954:, dedicated to film preservation, estimates the average cost of photochemical restoration of a color feature with sound to be $ 80,000 to $ 450,000, with digital 2K or 4K restoration being "several hundred thousand dollars". The degrees of physical and chemical damage of film influence the incentive to preserve, i.e., as the business perspective states that once a film is no longer "commercially" viable, it stops generating profit and becomes a financial liability. While few films would not benefit from digital restoration, the high cost of digitally restoring films still prevents the method from being as broadly applied as it might be.
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films simply do not have enough information left on the film to piece together a new master, although careful digital restoration can produce stunning results by gathering bits and pieces from adjacent frames for restoration on a damaged frame, predicting entire frames based on the characters' movements in prior and subsequent frames, etc. As time goes on, this digital capability will only improve, but it will ultimately require sufficient information from the original film to make proper restorations and predictions.
232:
674:, aware that the original negatives to many of its Golden Age films had been destroyed in a fire, began a preservation program to restore and preserve all of its films by using whatever negatives survived, or, in many cases, the next best available elements (whether it be a fine-grain master positive or mint archival print). From the onset, it was determined that if some films had to be preserved, then it would have to be
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of a two and a half hour film as of 2012 ran upwards of $ 170,000; while a hard disk capable of storing such a movie typically cost a few hundred dollars, with an archival optical disk even less. The problem of having to transfer the data as new generations of equipment come along will continue, however, until true archival standards are put in place.
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studio or vault fires. The largest cause, however, was intentional destruction. As film preservationist Robert A. Harris explains, "Most of the early films did not survive because of wholesale junking by the studios. There was no thought of ever saving these films. They simply needed vault space and the materials were expensive to house."
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Linear and "across the web" (width), as well as localized puckering around large (1 to 2) perforation film cement splices, most common in silent and very early sound films. Highly shrunken film (1.5% or higher), must be copied on modified equipment or the film will most likely be damaged. In the case
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As of 2014, digital scanners can capture images as large as 65 mm in full resolution. That is the typical image size on a traditional (as opposed to the IMAX process) 70 mm film which used a portion of the film surface for its multitrack magnetic sound stripe. The cost of a 70 mm print
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Of course, having an intermediate digital stage, followed by forming a new film master by lasering the digital results onto new film stock does represent an extra generation. So would an intermediate film master that was restored frame-by-frame by hand. The choice of film vs. digital restoration will
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Regardless of the age of the print itself, damage may occur if stored improperly. Damage to the film (caused by tears on the print, curling of the film base due to intense light exposure, temperature, humidity, etc.) can significantly raise the difficulty and the cost of preservation processes. Many
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Enhance frames by reducing film grain noise. Film foreground/background detail about the same size as the film grain or smaller is blurred or lost in making the film. Comparing a frame with adjacent frames allows detail information to be reconstructed since a given small detail may be split between
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While some in the archival community feel that conversion from film to a digital image results in a loss of quality that can make it more difficult to create a high-quality print based upon the digital image, digital imaging technology has become increasingly advanced to the point where 8K scanners
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The recent years rapid incursion of digital technologies in the field has somewhat redefined the vocational scope of film preservation. In response, the majority of graduate programs in film preservation have begun offering courses on digital film preservation and digital film and media collection
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of the cinematic medium, and has positively reflected on digital technologies' ability to broaden restoration possibilities, improve quality, and reduce costs. According to the cinema scholar Leo
Enticknap, the views held by Usai and Fossati could be seen as representative of the two poles of the
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Storage at carefully controlled low temperatures and low humidity can inhibit both color fading and the onset of vinegar syndrome. However, once degradation begins to occur, the chemical reactions involved will promote further deterioration. "There is no indication that we will ever find a way to
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The practice of film preservation is more craft than science. Until the early 1990s there were no dedicated academic programs in film preservation. Practitioners had often entered the field through related education (e.g. library or archival science), related technical experience (e.g. film lab
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film base, which required careful storage to slow its inevitable process of decomposition over time. Most films made on nitrate stock were not preserved; over the years, their negatives and prints crumbled into powder or dust. Many of them were recycled for their silver content, or destroyed in
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A comprehensive restoration plan is mapped that allows preservationists to designate elements as "key" elements upon which to base the polarity map for the ensuing photochemical work. Since many alternative elements are actually salvaged from release prints and duplication masters (foreign and
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is the remaining, edited, film negative that passed through the camera on the set. This original camera negative may, or may not, remain in original release form, depending upon number of subsequent re-releases after the initial release for theatrical exhibition. Restorers sometimes create a
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Demand for new media, digital cinema, and constantly evolving consumer digital formats continues to change. Film restoration facilities must keep pace to maintain audience acceptance. Classic films today must be in near-mint condition if they are to be reshown or resold, with the demand for
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Film preservationists would prefer that the film images, whether restored through photochemical or digital processes, be eventually transferred to other film stock, because no digital media exists that has proven truly archival because of rapidly evolving and shifting data formats, while a
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In the last two decades universities globally began offering graduate degrees in film preservation and film archiving, which are often taught conjointly (the latter focusing more on skills related to the description, cataloguing, indexing and broadly speaking management of film and media
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was used to copy these images onto safety film stock, a project that began in 1947 and continues today. The
Library hosts the National Film Preservation Board, whose National Film Registry annually selects 25 U.S. films "showcasing the range and diversity of American film heritage". The
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commissioned by traveling fairground operators for showing at local fairgrounds or other venues across the UK in the early part of the twentieth century. The collection was stored for many decades in two large barrels following the winding-up of the firm, and was discovered in
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Will Hays has sent a call to the motion-picture companies to search their vaults for ancient films of all kinds and for news reels of possible historic interest. The most important of these are to be treated by a process developed in the
Eastman laboratories for making films
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composite negative (or composite dupe) by recombining duplicated sections of the best remaining material, sometimes on "a shot-to-shot, frame-by-frame basis" to approximate the original configuration of the original camera negative at some time in the film's release cycle.
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Fix frame alignment ("jitter" and "weave"), or the misalignment of adjacent film frames due to movement of film within the sprockets. This corrects the issue where the holes on each side of a frame are distorted over time. This causes frames to slightly be off center.
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digital debate in film preservation. It should be kept in mind, however, that both Usai and
Fossati's arguments are highly complex and nuanced, and likewise, the debate about the utility of digital technologies in film preservation is complex and continually evolving.
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finds that storing film media in frozen temperatures, with relative humidity (RH) between 30% and 50%, greatly extends its useful life. These measures inhibit deterioration better than any other methods and are a cheaper solution than replicating deteriorating films.
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of flammable nitrate film, this could prove to be dangerous, as the film can jam in the duplicator and become idle. Some methods of duplication have illumination sources with enough heat to ignite the film if exposed to the light source for a long period of time.
179:, proper preservation of film usually involves storing the original negatives (if they have survived) and prints in climate-controlled facilities. The vast majority of films were not stored in this manner, which resulted in the widespread decay of film stocks.
