Relevant bibliographies by topics / Motion pictures Archives

Academic literature on the topic 'Motion pictures Archives'

Author: Grafiati
Published: 10 December 2022
Last updated: 30 January 2023

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Journal articles on the topic "Motion pictures Archives"

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Serene, Frank H. "Motion Pictures, Videotapes and Sound Recordings at the National Archives." Historical Journal of Film, Radio and Television 16, no. 1 (March 1996): 55–67. http://dx.doi.org/10.1080/01439689600260091.

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Berman, Aaron, and Charles Lawrence Gellert. "The Holocaust, Israel, and the Jews: Motion Pictures in the National Archives." Journal of American History 77, no. 4 (March 1991): 1457. http://dx.doi.org/10.2307/2078427.

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Caldera-Serrano, Jorge. "Automatic recognition of emotions in the description of motion pictures for television archives." Métodos de informacion 10, no. 18 (2019): 052–68. http://dx.doi.org/10.5557/iimei10-n18-052068.

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Lim, Bliss Cua. "Fragility, Perseverance, and Survival in State-Run Philippine Archives." Plaridel 15, no. 2 (December 2018): 1–40. http://dx.doi.org/10.52518/2018.15.2-01bclim.

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This article considers the consequences of the 2004 dissolution of the Philippine Information Agency’s Motion Picture Division (PIA-MPD) on three key collections entrusted to it: films from the National Media Production Center; from the Movie and Television Review and Classification Board (themselves remnants of the previous archival collapse of the Film Archives of the Philippines in 1986); and lastly, a number of films produced by LVN Pictures, a studio founded in 1938. Using approaches from cultural policy, archival theory, feminist epistemology, and postcolonial historiography, the essay draws on an array of sources—archival films, legislative records, PIA documents, oral history interviews, and personal papers from members of the Society of Filipino Archivists for Film and the South East Asia Pacific Audio Visual Archives Association. The aftermath of the PIA-MPD’s abolition underscores the drawbacks of a narrowly profit-driven perspective on state film archiving that devalued analog cinema in relation to digital media while also ignoring the unique demands of audiovisual (AV) archiving by conflating it with paper-based librarianship. This study affirms the Filipino AV archive advocacy’s repeated calls for legislation to safeguard the institutional continuity and autonomy of Philippine film archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the decline of various state-run film collections, the article concludes by conceptualizing archival survival as not only involving the material preservation of analog or digital AV carriers but as also entailing exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.
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Giuliani, Luca, and Sabrina Negri. "Missing Links: Digital Cinema, Analogical Archives, Film Historiography." Intermédialités, no. 18 (May 7, 2012): 71–84. http://dx.doi.org/10.7202/1009074ar.

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The sudden and permeating rise of digital technologies has been widely investigated by film critics and scholars. However, most studies tend to focus on the impact of digital technologies on contemporary film production, distribution, exhibition and the finished products it brings forth, reserving too little attention to the massive digitization of born-analog films. The production of digital motion pictures marks an unprecedented breaking point in history, putting the very nature of “film” and “cinema” at stake, while the digitization of film prints risks having an irreversible feedback effect on cinema's technological history. Focusing on two case studies—the 1995 restoration of the 1949 color version of Jacques Tati's Jour de fête and the discovery of some 16mm reels on nitrate stock in a collection deposited with the Museo Nazionale del Cinema in Torino, Italy—we illuminate the importance of technology for film historiography and reassert the need for a joint effort on the part of archives and academic institutions in the preservation of film memory for future generations.
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Kalinowski, P., F. Both, T. Luhmann, and U. Warnke. "DATA FUSION OF HISTORICAL PHOTOGRAPHS WITH MODERN 3D DATA FOR AN ARCHAEOLOGICAL EXCAVATION – CONCEPT AND FIRST RESULTS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2021 (June 28, 2021): 571–76. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2021-571-2021.

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Abstract. Through the destruction of war, most of the documents of an archaeological excavation from 1934 – 1939 of a megalithic tomb in north-west Germany have been destroyed irretrievably. Fortunately, more than 500 historical pictures have been preserved, which visually document the excavation situation at that time. Parts of the image collection are preserved on fragile glass plates that are difficult to preserve and have to be digitised urgendly. A method for digitising these glass plates will be presented first. With the help of the digitised historical images, the excavation situation at that time shall be reconstructed. Since a reconstruction based only on the historical images is not possible, the current state of the megalithic tombs has been recorded with modern measuring technology and a 3D model has been calculated. The aim is to fuse the historical images with the modern 3D model. For this purpose, different possibilities of linking the data are presented. As first results, point clouds calculated by Structure from Motion and the orientation of historical images in relation to the modern 3D model using direct linear transformation are shown. The hybrid model of historical and modern data will be used for archaeological interpretations of the excavation.
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Saponaro, M., A. Capolupo, G. Caporusso, E. Borgogno Mondino, and E. Tarantino. "PREDICTING THE ACCURACY OF PHOTOGRAMMETRIC 3D RECONSTRUCTION FROM CAMERA CALIBRATION PARAMETERS THROUGH A MULTIVARIATE STATISTICAL APPROACH." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2020 (August 12, 2020): 479–86. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2020-479-2020.

