Relevant bibliographies by topics / Photography – Films – Preservation

Academic literature on the topic 'Photography – Films – Preservation'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Photography – Films – Preservation"

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Ram, A. Tulsi. "Archival preservation of photographic films—A perspective." Polymer Degradation and Stability 29, no. 1 (January 1990): 3–29. http://dx.doi.org/10.1016/0141-3910(90)90019-4.

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2

Sennikova, Veronika V. "TOMSK CHILDREN'S AND YOUTH FILM FESTIVALS AND STUDIOS: THE EXPERIENCE OF CHILDREN AND YOUTH CINEMA REVIVAL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 126–38. http://dx.doi.org/10.17223/22220836/43/9.

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Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the traditions of Soviet cinema and the means of modern cinema language.
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Nico-Jati, Kurnia. "Archiving Digital Photos and Files at the Sonobudoyo Museum as a Reconstruction. Effort and the Preservation of the Historical Archives of the Museum’s Treasury." Symbolon 23, no. 2 (2022): 61–74. http://dx.doi.org/10.46522/s.2022.02.5.

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Archiving historical photographic works in museums is not easy because an archiving staff does not only archive photos but also has to take care of, examine photo data, and present them to the public so that they become archives that are worth showing off. Researchers, together with archive staff, will categorize photos based on three categories, namely photos of colonial cultural history, the war of independence, and the period of nation building. In this case, the research aims to find out work patterns and what an archiving staff does, categorize photos, know virginity and archiving methods so that it is useful to add references to the breadth of the photography profession that will be conveyed to the public. Preservation of photographic works is also a form of long-term research that requires patience because of the very broad aspects of its work. Proper handling, storage, or reconstruction of historical photographic material requires special care, so this research is expected to provide a new discourse to the public regarding the breadth of the world of photographic work that is not limited to photographing skills.
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T., Parshikova, and Dubova N. "Personal Archive of Archaeologist V.I. Sarianidi: Study, Preservation and Prospects for Use." Teoriya i praktika arkheologicheskikh issledovaniy 34, no. 1 (2022): 204–17. http://dx.doi.org/10.14258/tpai(2022)34(1).-11.

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The article presents the main aspects of the study of materials from the personal archive of the world famous archaeologist Viktor Ivanovich Sarianidi. For a long time, the scientist’s personal fund was in a state of archival placers, which did not allow using it fully. To organize the entire array of documents, their analysis, description and systematization were carried out. Several key thematic sections have been formed, including materials related to the period 1960–2013. These are manuscripts and copies of scientific papers, field materials from excavations of archaeological sites, photographs, documents on the organizational activities of V.I. Sarianidi, his correspondence, and documents of other persons deposited in the archives of the researcher. For a number of documents of the fund (field diaries, photographs and films), work was carried out on electronic digital copying. Working with the archive made it possible to systematize the entire available array of materials, contributed to a more detailed study of all sources, as well as the introduction of previously unknown information into scientific circulation.
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Bezruchko, Oleksandr, and Volodymyr Bardyn. "Presentation of the Sacred Heritage of Boikos by Means of Audiovisual Art." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (June 1, 2022): 38–45. http://dx.doi.org/10.31866/2617-2674.5.1.2022.256950.

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The purpose of the study is to analyze the coverage of the Boiko church heritage in live-action films and documentary films, in mass media and in photographs. To determine the role of audio-visual art in the coverage of sacred objects of Boikivshchyna and to prove the necessity to preserve works of sacred heritage by means of photo art. The researh methodology consists in the application of the following methods: theoretical – the analysis of television plots and documentaries providing information about the church art of Boikivshchyna, synchronous and comparative method for deeper analysis of film adaptations of M. Gogol’s work, generalization of media influence on the formation of public opinion. Scientific novelty. For the first time the reflection of audiovisual means has been analyzed and a detailed analysis of documentaries, film adaptations, television reports and photo exhibitions representing the church art of the Boikos has been made. The factors influencing the importance of the popularization of sacred heritage have been defined. Conclusions. In the article, we have analyzed the coverage of the church heritage of Boikos in live-action films and documentary films, in mass media and in photographs. With the help of the analysis of television plots and documentaries, the role of audiovisual art in the coverage of sacred objects has been defined. The factors influencing the preservation of works of church heritage have been studied and generalized in detail.
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Löffler, Petra. "Double Vision: Encountering Early Ethnographic Films in the Digital Archive." Frames Cinema Journal 19 (February 18, 2022): 277–91. http://dx.doi.org/10.15664/fcj.v19i0.2390.