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Revisionism is a dangerous road to tread and is avoided at all costs by archives, yet in bringing these titles to audiences again on home video, matching the image that would have originally been seen is either not always possible or an
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has decried the shift from analogue to digital preservation of film as ethically unacceptable, arguing, on philosophical terms, that the medium of film is an essential ontological precondition for the existence of cinema. In 2009, the senior curator of
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only to find that it had badly decomposed and deteriorated—a mere fifteen years after it had been filmed. Scorsese drew attention to the film industry's use of color-fading film stock through his use of black-and-white film stock in his 1980 film
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From this master restoration element, duplication masters, such as composite fine grain masters, are generated to be used to generate additional printing negatives from which actual release prints can be struck for festival screenings and DVD
364:. Preservation elements, such as fine-grain master positives and duplicate printing negatives, are generated from this restoration master element to make both duplication masters and access projection prints available for future generations.
272:, a film solely based on fragments of old unrestored nitrate-based films in various states of decay and disrepair, providing a somewhat eerie aesthetic to the film. The film was created to accompany a symphony of the same name, composed by
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or from a composite restoration negative, which can be made from a combination of elements for general screening. It is therefore particularly important to keep camera negatives or digital masters under safe storage conditions.
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was chartered in 1947 to collect, preserve and present the history of photography and film, and in 1996 opened the Louis B. Mayer
Conservation Center, one of only four film conservation centers in the United States. The
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in the U.S.—from the original negative, has been reinstated. In addition to the preservation, restoration, and presentation of classic cinema, the foundation teaches young people about film language and history through
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By working in partnership with the leading film archives and studios, The Film
Foundation has saved nearly 600 films, often restoring them to pristine condition. In many cases, original footage that had been excised—or
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In traditional photochemical restorations, image polarity considerations must be observed when recombining surviving materials and the final, lowest generation restoration master may be either a duplicate negative or a
733:' silent films are melted down and the raw material recycled as shoes; this was seen by many movie critics as "a passionate brief for film preservation wrapped in a fanciful tale of childhood intrigue and adventure".
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Extensive research is done to determine what version of the film can be restored from the existing material. Often, extensive efforts are taken to search out alternative material in film archives located around the
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domestic). Care must be taken to plot the course at which negative, master positive and release print elements arrive back at a common polarity (i.e., negative or positive) for assembly and subsequent printing.
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with video demonstrations. The preservation guides provided by the origination, while thoroughly depicting accurate methods of preservation, are mostly text-based. The films and clips are copyrighted under the
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had little or no commercial value after the advent of sound films in the 1930s, and as such, they were not kept. As a result, preserving the now-rare silent films has been proposed as a high priority amongst
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836:, film preservation and restoration has taken on commercial as well as historical importance, since audiences demand the highest possible picture quality from digital formats. Meanwhile, the dominance of
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514:, Yukon Territory, Canada, a construction excavation inadvertently found a forgotten collection of more than 500 discarded films from the early 20th century that were buried in and preserved in the
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Warner Bros. retained a pair of features from 1949 that they merely distributed, and all short subjects released on or after
September 1, 1948, in addition to all cartoons released in August 1948.
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at
Preserving America's Performing Arts. Papers from the conference on Preservation Management for Performing Arts Collection. April 28-May 1, 1982, Washington, D.C. Theater Library Association.
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64:. In more modern terms, film preservation includes the concepts of handling, duplication, storage, and access. The archivist seeks to protect the film and share its content with the public.
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Simulation of a film archive: the shelves have been left almost empty to help visitors better visualize the gap between the number of surviving films and the number of films actually made.
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can capture the full resolution of images filmed at as high as 65 mm. 70 mm IMAX film has a theoretical resolution of 18K, the highest possible resolution given the sensor.
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It's bad enough, to cite a common estimate, that 90 percent of all
American silent films and 50 percent of American sound films made before 1950 appear to have vanished forever.
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For many years the term "preservation" was synonymous with "duplication" of film. The goal of a preservationist was to create a durable copy without any significant loss of
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Audiovisual archives : a practical reader / edited and compiled by Helen P. Harrison for the
General Information Programme and UNISIST. - Paris: UNESCO, 1997.
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be driven by the amount, if any, of restoration required, the taste and skill set of the restorer, and the economics of film restoration vs. digital restoration.
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and preserve the images they contain. In the widest sense, preservation assures that a movie will continue to exist in as close to its original form as possible.
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Restore the film frame by frame by comparing each frame to adjacent frames. This can be done somewhat by computer algorithms with human checking of the result.
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Film is best preserved by proper protection from external forces while in storage along with being under controlled temperatures. For most film materials, the
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license, which allows anyone to use these clips with attribution—in this case, attribution to the VAFP site and to the author of the clip and his company.
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was founded in 1967 to train the next generation of filmmakers and preserve the American film heritage. Its collection now includes over 27,500 titles.
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and performed by his orchestra. The footage used was from old newsreel and archive film and was obtained by Morrison from several sources, such as the
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By the 1980s, it was becoming apparent that the collections of motion picture heritage were at risk of becoming lost. Not only was the preservation of
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for transfer to safety stock and archiving. However, to move such highly flammable material such a distance ultimately required assistance from the
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Test prints are struck from existing elements to evaluate contrast, resolution, color (if color) and sound quality (if audio element exists).
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perfection only rising as theaters move from 2K to 4K projection and consumer media continues its shift from SD to HD to UltraHD and beyond.
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Conrad, Suzanna (2012). "Analog, the Sequel: An Analysis of Current Film Archiving Practice and Hesitance to Embrace Digital Preservation".
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106:, was found to be at risk of fading. At that time, the best-known solution was to duplicate the original film onto a more secure medium.
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Although institutional practices of film preservation date back to the 1930s, the field received an official status only in 1980, when
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Fix color and lighting changes. This corrects flickering and slight color changes from one frame to another due to aging of the film.
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The cause for film preservation came to the forefront in the 1980s and early 1990s when such famous and influential film directors as
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implications of the use of digital technology for film preservation are major subjects of debate. For instance, the senior curator of
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Film preservation 1993 : a study of the current state of American film preservation : report of the Librarian of Congress
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and its successors) are also decaying at an increasingly rapid rate. A number of well-known films only exist as copies of original
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has discussed the use of digital technologies for the restoration and preservation of film in a more optimistic way as a form of
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The Current State of Photochemical Film Preservation: A Closer Look at Motion-Picture Film Stocks and Film Laboratories (thesis)
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began one of the earliest institutional attempts to collect and preserve motion pictures, obtaining original negatives of the
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film materials. On purely technical and practical terms, digital film preservation stands for a domain specific subset of
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offered since 2013 as specialization in the graduate program of Film + Photography Preservation and Collection Management
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contributed to the cause. Spielberg became interested in film preservation when he went to view the master of his film
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407:" highlights the use of digital technology for the transfer of films from 8 mm to 70 mm in size to digital
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1871:"USC Film Archive Turns Up Rare Historic Baseball Footage Moving Images Research Collections Hold Unseen Treasures"
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2149:"'Dunkirk' and the 70mm Experience: Why The Unlikely Comeback of the Big-Screen Format Has Hollywood's Attention"
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project. The purpose of the site is to supplement already existing film preservation guides provided by the
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in the early 1990s. The restored films now offer a unique social record of early 20th-century British life.