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Abstract. Several tools have been introduced to generate accurate 3D models. Among these, Unmanned Aerial Vehicles (UAVs) are an effective low-cost tool to go beyond on-fields effort limits since they allow to fly over areas difficult to reach and to reduce the time needed to collect and process photogrammetric pictures as well. Combining their versatility with Structure from Motion (SfM) techniques efficiency has provided a widely accessible approach to generate accurate photogrammetric products. However, the outcome resolution and coherences also depend on sensor traits. Therefore, UAVs are usually equipped with low-cost non-metric cameras, with the consequent requirement for a calibration procedure to increase the final 3D models accuracy. Although several researchers have highlighted the strong impact of camera calibration parameters on the photogrammetric outcomes, their linkage has not been explored yet. This paper is aimed at investigating their relationship and to propose a novel predicting function of 3D photogrammetric reconstruction accuracy. Such function was estimated thanks to the application of the Principal Components Analysis (PCA) technique. Four photogrammetric UAV flight surveys provided the input data of PCA while an extra dataset was used to validate the results. Once PCA was completed, a synthetic index was proposed and the coefficient of determination was calculated between the index and error components. Synthetic indices values for the various datasets were applied as baseline to detect a predictive function able to assess the northern and eastern error components with a deviation of 0.005 m and 0.003 m, respectively. The proposed approach shows promising and satisfying results for predicting 3D models accuracy.
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Inzerillo, L. "SMART SfM: SALINAS ARCHAEOLOGICAL MUSEUM." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 369–74. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-369-2017.

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In these last years, there has been an increasing use of the Structure from Motion (SfM) techniques applied to Cultural Heritage. The accessibility of SfM software can be especially advantageous to users in non-technical fields or to those with limited resources. Thanks to SfM using, everyone can make with a digital camera a 3D model applied to an object of both Cultural Heritage, and physically Environment, and work arts, etc. One very interesting and useful application can be envisioned into museum collection digitalization.<br><br> In the last years, a social experiment has been conducted involving young generation to live a social museum using their own camera to take pictures and videos. Students of university of Catania and Palermo were involved into a national event #digitalinvasion (2015-2016 editions) offering their personal contribution: they realized 3D models of the museums collection through the SfM techniques. In particular at the National Archaeological Museum Salinas in Palermo, it has been conducted an organized survey to recognize the most important part of the archaeological collection. It was a success: in both #digitalinvasion National Event 2015 and 2016 the young students of Engineering classes carried out, with Photoscan Agisoft, more than one hundred 3D models some of which realized by phone camera and some other by reflex camera and some other with compact camera too. The director of the museum has been very impressed from these results and now we are going to collaborate at a National project to use the young generation crowdsourcing to realize a semi-automated monitoring system at Salinas Archaeological Museum.
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Czuni, L., A. Hanis, L. Kovacs, B. Kranicz, A. Licsar, T. Sziranyi, I. Kas, G. Kovacs, and S. Manno. "A Digital Motion Picture Restoration System for Film Archives." SMPTE Motion Imaging Journal 113, no. 5-6 (May 2004): 170–76. http://dx.doi.org/10.5594/j16286.

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OKAJIMA, Hisashi. "Motion Picture Film as Cultural Heritage: Preserving and Accessing Archive Collection in Digital Era." TRENDS IN THE SCIENCES 15, no. 7 (2010): 86–88. http://dx.doi.org/10.5363/tits.15.7_86.

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Dissertations / Theses on the topic "Motion pictures Archives"

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Nolan, Petra Désirée. "The cinematic flâneur manifestations of modernity in the male protagonist of 1940s film noir /." Connect to this title online, 2004. http://eprints.unimelb.edu.au/archive/00000122/.

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Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.