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In 1908, Georg Thilenius, director of the Hamburg Museum für Völkerkunde, sent a group of researchers on an expedition to the then-German colonies in Melanesia and Micronesia. The team was also equipped with a film camera. In comparison to the several thousand photographs, sketches, and notes the quantity of film produced was very low: only around eleven minutes could be shot on 35mm footage. This footage, transferred to 16mm film in the 1940s and digitised in 2018-19, is analysed both as an event of early ethnographic filmmaking and as a specific archival object: to date the object biography of the Hamburg films shows significant changes of their materiality and no less important ruptures concerning their preserving archives. This featurette raises questions about the significance of film recordings for ethnographic research, the role of archives and museums in their preservation or digitisation, and, not least, their entanglement in German colonial politics. It reconstructs the object biography of the Hamburg films based on signatures, inventory lists, and descriptions of the expedition members to shed light on this entanglement and to question its status as an archival object. In doing so it argues for a relational understanding of ethnographic filmmaking and its preservation that accounts for the responsibilities, constraints, and different interests of the people and institutions involved in capturing, distributing, and transforming moving images into an archival object.
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Mulauzi, Felesia, Phiri Bwalya, Chishimba Soko, Vincent Njobvu, Jane Katema, and Felix Silungwe. "Preservation of audio-visual archives in Zambia." ESARBICA Journal: Journal of the Eastern and Southern Africa Regional Branch of the International Council on Archives 40 (November 6, 2021): 42–59. http://dx.doi.org/10.4314/esarjo.v40i1.4.

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Audio-visual records and archives constitute a fundamental heritage that satisfies multiple needs, including education, training, research and entertainment. As such, there is a need to appropriately preserve and conserve them so they can be accessed for as long as they are needed. In spite of their significant role in safeguarding cultural heritage, audio-visual records and archives, are often neglected and accorded less attention than paper-based records, especially in developing countries. Hence, there is a risk of losing information held in audio-visual form. That is why this study looked at how the National Archives of Zambia (NAZ) and the Zambia National Broadcasting Corporation (ZNBC) preserve audio-visual materials to ensure long-term accessibility of the information. The study investigated the types of audio-visual collections held, the storage equipment used, measures put in place to ensure long-term accessibility of audio-visual materials, the disaster preparedness plans in place to safeguard audio-visual archives and the major challenges encountered in the preservation of audio-visual materials. The findings of the study revealed that films (microfilm and microfiche), photographs and manuscripts, and video (video tapes) and sound recordings (compact cassette) constitute the biggest audio-visual collection preserved. The equipment used to store audio-visual materials included open shelves, specialised cabinets, electronic database for digitised materials, aisle mobiles and cupboards. The measures taken to ensure the long-term accessibility of audio-visual collection included digitisation and migration of endangered records and archives; fumigation of storage areas; conservation of damaged materials and regulation of temperatures and humidity in the storage areas. The disaster preparedness plans in place mostly covered structure insurance; protection against fire and water by way of installing fire extinguishers; smoke sensors; fire detectors and construction of purpose-built structures. The major challenges faced were financial constraints; technological obsolescence; lack of playback equipment; limited training; lack of strong back-up systems and inadequate storage facilities.
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Mulauzi, Felesia, Phiri Bwalya, Chishimba Soko, Vincent Njobvu, Jane Katema, and Felix Silungwe. "Preservation of audio-visual archives in Zambia." ESARBICA Journal: Journal of the Eastern and Southern Africa Regional Branch of the International Council on Archives 40 (November 6, 2021): 42–59. http://dx.doi.org/10.4314/esarjo.v40i.4.