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In most cases, when a film is chosen for preservation or restoration work, new prints are created from the
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vault, and sometimes to the actual repair and copying of the film element. Preservation is different from
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Cave, D. (2008). "Born digital" – Raised an orphan?: Acquiring digital media through an analog paradigm.
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arrest decomposition once it has started. All we can do is inhibit it," says the director of the AMIA (
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All sources are assembled into a single master restoration element (most often a duplicate negative).
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1746:. Moving Image Archiving and Preservation Program, Department of Cinema Studies, New York University
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forever. Movies of the first half of the 20th century were filmed on an unstable, highly flammable
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MA in Heritage Studies: Preservation and Presentation of the Moving Image, University of Amsterdam
186:. Film industry researchers and specialists have found that color films (made using processes for
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THE DIGITAL DILEMMA STRATEGIC ISSUES IN ARCHIVING AND ACCESSING DIGITAL MOTION PICTURE MATERIALS
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Modern, photochemical restoration follows roughly the same path that digital restoration does:
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Habib, André (2006). "Ruin, Archive and the Time of Cinema: Peter Delpeut's Lyrical Nitrate".
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Appraising Moving Images. Assessing the Archival and Monetary Value of Film and Video Records
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MA in Moving Image Archiving and Preservation, New York University, Tisch School of the Arts
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1900:"Film Preservation 101: A Brief Guide to Keeping Your Films Alive Indefinitely (Part One)"
1709:. Washington, DC: Council on Library and Information Resources and the Library of Congress
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A/V A to Z An Encyclopedic Dictionary of Media, Entertainment and Other Audiovisual Terms
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cartoons whose credits were once altered due to rights taken over by different entities.
534:. The story of this discovery as well as excerpts of these films can be seen in the 2016
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Shepard, R. (1990, Sept. 3). Expanding Archives: Library of Congress Is Not Just Books.
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Kula, S. (1979). Rescued from the Permafrost: The Dawson Collection of Motion Pictures.
2181:. SCIENCE AND TECHNOLOGY COUNCILOF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. 2008
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Elements are duplicated using the shortest possible duplication path to minimize analog
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Missing scenes and sound (censored or edited out for re-release or television broadcast)
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The group Video Aids to Film Preservation (VAFP) became active on the Internet in 2005.
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Scorsese's concern about the need to save motion pictures of the past led him to create
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were added to the board of directors of The Film Foundation, which is aligned with the
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process, so that "schoolboys in the year 3,000 and 4,000 A.D. may learn about us".
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Melville, Annette; Simmon, Scott; National Film Preservation Board (U.S.) (1993).
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Graduate Certificate in Audiovisual Archiving, Charles Sturt University, Australia
2408:"Early Motion Pictures Free of Copyright Restrictions in the Library of Congress"
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recognized "moving images" as an integral part of the world's cultural heritage.
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or new musical scores, the addition of sound effects, black-and-white film being
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Restore areas blocked by dirt and dust by using parts of images in other frames.
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in Paris, which would become the world's largest international film collection.
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1978:"Jason Gorber's Cineruminations: 70mm, 4K, and THE MASTER's Split Personality"
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The Film Preservation Guide: The Basics for Archives, Libraries, and Museums
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to preserve their films by storing them at 40 degrees at low humidity in an
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well-developed and stored, modern film print can last upwards of 100 years.
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1520:. National Film Preservation Board of the Library of Congress. p. 4.
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or exhibition elements because the originals have decomposed beyond use.
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Nitrate Won't Wait: A History of Film Preservation in the United States
1599:"Recommendation for the Safeguarding and Preservation of Moving Images"
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MA in Film and Media Preservation, Selznick School of Film Preservation
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catalogs), he vowed to continue the preservation work MGM had started.
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The death of cinema: history, cultural memory and the digital dark age
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Individual preservationists who have contributed to the cause include
518:. This fortunate discovery was shared and moved to the United States'
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1398:"All There is to See: Film Restoration and Access in the Digital Age"
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Film preservation: Competing definitions of value, use, and practice
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2841:
1117:
Film Preservation Certificate, Selznick School of Film Preservation
1026:
Repair all film tears with clear polyester tape or splicing cement.
950:
Cost is another obstacle. As of 2020, Martin Scorsese's non-profit
71:, in which long-completed films are modified with the insertion of
3238:
3143:
646:
299:
135:
80:
29:
1945:
Film Restoration: The Culture and Science of Audiovisual Heritage
1079:, such as the build-up of contrast, grain and loss of resolution.
500:
George Eastman House International Museum of Photography and Film
3003:
320:
2926:
2913:
The International Association of Sound and Audiovisual Archives
1822:
883:
833:
2917:
2724:"Education Training and Careers in Moving Image Preservation"
2008:"Unhappy Medium: The Challenges With Archiving Digital Video"
2912:
2245:
From Grain to Pixel: The Archival Life of Film in Transition
1019:
Modern, digital film restoration takes the following steps:
966:
Once a film is inspected and cleaned, it is transferred via
319:
of film usually refers to physical storage of the film in a
3019:
Conservation and restoration of immovable cultural property
2871:
2837:
Historical Film & Video Preservation Society, Australia
2570:(24 October 1926). "Films Put on Ice for Fans yet Unborn".
2064:
The Screen Combat Handbook A Practical Guide for Filmmakers
1046:
Restore scratches by using parts of images in other frames.
470:
and Edison companies and the world's largest collection of
206:, which replaced acetate, also suffers from fading colors.
182:
The problem of film decay is not limited to films made on
3024:
Conservation and restoration of movable cultural property
1096:
work), or driven by sheer passion for working with film.
3410:
Digital repository audit method based on risk assessment
1703:
The Survival of American Silent Feature Films: 1912-1929
4058:
Conservation-restoration of the Sistine Chapel frescoes
2866:
907:
2817:
Walsh, D. (2008). How to preserve your films forever.