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En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritiers, critiques, journalistes, aussi bien qu’historiens professionnels, conservateurs et universitaires. Elle peut ainsi être envisagée autant comme le fruit d’une quête de la vérité factuelle que comme l’appropriation d’un objet d’étude populaire, à travers ses empreintes écrites et visuelles. L’appareillage des lectures de l’impressionnisme réunit de la sorte : les autographes ; les memorabilia, meubles ou immeubles chargés du souvenir des peintres ; les technologies photographique et cinématographique. Ces documents participaient en outre d’une culture visuelle plus vaste, incluant les monuments et les plaques commémoratives dans l’espace public, ou encore les motifs transformés par l’acte pictural en points de vue remarquables. L’étude historique et critique de l’écriture de l’histoire impressionniste comme (dé)monstration documentaire permet de revenir sur les circonstances sociales et visuelles de sa mise en œuvre, sur les enjeux de carrière auxquels elle participa, et sur les missions qui lui furent assignées au sein de différents discours sur l’art, savants et profanes
In 1946 the publication of John Rewald’s History of Impressionism in New York consecrated the aura of the movement’s scientific historiography, supported by documentary investment. This quality confronted laymen’s narratives, which oral tradition and some witness’s accounts’ reputations dominated. Yet, a close consideration could not agree with the assumption of an exclusive scholarly nature of the document. Since the beginning of the 20th century, varied producers, such as artists, witnesses, heirs, critics, journalists, as well as professional historians, museum curators and academics formed an impressionist documentation. It thus can be interpreted as a quest for factual truth, as much as an appropriation of a research object through its written and visual marks. The equipment of impressionist readings hence gathered are: autographs; memorabilia, movable and physical assets as souvenirs of artists; photographic and cinematographic technologies. Moreover, these documents fit into a broader visual culture which included monuments and commemorative plaques of the public sphere, or motives transformed by pictorial acts into remarkable viewpoints. A historical and critical study of such a writing of history as documentary (de)monstration allows here to look back to its execution’s social and visual contexts, the career issues in which it participated, the goals that had been assigned to it within both scholars’ and laymen’s art discourses
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Slavin, John. "Lost causes : the ideology of national identity in Australian cinema /." [Melbourne : University of Melbourne, 2002. http://eprints.unimelb.edu.au/archive/00000297.

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Nolan, Petra Désiréé. "The cinematic flâneur : manifestations of modernity in the male protagonist of 1940s film noir /." Connect to thesis, 2004. http://eprints.unimelb.edu.au/archive/00000122.

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Boyke, Kimberly M. "El cambio del rol de la mujer en la sociedad española dentro del cine : un estudio de películas entre 1999 a 2007 /." Abstract Full Text (HTML) Full Text (PDF), 2009. http://eprints.ccsu.edu/archive/00000560/02/2000FT.htm.

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Thesis (M.A.) -- Central Connecticut State University, 2009.
Thesis advisor: Paloma Lapuerta. "... in partial fulfillment of the requirements for the degree of Master of Arts in Spanish." Includes bibliographical references (leaves 60-63). Also available via the World Wide Web.
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Leonard, Richard James. "The Cinematic mystical gaze : the films of Peter Weir /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00000471.

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Thesis (Ph.D.)--University of Melbourne, Cinema Stduies Program,School of Fine Arts,Classical Studies and Archaeology, 2004.
Typescript (photocopy). Includes bibliographical references (leaves 292-336).
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Britt, Tara Danielle. "Phenomenology, film and curriculum theory an inquiry into the intellectual persona of teachers /." Click here to access dissertation, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/tara_d_britt/britt_tara_d_200708_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2007.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." In Education Administration, under the direction of Linda M. Arthur. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 140-144) and appendices.
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Fain, Rob Jason. "Uncovering local history : 16 mm TV news film remaining in U.S. television stations /." Online version of thesis, 2007. http://hdl.handle.net/1850/5957.

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Thesis (M.S.)--Rochester Institute of Technology, 2007.
Typescript. Accompanying CD-ROM contains versions of the thesis in Word document and PDF forms. Includes bibliographical references (leaves 35-42).
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Frick, Caroline Jane Davis Janet M. Schatz Thomas. "Restoration nation motion picture archives and "American" film heritage /." 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1915/frickd15921.pdf.

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Frick, Caroline Jane. "Restoration nation: motion picture archives and "American" film heritage." Thesis, 2005. http://hdl.handle.net/2152/1915.

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With the inception of cinema in the late 1890s, discussions relating to the preservation of film emerged in countries around the globe. Early motion picture collectors, enthusiasts, critics, scholars, and producers justified film preservation by appealing to cinema’s role as art or artifact or through the medium’s capacity to document historical events. In the mid to late twentieth century, however, film preservation advocates increasingly validated their work by defining and celebrating cinema as cultural heritage. This dissertation investigates the emergence and growth of the film preservation movement throughout the twentieth century on all levels of the film archiving network, from the international and national to the infra-national. Using a wide range of archival documents and organizational records, this project creates a more complete discursive history of key institutions involved in the film preservation movement. Moreover, the project examines the ramifications of this movement upon what constitutes “American” film heritage for the scholar, practitioner, and global audience. This dissertation illustrates that moving image archives have not merely preserved movie history, but have, instead, actively produced cinematic heritage.
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Books on the topic "Motion pictures Archives"

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A, Peltason Ruth, Vieira Mark A. 1950-, and TCM Archives, eds. In the picture: Production stills from the TCM Archives. San Francisco: Chronicle Books, 2004.