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Audio-visual records and archives constitute a fundamental heritage that satisfies multiple needs, including education, training, research and entertainment. As such, there is a need to appropriately preserve and conserve them so they can be accessed for as long as they are needed. In spite of their significant role in safeguarding cultural heritage, audio-visual records and archives, are often neglected and accorded less attention than paper-based records, especially in developing countries. Hence, there is a risk of losing information held in audio-visual form. That is why this study looked at how the National Archives of Zambia (NAZ) and the Zambia National Broadcasting Corporation (ZNBC) preserve audio-visual materials to ensure long-term accessibility of the information. The study investigated the types of audio-visual collections held, the storage equipment used, measures put in place to ensure long-term accessibility of audio-visual materials, the disaster preparedness plans in place to safeguard audio-visual archives and the major challenges encountered in the preservation of audio-visual materials. The findings of the study revealed that films (microfilm and microfiche), photographs and manuscripts, and video (video tapes) and sound recordings (compact cassette) constitute the biggest audio-visual collection preserved. The equipment used to store audio-visual materials included open shelves, specialised cabinets, electronic database for digitised materials, aisle mobiles and cupboards. The measures taken to ensure the long-term accessibility of audio-visual collection included digitisation and migration of endangered records and archives; fumigation of storage areas; conservation of damaged materials and regulation of temperatures and humidity in the storage areas. The disaster preparedness plans in place mostly covered structure insurance; protection against fire and water by way of installing fire extinguishers; smoke sensors; fire detectors and construction of purpose-built structures. The major challenges faced were financial constraints; technological obsolescence; lack of playback equipment; limited training; lack of strong back-up systems and inadequate storage facilities.
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Menzo, Daniel J. "Preserving Patchogue: A Small Institution Rehouses and Digitizes Glass Plate Negatives." Collections: A Journal for Museum and Archives Professionals 14, no. 2 (June 2018): 195–205. http://dx.doi.org/10.1177/155019061801400206.

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In 2015, the Greater Patchogue Historical Society in Long Island, New York, received a gift of nearly 2,000 glass plate negatives dating from the early 20th century. While the donor alluded to rare images of this small town and its people, the collection presented a series of preservation concerns. Many of the objects were soiled, and almost all were still in their original acidic paper sleeves. Determined to both protect and utilize the collection, this small institution, with the assistance of a graduate student intern, formalized a preservation plan that also created multiple points of access to the visual and historical information that these objects contained. After minimally cleaning, rehousing, and photographing a selected portion of the negatives, the digital files were later processed with editing software so that the organization's members and local citizens could see the historic images. In addition to digitizing the negatives, the original sleeves were imaged to preserve valuable information, such as people's names, the location of views, or a negative's date. This ongoing project is an example of how smaller institutions can make a meaningful influence in their local communities by preserving photographic objects and implementing methods of digitization.
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Clarke, Dave, Ajay Limaye, Duane McKenna, and Rolf Oberprieler. "The Weevil Fauna Preserved in Burmese Amber—Snapshot of a Unique, Extinct Lineage (Coleoptera: Curculionoidea)." Diversity 11, no. 1 (December 20, 2018): 1. http://dx.doi.org/10.3390/d11010001.

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Only a few weevils have been described from Burmese amber, and although most have been misclassified, they show unusual and specialised characters unknown in extant weevils. In this paper, we present the results of a study of a much larger and more diverse selection of Burmese amber weevils. We prepared all amber blocks to maximise visibility of structures and examined these with high-magnification light microscopy as well as CT scanning (selected specimens). We redescribe most previously described taxa and describe 52 new species in 26 new genera, accompanied by photographs. We compare critical characters of these weevils with those of extant taxa and outline the effects of distortion on their preservation and interpretation. We conclude that only two weevil families are thus far represented in Burmese amber, Nemonychidae and a newly recognised family, Mesophyletidae, which appears closely related to Attelabidae but cannot be accommodated in this family. The geniculate antennae and long rostrum with exodont mandibles of most Mesophyletidae indicate that they were highly specialised phytophages of early angiosperms preserved in the amber, likely ovipositing in flowers or seeds. This weevil fauna appears to represent an extinct mid-Cretaceous ecosystem and fills a critical gap in the fossil record of weevils.
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Dissertations / Theses on the topic "Photography – Films – Preservation"

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Murphy, Brian Michael. "The Future of American Memory: Media Preservation, Photography, and Digital Archives." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398876304.

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Yale, Nathaniel W. "Images for a Nation: The Role of Conservation Photography in American Environmentalism." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pomona_theses/106.