686:' pre-1950, MGM's pre-May 1986, and a majority of the
2877:
Conservation Online: Motion Picture Film Preservation
2775:
Karr, Lawrence. Edited by Barbara Cohen- Stratyner.:
1314:
1312:
1107:
Some established graduate programs in the field are:
493:
submitted as copyright registrations. For these, an
247:
In 1991, filmmaker and former deputy director of the
109:
A common estimate is that 90 percent of all American
1687:"Robert A. Harris Presentation on Film Preservation"
94:
an ongoing problem, but it was then discovered that
4007:
3820:
3549:
3493:
3360:
3262:
2964:
2891:
The National Film and Sound Archive on Preservation
2030:
2028:
1824:
Lyrisch Nitraat / Lyrical Nitrate English subtitles
1151:
MA in Film Preservation, Ryerson University, Canada
729:included a key scene in which many of film pioneer
682:acquired MGM's library (which by then had included
224:
2595:
1320:
485:For thousands of early silent films stored in the
259:, with decaying films from the Desmet Collection.
102:", and color film manufactured, in particular, by
67:Film preservation is not to be confused with film
4122:Conservation and restoration of cultural heritage
4063:Conservation-restoration of the Statue of Liberty
3199:Mold control and prevention (library and archive)
3014:Conservation and restoration of cultural property
2862:Public Moving Image Archives and Research Centers
547:Another high-profile restoration by staff at the
339:Preparing a film for preservation and restoration
4086:Preservation Metadata: Implementation Strategies
4076:Conservation response to flood of Arno, Florence
4040:Conservation-restoration of Leonardo da Vinci's
2872:International Federation of Film Archives (FIAF)
2343:. Archived from the original on February 7, 2006
1937:
1935:
1327:. New Brunswick, NJ : Rutgers University Press.
4081:Modern and Contemporary Art Research Initiative
4053:Conservation-restoration of the Shroud of Turin
1469:
1467:
1465:
1463:
1461:
1459:
1457:
1455:
1453:
1112:MA in Film Archiving, University of East Anglia
403:In the context of film preservation, the term "
4017:Conservation issues of Pompeii and Herculaneum
3174:Integrated pest management (cultural property)
2918:Film Forever: The Home Film Preservation Guide
2772:. Chicago: The Society of American Archivists.
2598:You Must Remember This: The Warner Bros. Story
1732:
1730:
1728:
1726:
1724:
1660:The UNESCO Courier: A Window Open on the World
1629:The UNESCO Courier: A Window Open on the World
1351:National Film Preservation Foundation (2004).
559:collection, which consists almost entirely of
2938:
2867:Association of Moving Image Archivists (AMIA)
8:
2335:"MoMA.org | The Collection | Film and Media"
1236:National Archives and Records Administration
1050:more film grains from one frame to another.
989:Common defects needing restoration include:
113:made before 1920 and 50 percent of American
2557:at British Film Institute official web site
859:The VAFP site was funded as part of a 2005
3582:Books, manuscripts, documents and ephemera
2945:
2931:
2923:
2796:Paul Read and Mark-Paul Meyer (Editors:):
1509:
1507:
1505:
1231:Museum of the Moving Image (New York City)
982:, and the audio is synced to create a new
34:Stacked film cans containing rolls of film
3129:Disaster preparedness (cultural property)
2429:Library of Congress-LOC Film preservation
1763:
1761:
1361:: National Film Preservation Foundation.
1023:Expertly clean the film of dirt and dust.
934:Learn how and when to remove this message
3029:Conservation science (cultural property)
2123:"How Regular Movies Become "IMAX" Films"
1893:
1891:
1391:
1389:
1146:MA in Moving Image Archive Studies, UCLA
861:Institute of Museum and Library Services
150:The great majority of films made in the
27:Historic preservation of motion pictures
2441:"Museum History · George Eastman House"
1623:Edmondson, Ray; Schou, Henning (1984).
1584:Keepers of the frame: the film archives
1553:"Film Riches, Cleaned Up for Posterity"
1437:The digital intermediate internet guide
1319:Yeck, Joanne L.; Tom McGreevey (1997).
1308:
1278:
87:and other cosmetic changes being made.
2857:Video Aids to Film Preservation (VAFP)
2354:
2290:"Dossier: Materiality and the Archive"
2288:Hughes, Kit; Heckman, Heather (2012).
2035:Bunish, Christine (November 1, 2012).
221:
212:Association of Moving Image Archivists
2882:Collection of film restoration issues
2852:National Film Preservation Foundation
2410:. Library of Congress. 31 August 2010
2067:. Taylor & Francis. p. 256.
1843:Jones, Jonathan (February 26, 2003).
1433:"Film Restoration & Preservation"
869:National Film Preservation Foundation
7:
1898:Currò, Daniela (February 16, 2017).
1181:Conservation and restoration of film
1029:Scan each frame into a digital file.
617:). Other organizations, such as the
553:National Film and Television Archive
296:Preservation through careful storage
2097:"Next-Generation Cinema Breaks Out"
1976:Gorber, Jason (24 September 2012).
241:, Icarus Films, shows decaying film
3214:Preservation (library and archive)
2798:Restoration of motion picture film
2443:. Eastmanhouse.org. Archived from
1474:Greco, JoAnn (November 12, 2018).
1257:Preservation of magnetic audiotape
1252:Preservation (library and archive)
25:
2793:. Rutgers University Press, 1997.
2674:"Video Aids to Film Preservation"
2037:"Sound & Picture Restoration"
2006:Gan, Vicky (September 10, 2014).
1768:Davies, Emma (28 November 2011).
79:, older soundtracks converted to
4068:Conservation-restoration of the
3944:Indigenous intellectual property
2832:National Film Preservation Board
2759:Crofts, C (2008) Digital Decay.
888:
619:UCLA Film and Television Archive
230:
3179:Inventory (library and archive)
3079:Cultural property documentation
2602:. Philadelphia: Running Press.
2147:O'Falt, Chris (July 20, 2017).
2095:McGowan, Chris (May 30, 2019).
1869:Welch, Rodney (April 2, 2014).
1056:Photochemical restoration steps
852:Video Aids to Film Preservation
3577:Bone, horn, and antler objects
3119:Digital photograph restoration
2814:, McFarland and Company, 1992.
2555:About the BFI National Archive
2544:. KinoLorber. p. 1:53:45.
1685:Hart, Martin (February 1993).
444:EYE Film Institute Netherlands
1:
3762:South Asian household shrines
3460:Reconstruction (architecture)
3390:Cultural property radiography
3347:Registrar (cultural property)
3099:Cultural resources management
3059:Collections management system
2248:. Framing Film. Vol. 1.
2121:Wilson, Mark (May 29, 2009).
1821:Delpeut, Peter (2021-03-13),
1689:. American WideScreen Museum.
1226:Media Preservation Foundation
698:, continues this work today.
390:Digital as an archival medium
154:era are now considered to be
4031:Conservation-restoration of
4022:Conservation-restoration of
3395:Detachment of wall paintings
3169:Intangible cultural heritage
3084:Cultural property exhibition
3069:Cultural heritage management
2908:, journal published by AMIA.
2898:Journal of Film Preservation
2227:Usai, Paolo Cherchi (2001).
1948:. Springer. pp. 94–97.
1737:Dowlatshahi, Shahed (2019).