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United States. National Archives and Records Administration. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1994.

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United States. National Archives and Records Administration. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1994.

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Administration, United States National Archives and Records. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1994.

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United States. National Archives and Records Administration. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1994.

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United States. National Archives and Records Administration. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1993.

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Administration, United States National Archives and Records. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1994.

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United States. National Archives and Records Administration. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1994.

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United States. National Archives and Records Administration. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1993.

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United States. National Archives and Records Administration. Motion pictures & sound and video recordings in the National Archives. Washington, DC: National Archives and Records Administration, 1994.

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Book chapters on the topic "Motion pictures Archives"

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Bernard, Sheila Curran, and Kenn Rabin. "Still and Motion Picture Photography: A Brief History." In Archival Storytelling, 17–41. Second edition. | London ; New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003026204-3.

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Erish, Andrew A. "1926 and Beyond." In Vitagraph, 201–18. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0007.

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This chapter tracks Vitagraph's physical assets after its sale to Warner Bros., including the Brooklyn and Hollywood studios, as well as the actual films themselves, about 20% of which survive in archives. The post-Vitagraph activities of the company's founding partners is examined, from Blackton's profligacy that resulted in dire poverty, to Smith's second career as owner of the iconic Chateau Marmont hotel and receipt of an honorary Academy Award in recognition of his fundamental contributions to motion pictures. Several post-Vitagraph reunions and the fate of many of its key personnel are covered, including Margaret Gibson, a former ingénue at the Santa Monica and Hollywood studios who led an especially troubled existence. The chapter concludes with an in-depth discussion of how and why Vitagraph has been so utterly absent from the canon of film history.
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"Appendix Two. Motion Picture Archives and Library Materials Consulted." In Independent Stardom, 163–64. University of Texas Press, 2015. http://dx.doi.org/10.7560/307328-009.

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Leroux, Jean. "Les “Théories de L’image” De Helmholtz et de Hertz et les Motifs de Carnap Dans L’aufbau." In The Paideia Archive: Twentieth World Congress of Philosophy, 148–54. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199837665.

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I propose to sketch and compare the "picture theories" of Hermann von Helmholtz and Heinrich Hertz. These semiotic conceptions of scientific knowledge are forerunners of the now prevailing semantic views of scientific theories in philosophy of science, and my intent is to bring out the respective main features that either proved to be influential or, as such, retained in contemporary formal approaches to the semantics of physical theories. For our purposes, "picture theories" can be characterized as conceptions that (a) take as a departure the fact that scientific theories are embodied in a system of signs and (b) involve a systematic treatment of the relation that obtains between the semiotic system and the world. Essentially, such a theory will have in its core an answer to the question: "What does it take for a picture to be a picture of something?" In concludion, I outline a filiation between Helmholtz, Hertz and Carnap pertaining to the question of monomorphism or categoricity in the general semantics of physical theories.
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Bray, Karen. "Unattended Affect." In Grave Attending, 185–212. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286850.003.0006.

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“Unattended Affect” asks to which affects and archives we have not trustily attended. Engaging black studies and black political theology, most particularly in the work of Fred Moten and Kelly Brown Douglas, this concluding chapter draws a picture of how a political theology of the unredeemed might take shape when it gravely attends to the spaces of blackness unwilling to participate in the making proper on offer by white supremacy. Following the work of Moten, this chapter argues that it is in the unattended affects, those left open by the unpaid debt of whiteness to blackness, where a political theology of and for the unredeemed might take its most forceful shape. Surmising that it is in part our inability to sit with individual and collective guilt over these debts that stands in the way of societal transformation, in this conclusion grave attending is offered as a mode of witness and resistance to these sites of cheap and violent redemption.
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Aguayo, Angela J. "Subjugated Histories and Affective Resistance." In Documentary Resistance, 149–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0005.

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Starting in the early 1970s, many documentaries began addressing the shifting cultural climate surrounding the issue of abortion in the United States. While some consideration has been given to how abortion has been represented on television and in motion pictures, scant attention has been paid to how the documentary genre has forged the public space for this controversial issue. This chapter briefly maps and assesses how feminists have documented and utilized the documentary genre to recover women’s history and reclaim public space for reproductive justice and the failures to accomplish these aims as access to reproductive care continues to erode. The chapter tracks how women, engaged in feminist struggle, create documentary commons specific to the collision between lived experience and social expectations. The chapter focuses particularly on a moment in 2005 when Third Wave feminist and activist filmmakers attempted to engage abortion politics through the documentary confessional mode. Tracking the move from public confession to representations of an escalating and violent antichoice movement brings the struggle into sharper focus. Analysis of these documentaries and their parallel activist interventions includes interviews with three directors, archival material, and ethnographic research.
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