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Photographs have long been integral in revealing American values, ideals, and identity. Accordingly, a study of environmental, or "conservation," imagery offers insight into America’s relationship with the natural world. In an examination of key figures and their conservation photography work, this thesis explores how the national conservation dialogue has been shaped by powerful images that, in some cases, even led to crucial acts of federal conservation. The first section highlights four photographers and their context and influence in this dialogue: W.H. Jackson’s photographs from Hayden’s 1871 survey of Yellowstone, Carleton Watkins’ work at Yosemite and Mariposa Grove in the 1860s, and the twentieth-century Sierra Club work of Ansel Adams and Eliot Porter. The second section illustrates the imagery and impact of contemporary photographers Mark Klett, David Maisel, and Subhankar Banerjee, each with his own distinctive focus and contribution to conservation rhetoric. Understanding the progression of American environmental imagery and how it has led to contemporary conservation photography informs us about how best to affect change in the current era of ever-increasing environmental degradation.
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Silva, Joana Santos Lima da. "Ângelo de Sousa’s photographic and film collection: strategies for the preservation of colour slide-based artworks." Doctoral thesis, 2019. http://hdl.handle.net/10362/87080.

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The Portuguese artist Ângelo de Sousa (1938-2011) produced noteworthy work in photography and experimental film. However, a lack of in-depth studies focusing on the use of these media by the artist is acknowledged. Thus, his work has been studied, particularly through unpublished documentation found in the artist’s house and in public archives, bringing new insights into his production. Despite the delay in the artistic context felt in Portugal in the post-modern period, Ângelo de Sousa produce photographic and film work perfectly in line with that of other international artists. The slide-based artwork Slides de Cavalete (1978-1979), constructed with the additive synthesis of colours, stands out as an example of the inventiveness achieved by the artist with these media. The production process behind Slides de Cavalete has been studied and reproduced, allowing for a thorough understanding of the work and contributing to the definition of its significance. The photographs and films have been gathered together in his house. Since typologies, quantities and condition of the materials were unknown, a survey was carried out to enhance knowledge of the collection and to define preservation priorities. Accordingly, 35 mm chromogenic reversal films (slides), used to produce almost all his photographic colour work, was highlighted as the set in highest risk due to colour change detected in one third of these materials. Thereby, slide-based artworks by Ângelo de Sousa were studied in further detail. The display options undertaken by the artist during his lifetime have been investigated, in order to guide the decision-making process regarding the exhibition and preservation of his slide-based artworks. Slides de Cavalete was selected as a case study, and the history of its exhibition was assessed by searching for documentation and interviewing people. Thus, it is understood that the work was first presented projected on a canvas over an easel, in 1979. Since the artist’s death, the work has been presented without this setup, and recently, as a digital projection. An exhibition was conducted at FCT NOVA, to test the variability of the work displayed with a digital and a slide projector. Based on a questionnaire, a clear preference for the slide projection was acknowledged. Thus, guidelines for the exhibition of Slides de Cavalete are defined, following its first presentation. Considering that chromogenic reversal films are highly susceptible to colour change and that there is still much to know about these materials, their molecular characterization and degradation has been studied. Different pathways to characterize chromogenic dyes are suggested based on chromatographic and spectroscopic techniques. Additionally, a methodology to accurately monitor colour change in these materials has been defined, based on samples artificially aged at different temperatures (50, 60, 70 and 80˚C) and relative humidity (40% and 60%). The samples were assessed using spectrophotometry with optical fibre probes in the ultraviolet-visible range. From the spectral data, intensity maximums, CIE L*a*b* coordinates and the total colour variation (ΔE*) have been determined. Optical microscopy and digitization have also proven useful for degradation assessment on these materials.
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Books on the topic "Photography – Films – Preservation"

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Bigourdan, Jean-Louis. Environment and enclosures in film preservation: Final report to the Office of Preservation, National Endowment for the Humanities. [Rochester, N.Y.]: Image Permanence Institute, Rochester Institute of Technology, 1997.

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Bigourdan, Jean-Louis. Environment and enclosures in film preservation: Final report to the Office of Preservation, National Endowment for the Humanities. Rochester, N.Y.]: Image Permanence Institute, Rochester Institute of Technology, 1997.