305:Packard Humanities Institute
290:University of South Carolina
175:Because of the fragility of
3475:Transfer of panel paintings
2519:Library and Archives Canada
972:motion picture film scanner
914:the claims made and adding
524:Library and Archives Canada
474:films. The following year,
368:Choosing an archival medium
4138:
3939:Heritage language learning
3209:Optical media preservation
2258:Amsterdam University Press
1924:Kroon, Richard W. (2010).
1770:"Re-record, not fade away"
1597:UNESCO (27 October 1980).
1582:Houston, Penelope (1994).
840:and ever-present need for
830:high-definition television
802:Directors Guild of America
373:Film as an archival medium
362:fine grain master positive
332:Image Permanence Institute
143:
4117:Film and video technology
3979:Oral history preservation
3094:Cultural property storage
3089:Cultural property imaging
2466:American Film Institute.
2361:: CS1 maint: unfit URL (
2242:Giovanna Fossati (2010).
2231:. British Film Institute.
1656:"The fragile art of film"
1586:. British Film Institute.
1488:Science History Institute
1221:List of national archives
1124:offered jointly with the
962:Digital restoration steps
399:Digital film preservation
229:
218:Film decay as an art form
132:The problem of film decay
4026:by ElĂas GarcĂa MartĂnez
3244:Sustainable preservation
2786:. Scarecrow Press, 2003.
2594:; Perry, George (2008).
2542:Dawson City: Frozen Time
2340:The Museum of Modern Art
1196:Direct to Disk Recording
1002:Color fade, color change
880:Obstacles in restoration
670:Beginning in the 1970s,
541:Dawson City: Frozen Time
530:to make the delivery to
353:original camera negative
345:original camera negative
214:) board, Leo Enticknap.
51:non-profit organizations
3984:Preservation of meaning
3969:Language revitalization
3637:Illuminated manuscripts
3415:Historic paint analysis
3307:Conservation technician
3109:Deaccessioning (museum)
3049:Collections maintenance
2974:Agents of deterioration
2540:Morrison, Bill (2016).
1654:Borde, Raymond (1984).
1625:"The nitrate ultimatum"
1396:Peters, Robert (2014).
1126:University of Rochester
844:content, especially on
842:television broadcasting
694:, the current owner of
678:of them. In 1986, when
505:American Film Institute
3994:Tradition preservation
3647:Iron and steel objects
3536:Outdoor bronze objects
3480:UVC-based preservation
3337:Photograph conservator
3302:Conservation scientist
3054:Collections management
2984:Archaeological science
2633:The Hollywood Reporter
2061:Inouye, Kevin (2020).
1942:Enticknap, L. (2013).
1700:Pierce, David (2013).
1186:Digital cinematography
1034:
692:Warner Bros. Discovery
652:
595:films), Michael Thau (
549:British Film Institute
480:Cinémathèque Française
312:
280:, the archives of the
196:Cellulose acetate film
141:
35:
3999:Traditional knowledge
3964:Language preservation
3572:Ancient Greek pottery
3470:Textile stabilization
3332:Paintings conservator
3219:Preservation metadata
3104:Database preservation
2958:historic preservation
2768:Gracy, K. F. (2007).
2306:10.1353/vlt.2012.0021
2294:The Velvet Light Trap
1808:10.1353/sub.2006.0034
1077:duplication artifacts
650:
528:Canadian Armed Forces
303:
288:film archives at the
139:
117:made before 1950 are
33:
3787:Time-based media art
3597:Copper-based objects
3511:Archaeological sites
3440:Mass deacidification
3385:Cradling (paintings)
3297:Conservator-restorer
3124:Digital preservation
2663:at storyofmovies.org
2654:About the Foundation
2626:(17 November 2013).
1216:List of film formats
1191:Digital intermediate
1176:Academy Film Archive
863:(IMLS) grant to the
778:Paul Thomas Anderson
750:Francis Ford Coppola
696:Turner Entertainment
464:Museum of Modern Art
462:In 1935, New York's
436:George Eastman House
405:digital preservation
282:Museum of Modern Art
278:George Eastman House
140:Decayed nitrate film
4091:World Heritage Site
3954:Indigenous language
3854:Endangered language
3752:Shipwreck artifacts
3732:Photographic plates
3682:Musical instruments
3435:Lining of paintings
3352:Textile conservator
3327:Objects conservator
3317:Exhibition designer
3224:Preservation survey
3149:Found in collection
3039:Collection (museum)
3009:Calendar (archives)
2979:Archival processing
2900:, published by FIAF
2842:The Film Foundation
2703:The Film Foundation
2628:"Hugo: Film Review"
2503:The New York Times.
2492:No. 8, Summer 1979.
1551:(14 October 2010).
1476:"Saving Old Movies"
952:The Film Foundation
819:The Story of Movies
738:The Film Foundation
672:Metro-Goldwyn-Mayer
557:Mitchell and Kenyon
520:Library of Congress
487:Library of Congress
262:In 2002, filmmaker
53:to rescue decaying
3949:Indigenous culture
3292:Collection manager
3189:Media preservation
3184:Inventory (museum)
3044:Collection catalog
2791:Our Movie Heritage
2729:2015-07-23 at the
2659:2015-07-23 at the
2573:The New York Times
2447:on October 6, 2008
1558:The New York Times
1323:Our Movie Heritage
1262:Separation masters
1156:2020-07-07 at the
996:Scratches, tears,
899:possibly contains
846:specialty channels
826:digital television
688:RKO Radio Pictures
653:
582:Lawrence of Arabia
439:Paolo Cherchi Usai
321:climate-controlled
313:
142:
36:
4112:Film preservation
4099:
4098:
4048:Pompeian frescoes
3934:Heritage language
3824:cultural heritage
3612:Flags and banners
3557:cultural property
3521:Heritage railways
3501:cultural property
3450:Paleo-inspiration
3134:Film preservation
3074:Cultural property
3064:Cultural heritage
2954:Cultural heritage
2886:Joanneum Research
2777:Film Preservation
2592:Schickel, Richard
944:
943:
936:
901:original research
307:, Santa Clarita,
245:
244:
184:cellulose nitrate
160:cellulose nitrate
83:stereo, or minor
39:Film preservation
16:(Redirected from
4129:
4035:by Thomas Eakins
4033:The Gross Clinic
3929:Folklore studies
3839:Applied folklore
3812:Wooden furniture
3807:Wooden artifacts
3802:Woodblock prints
3782:Tibetan thangkas
3642:Insect specimens
3531:Outdoor artworks
3526:Historic gardens
3159:Heritage science
2947:
2940:
2933:
2924:
2906:The Moving Image
2819:The Moving Image
2810:Slide, Anthony:
2800:. Oxford, 2000.
2789:McGreevey, Tom:
2763:. 8 (2), xiii-35
2761:The Moving Image
2753:The Moving Image
2734:
2722:Lukow, Gregory.
