 2010
Renowned experimental filmmaker Bill Morrison has an unusual relation to the world of moving-image archives: He uses the qualities of deteriorating nitrate film stock for various artistic, expressive ends. He speaks here with Moving Image Archive News.
posted December 2, 2010
Some of the greatest filmed recordings of jazz might have sat collecting dust for decades, or forever, had it not been for the curiosity and dedication of one company and its Jazz Icons series. Since 2006, the American company, Reelin’ in the Years Productions, has issued four sets, each of seven DVDs, presenting top-flight live-recording
posted November 28, 2010
Every archivist in creation must have seen this, by now. But perhaps some non-archivists among our readers will share the archivists’ mirth.
posted November 21, 2010
Posted to our site today: Framing German Wartime Suffering, a package about a controversial subject. There’s a feature article about recent studies of the experiences of German civilians during and after World War II, and an interview with Marc Silberman, the editor of a new collection of essays about films that relate to that subject.
posted November 21, 2010
Marc Silberman, co-editor with Paul Cooke of Screening War: Perspectives on German Suffering (Camden House), talks about films on German wartime suffering and forgetting, and the archiving and availability of films on that subject. Thinking about German suffering was common just after the war, was it? Yes. Paul Cooke and I make clear in our
posted November 12, 2010
The New York Times reports today (November 12, 2010) the rediscovery in Tangiers of You Are Not I, Sara Driver’s 1980 film version of the Paul Bowles short story of the same title. The print, reports the Times’s Randy Kennedy, is of a film Driver based on a 1948 Bowles story about a young woman
posted November 5, 2010
Film preservation, moving image archiving — whatever the most all-encompassing term du jour is — sometimes makes its way into wider public awareness. Martin Scorsese talked up The Film Foundation, which he created, at the most recent Oscar ceremony. (Not Oscar categories, yet: Best Rediscovery of a Forgotten Film and Best Critical Research on a