2720:
2714:
2713:
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2686:
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2528:
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2493:
2486:
2480:
2479:
2477:
2475:
2468:"History of AFI"
2463:
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2431:
2426:
2420:
2419:
2417:
2415:
2404:
2398:
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2395:
2394:
2388:
2382:. Archived from
2381:
2377:"Passion Cinéma"
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1997:
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1993:
1984:. Archived from
1973:
1967:
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1380:
1371:. Archived from
1348:
1339:
1338:
1326:
1316:
1296:
1292:
1286:
1283:
1267:Virtual telecine
939:
932:
928:
925:
919:
916:inline citations
892:
891:
884:
874:Creative Commons
774:Steven Spielberg
703:Steven Spielberg
593:Alfred Hitchcock
573:Robert A. Harris
536:documentary film
447:Giovanna Fossati
421:digital curation
255:, made the film
234:
233:
222:
200:vinegar syndrome
192:film productions
100:vinegar syndrome
43:film restoration
21:
18:Film restoration
4137:
4136:
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4100:
4095:
4042:The Last Supper
4009:
4003:
3989:Primitive music
3899:Folk instrument
3874:Family folklore
3864:Ethnomusicology
3859:Ethnochoreology
3826:
3823:
3816:
3737:Plastic objects
3722:Performance art
3707:Panel paintings
3702:Painting frames
3667:Leather objects
3587:Ceramic objects
3559:
3556:
3554:
3553:and restoration
3552:
3545:
3503:
3500:
3498:
3497:and restoration
3496:
3489:
3455:Paper splitting
3370:Aging (artwork)
3362:
3356:
3342:Preservationist
3264:
3258:
3114:Digital library
2966:
2960:
2951:
2884:, collected by
2846:Martin Scorsese
2828:
2743:
2741:Further reading
2738:
2737:
2731:Wayback Machine
2721:
2717:
2707:
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2697:
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2661:Wayback Machine
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2202:Archival Issues
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1774:Chemistry World
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854:
814:Production Code
798:Alexander Payne
758:Stanley Kubrick
707:Martin Scorsese
645:
561:actuality films
495:optical printer
460:
401:
392:
375:
370:
341:
298:
257:Lyrical Nitrate
231:
225:External videos
220:
170:film historians
148:
134:
28:
23:
22:
15:
12:
11:
5:
4135:
4133:
4125:
4124:
4119:
4114:
4104:
4103:
4097:
4096:
4094:
4093:
4088:
4083:
4078:
4073:
4065:
4060:
4055:
4050:
4045:
4037:
4028:
4019:
4013:
4011:
4005:
4004:
4002:
4001:
3996:
3991:
3986:
3981:
3976:
3974:Living history
3971:
3966:
3961:
3959:Language death
3956:
3951:
3946:
3941:
3936:
3931:
3926:
3921:
3916:
3911:
3906:
3901:
3896:
3894:Folk etymology
3891:
3886:
3881:
3876:
3871:
3866:
3861:
3856:
3851:
3846:
3844:Dance notation
3841:
3836:
3830:
3828:
3818:
3817:
3815:
3814:
3809:
3804:
3799:
3794:
3789:
3784:
3779:
3774:
3769:
3764:
3759:
3757:Silver objects
3754:
3749:
3744:
3739:
3734:
3729:
3724:
3719:
3714:
3709:
3704:
3699:
3694:
3689:
3684:
3679:
3674:
3669:
3664:
3659:
3654:
3649:
3644:
3639:
3634:
3629:
3624:
3619:
3614:
3609:
3604:
3599:
3594:
3589:
3584:
3579:
3574:
3569:
3563:
3561:
3547:
3546:
3544:
3543:
3541:Outdoor murals
3538:
3533:
3528:
3523:
3518:
3513:
3507:
3505:
3491:
3490:
3488:
3487:
3482:
3477:
3472:
3467:
3465:Rissverklebung
3462:
3457:
3452:
3447:
3442:
3437:
3432:
3427:
3422:
3417:
3412:
3407:
3402:
3397:
3392:
3387:
3382:
3380:Arrested decay
3377:
3372:
3366:
3364:
3363:and techniques
3358:
3357:
3355:
3354:
3349:
3344:
3339:
3334:
3329:
3324:
3319:
3314:
3309:
3304:
3299:
3294:
3289:
3284:
3279:
3274:
3268:
3266:
3260:
3259:
3257:
3256:
3251:
3246:
3241:
3236:
3231:
3226:
3221:
3216:
3211:
3206:
3201:
3196:
3191:
3186:
3181:
3176:
3171:
3166:
3161:
3156:
3154:Heritage asset
3151:
3146:
3141:
3136:
3131:
3126:
3121:
3116:
3111:
3106:
3101:
3096:
3091:
3086:
3081:
3076:
3071:
3066:
3061:
3056:
3051:
3046:
3041:
3036:
3031:
3026:
3021:
3016:
3011:
3006:
3001:
2999:Bioarchaeology
2996:
2991:
2986:
2981:
2976:
2970:
2968:
2962:
2961:
2952:
2950:
2949:
2942:
2935:
2927:
2921:
2920:
2915:
2910:
2902:
2893:
2888:
2879:
2874:
2869:
2864:
2859:
2854:
2849:
2839:
2834:
2827:
2826:External links
2824:
2823:
2822:
2821:. 8(1), 38–41.
2815:
2808:
2794:
2787:
2780:
2773:
2766:
2756:
2749:
2742:
2739:
2736:
2735:
2733:. (AMIA, 2000)
2715:
2690:
2665:
2646:
2624:McCarthy, Todd
2615:
2609:978-0762434183
2608:
2583:
2568:Johnston, Alva
2559:
2547:
2532:
2515:"Preservation"
2506:
2494:
2481:
2458:
2432:
2421:
2399:
2368:
2326:
2280:
2266:
2234:
2219:
2192:
2165:
2139:
2113:
2087:
2073:
2053:
2024:
1998:
1968:
1954:
1931:
1928:. p. 165.
1916:
1887:
1861:
1835:
1813:
1802:(2): 120–139.
1786:
1757:
1720:
1692:
1677:
1646:
1615:
1589:
1574:
1540:
1526:
1501:
1449:
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1198:
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1173:
1166:
1163:
1162:
1161:
1148:
1143:
1138:
1133:
1128:
1119:
1114:
1100:collections).
1092:
1089:
1088:
1087:
1083:
1080:
1073:
1070:
1066:
1057:
1054:
1053:
1052:
1051:
1047:
1044:
1041:
1038:
1033:
1030:
1027:
1024:
1017:
1016:
1013:
1010:
1003:
1000:
994:
963:
960:
942:
941:
896:
894:
887:
881:
878:
853:
850:
824:In the age of
770:Robert Redford
766:Sydney Pollack
754:Clint Eastwood
731:Georges Méliès
644:
643:Studio efforts
641:
633:Famous Studios
603:Kevin Brownlow
591:, and several
491:rolls of paper
476:Henri Langlois
472:D. W. Griffith
459:
456:
417:digitally born
400:
397:
391:
388:
374:
371:
369:
366:
340:
337:
297:
294:
286:Movietone News
284:, and the Fox
274:Michael Gordon
251:in Amsterdam,
249:Eye Filmmuseum
243:
242:
227:
226:
219:
216:
133:
130:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4134:
4123:
4120:
4118:
4115:
4113:
4110:
4109:
4107:
4092:
4089:
4087:
4084:
4082:
4079:
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4074:
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4066:
4064:
4061:
4059:
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4054:
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4049:
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4043:
4038:
4036:
4034:
4029:
4027:
4025:
4020:
4018:
4015:
4014:
4012:
4006:
4000:
3997:
3995:
3992:
3990:
3987:
3985:
3982:
3980:
3977:
3975:
3972:
3970:
3967:
3965:
3962:
3960:
3957:
3955:
3952:
3950:
3947:
3945:
3942:
3940:
3937:
3935:
3932:
3930:
3927:
3925:
3922:
3920:
3917:
3915:
3912:
3910:
3907:
3905:
3904:Folk medicine
3902:
3900:
3897:
3895:
3892:
3890:
3887:
3885:
3882:
3880:
3877:
3875:
3872:
3870:
3867:
3865:
3862:
3860:
3857:
3855:
3852:
3850:
3847:
3845:
3842:
3840:
3837:
3835:
3834:Ancient music
3832:
3831:
3829:
3825:
3819:
3813:
3810:
3808:
3805:
3803:
3800:
3798:
3795:
3793:
3790:
3788:
3785:
3783:
3780:
3778:
3775:
3773:
3770:
3768:
3767:Stained glass
3765:
3763:
3760:
3758:
3755:
3753:
3750:
3748:
3747:Road vehicles
3745:
3743:
3742:Rail vehicles
3740:
3738:
3735:
3733:
3730:
3728:
3725:
3723:
3720:
3718:
3715:
3713:
3710:
3708:
3705:
3703:
3700:
3698:
3695:
3693:
3692:New media art
3690:
3688:
3685:
3683:
3680:
3678:
3675:
3673:
3670:
3668:
3665:
3663:
3660:
3658:
3655:
3653:
3652:Ivory objects
3650:
3648:
3645:
3643:
3640:
3638:
3635:
3633:
3632:Human remains
3630:
3628:
3625:
3623:
3622:Glass objects
3620:
3618:
3615:
3613:
3610:
3608:
3605:
3603:
3600:
3598:
3595:
3593:
3590:
3588:
3585:
3583:
3580:
3578:
3575:
3573:
3570:
3568:
3565:
3564:
3562:
3558:
3548:
3542:
3539:
3537:
3534:
3532:
3529:
3527:
3524:
3522:
3519:
3517:
3514:
3512:
3509:
3508:
3506:
3502:
3499:of immovable
3492:
3486:
3483:
3481:
3478:
3476:
3473:
3471:
3468:
3466:
3463:
3461:
3458:
3456:
3453:
3451:
3448:
3446:
3443:
3441:
3438:
3436:
3433:
3431:
3428:
3426:
3423:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3400:Desmet method
3398:
3396:
3393:
3391:
3388:
3386:
3383:
3381:
3378:
3376:
3373:
3371:
3368:
3367:
3365:
3359:
3353:
3350:
3348:
3345:
3343:
3340:
3338:
3335:
3333:
3330:
3328:
3325:
3323:
3320:
3318:
3315:
3313:
3310:
3308:
3305:
3303:
3300:
3298:
3295:
3293:
3290:
3288:
3285:
3283:
3280:
3278:
3275:
3273:
3270:
3269:
3267:
3265:and expertise
3261:
3255:
3254:Web archiving
3252:
3250:
3247:
3245:
3242:
3240:
3237:
3235:
3232:
3230:
3227:
3225:
3222:
3220:
3217:
3215:
3212:
3210:
3207:
3205:
3202:
3200:
3197:
3195:
3192:
3190:
3187:
3185:
3182:
3180:
3177:
3175:
3172:
3170:
3167:
3165:
3164:Inherent vice
3162:
3160:
3157:
3155:
3152:
3150:
3147:
3145:
3142:
3140:
3137:
3135:
3132:
3130:
3127:
3125:
3122:
3120:
3117:
3115:
3112:
3110:
3107:
3105:
3102:
3100:
3097:
3095:
3092:
3090:
3087:
3085:
3082:
3080:
3077:
3075:
3072:
3070:
3067:
3065:
3062:
3060:
3057:
3055:
3052:
3050:
3047:
3045:
3042:
3040:
3037:
3035:
3032:
3030:
3027:
3025:
3022:
3020:
3017:
3015:
3012:
3010:
3007:
3005:
3002:
3000:
2997:
2995:
2992:
2990:
2987:
2985:
2982:
2980:
2977:
2975:
2972:
2971:
2969:
2963:
2959:
2955:
2948:
2943:
2941:
2936:
2934:
2929:
2928:
2925:
2919:
2916:
2914:
2911:
2909:
2907:
2903:
2901:
2899:
2894:
2892:
2889:
2887:
2883:
2880:
2878:
2875:
2873:
2870:
2868:
2865:
2863:
2860:
2858:
2855:
2853:
2850:
2847:
2843:
2840:
2838:
2835:
2833:
2830:
2829:
2825:
2820:
2816:
2813:
2809:
2807:
2806:0-7506-2793-X
2803:
2799:
2795:
2792:
2788:
2785:
2781:
2778:
2774:
2771:
2767:
2764:
2762:
2757:
2755:. 8(1), 1–13.
2754:
2750:
2748:
2745:
2744:
2740:
2732:
2728:
2725:
2719:
2716:
2704:
2700:
2694:
2691:
2679:
2675:
2669:
2666:
2662:
2658:
2655:
2650:
2647:
2635:
2634:
2629:
2625:
2619:
2616:
2611:
2605:
2600:
2599:
2593:
2587:
2584:
2580:
2575:
2574:
2569:
2563:
2560:
2556:
2551:
2548:
2543:
2536:
2533:
2520:
2516:
2510:
2507:
2504:
2498:
2495:
2491:
2485:
2482:
2469:
2462:
2459:
2446:
2442:
2436:
2433:
2430:
2425:
2422:
2409:
2403:
2400:
2389:on 2006-06-27
2385:
2378:
2372:
2369:
2364:
2358:
2342:
2341:
2336:
2330:
2327:
2315:
2311:
2307:
2303:
2299:
2295:
2291:
2284:
2281:
2269:
2267:9789089641397
2263:
2259:
2255:
2251:
2247:
2246:
2238:
2235:
2230:
2223:
2220:
2215:
2211:
2207:
2203:
2196:
2193:
2177:
2176:
2169:
2166:
2154:
2150:
2143:
2140:
2128:
2124:
2117:
2114:
2102:
2098:
2091:
2088:
2076:
2074:9781351027403
2070:
2066:
2065:
2057:
2054:
2042:
2041:Post Magazine
2038:
2031:
2029:
2025:
2013:
2012:Washingtonian
2009:
2002:
1999:
1988:on 2014-02-17
1987:
1983:
1979:
1972:
1969:
1957:
1955:9781137328724
1951:
1947:
1946:
1938:
1936:
1932:
1927:
1920:
1917:
1905:
1901:
1894:
1892:
1888:
1876:
1872:
1865:
1862:
1850:
1846:
1845:"Ghost world"
1839:
1836:
1826:
1825:
1817:
1814:
1809:
1805:
1801:
1797:
1790:
1787:
1775:
1771:
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1741:
1733:
1731:
1729:
1727:
1725:
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1634:
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1593:
1590:
1585:
1578:
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1560:
1559:
1554:
1550:
1544:
1541:
1529:
1527:0-8444-0803-4
1523:
1519:
1518:
1510:
1508:
1506:
1502:
1489:
1485:
1481:
1480:Distillations
1477:
1470:
1468:
1466:
1464:
1462:
1460:
1458:
1456:
1454:
1450:
1438:
1434:
1431:Green, Phil.
1427:
1424:
1420:
1419:afterthought.
1407:
1403:
1399:
1392:
1390:
1386:
1375:on 2019-04-14
1374:
1370:
1364:
1360:
1359:San Francisco
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1234:
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1222:
1219:
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1214:
1212:
1209:
1207:
1204:
1202:
1201:Film recorder
1199:
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1031:
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1025:
1022:
1021:
1020:
1014:
1011:
1008:
1004:
1001:
999:
998:burned frames
995:
992:
991:
990:
987:
985:
981:
977:
973:
969:
961:
959:
955:
953:
948:
938:
935:
927:
917:
913:
909:
903:
902:
897:This section
895:
886:
885:
879:
877:
875:
870:
866:
862:
857:
851:
849:
847:
843:
839:
835:
831:
827:
822:
820:
815:
811:
805:
803:
799:
795:
791:
790:Peter Jackson
787:
786:Curtis Hanson
783:
779:
775:
771:
767:
763:
759:
755:
751:
747:
746:Robert Altman
743:
739:
734:
732:
728:
727:
722:
721:
715:
713:
708:
704:
699:
697:
693:
689:
685:
681:
677:
673:
668:
666:
665:Eastman Kodak
662:
658:
649:
642:
640:
638:
634:
630:
626:
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620:
616:
615:
610:
609:
604:
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517:
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328:
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322:
318:
310:
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295:
293:
291:
287:
283:
279:
275:
271:
270:
265:
264:Bill Morrison
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3869:Ethnopoetics
3827:preservation
3687:Neon objects
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3551:Conservation
3504:by item type
3495:Conservation
3445:Overpainting
3405:Display case
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1104:management.
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762:George Lucas
735:
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718:
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684:Warner Bros.
675:
669:
661:film studios
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637:Warner Bros.
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588:My Fair Lady
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316:
314:
309:Nitrate film
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165:Silent films
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111:silent films
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4070:H.L. Hunley
3849:Early music
3797:Vinyl discs
3792:Totem poles
3727:Photographs
3672:Lighthouses
3662:Lacquerware
3617:Fur objects
3555:of movable
3485:VisualAudio
3430:Leafcasting
3375:Anastylosis
3322:Mount maker
3282:Art handler
3139:Finding aid
2989:Archaeology
2782:Kula, Sam.
2699:"Staff/FAQ"
2678:Folkstreams
2490:Archivaria,
2254:Netherlands
1982:Twitch Film
1402:Cinesthesia
1242:Orphan film
865:Folkstreams
776:. In 2006,
742:Woody Allen
720:Raging Bull
627:and select
624:Becky Sharp
608:Intolerance
512:Dawson City
451:remediation
423:practices.
325:restoration
188:Technicolor
115:sound films
96:safety film
69:revisionism
4106:Categories
3909:Folk music
3889:Folk dance
3822:Intangible
3420:Inpainting
3287:Auctioneer
3277:Art dealer
3229:Provenance
3034:Collecting
2967:and issues
2393:2006-05-16
1992:2014-04-12
1875:Free Times
1830:2024-01-17
1635:(8): 10–11
1603:UNESCO.org
1549:Kehr, Dave
1379:2013-06-23
1368:0974709905
1334:0813524318
1303:References
1211:Inpainting
1086:mastering.
1007:film grain
1005:Excessive
924:March 2019
908:improve it
838:home video
680:Ted Turner
659:asked for
577:James Katz
516:permafrost
311:Film Vault
177:film stock
144:See also:
119:lost films
55:film stock
4024:Ecce Homo
3919:Folk play
3772:Taxidermy
3717:Parchment
3697:Paintings
3272:Archivist
2708:22 August
2579:immortal.
2525:22 August
2470:. Afi.com
2314:191325127
2300:(1): 59.
2273:25 August
2250:Amsterdam
2153:IndieWire
1904:Movemaker
1796:SubStance
1494:April 23,
1091:Education
1015:Shrinkage
993:Dirt/dust
912:verifying
657:Will Hays
629:Paramount
566:Blackburn
510:In 1978,
428:aesthetic
413:digitized
266:produced
204:film base
146:Lost film
77:colorized
4010:projects
3924:Foodways
3884:Folk art
3879:Folklore
3777:Textiles
3627:Herbaria
3602:Feathers
3567:Aircraft
3425:Kintsugi
3249:Treasure
2727:Archived
2657:Archived
2474:14 April
2451:14 April
2414:14 April
2357:cite web
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1961:28 April
1909:28 April
1880:28 April
1854:28 April
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1750:23 April
1713:23 April
1670:28 April
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1639:28 April
1608:28 April
1533:28 April
1442:28 April
1412:28 April
1206:Film-out
1165:See also
1154:Archived
968:telecine
810:censored
655:In 1926
614:Napoleon
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468:Biograph
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4008:Notable
3712:Papyrus
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3516:Frescos
3361:Methods
3312:Curator
2994:Archive
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2639:23 June
2347:23 June
2127:Gizmodo
1564:23 July
1490:: 36–39
906:Please
812:by the
794:Ang Lee
601:), and
555:is the
432:ethical
269:Decasia
237:Decasia
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1664:XXXVII
1633:XXXVII
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984:master
796:, and
772:, and
532:Ottawa
152:silent
126:UNESCO
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3263:Roles
3239:Ruins
3144:Fonds
2387:(PDF)
2380:(PDF)
2310:S2CID
2210:JSTOR
2179:(PDF)
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1707:(PDF)
1486:(3).
1273:Notes
974:to a
970:or a
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3607:Film
3004:Book
2956:and
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1963:2020
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