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Scrapbook - archival photo tinting-- page ideas. Fort Worth, Tex: Design Originals, 1996.

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Reilly, James M. Storage guide for color photographic materials: Caring for color slides, prints, negatives, and movie films. Albany, NY: University of the State of New York, 1998.

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Gena, Philibert-Ortega, ed. Slides and negatives: Digitizing and protecting your vintage film. [Carlsbad, Calif.?]: PhotoTree.com, 2014.

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1951-, Brower Carol, ed. The permanence and care of color photographs: Traditional and digital color prints, color negatives, slides, and motion pictures. Grinnell, Iowa, U.S.A: Preservation Pub. Co., 1993.

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M, Reilly James. IPI storage guide for acetate film. Rochester, NY: Image Permanence Institute, Rochester Institute of Technology, 1997.

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Matuszewski, Bolesław. Écrits cinématographiques: Une nouvelle source de l'histoire (création d'un dépôt de cinématographie historique) ; La photographie animée : ce qu'elle est, ce qu'elle doit être. Paris: AFRHC. Association française de recherche sur l'histoire du cinéma, 2006.

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A preservation guide: Saving the past and the present for the future. Salt Lake City, UT: Ancestry, 1995.

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Photographer's guide to the digital lifecycle: Real-life workflow scenarios for managing still and motion photography assets. Berkeley, CA: New Riders, 2011.

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Book chapters on the topic "Photography – Films – Preservation"

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Dule, Chhaya Suryabhan, and Rajasekharaiah K. M. "Privacy Preservation of Image Data With Machine Learning." In Applications of Machine Learning and Deep Learning for Privacy and Cybersecurity, 189–215. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9430-8.ch010.

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The methods used to predict, categorize, and recognize complex data like pictures, audio, and texts have been popular in machine learning. These methods are the basis for future AI-driven internet providers because of unparalleled precision in deep learning methodologies. Commercial firms gather large-scale user data and perform machine learning technique. The massive information necessary for machine learning raises privacy problems. The user's personal and extremely sensitive data such as photographs and voice records are gathered and retained forever by these commercial firms and users can not limit the intents of these sensitive information. In addition, centrally stored data is susceptible to legal and extrajudicial monitoring. Many data owners use profound extensive learning by security and confidentiality. This chapter contains a practical approach that allows several parties to learn a precise model of complex systems for a specific purpose without disclosing their data sets. It provides an interesting element in utility and privacy.
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Prag, Kay. "The Archive." In Re-Excavating Jerusalem, 5–10. British Academy, 2018. http://dx.doi.org/10.5871/bacad/9780197266427.003.0002.

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This chapter describes the scale of the project in Jerusalem and the size of the archive created during the seven seasons of excavation which occupied two years in total, with a large staff. The considerations which formed the basis of the archive’s composition, the degree of contemporary subjectivity involved in the process, and the current state of the archive are outlined. It consists of both paper and photographic records, as well as a major study collection of fragmentary pottery, animal bones, coins and diverse materials. Much of the work of publication was based in Toronto and Leiden, and relevant sections of the archive were copied or located there. The major registered finds were retained in Jordan and Israel, the rest distributed widely to supporting institutions. Original card indexes have been replaced by digitisation of the archive. There are some supporting files, metadata relating to the financing and staff. Issues relating to the preservation of archaeological archives and their importance are considered.
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Reports on the topic "Photography – Films – Preservation"

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Baker, James, and Sofya Shahab. Preserving Communities' Heritage: A Workbook for Heritage Capturers. Institute of Development Studies (IDS), November 2021. http://dx.doi.org/10.19088/creid.2021.006.

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This is a practical workbook to guide local communities and heritage gatherers through the process of capturing and storing their heritage for future generations. Through initiatives with the British Academy and the Coalition for Religious Equality and Inclusive Development (CREID), the Institute of Development Studies (IDS) has been working with young people in Egypt, Iraq and Syria to capture their oral heritage, so that it may be preserved for future generations. Alongside life history interviews and topic interviews - which cover particular aspects of communities’ heritage - a key component of this heritage preservation is how these records will be stored. Thinking about the language and accessibility of digital archiving practices, this workbook is a practical guide to capturing and storing “heritage harvests”, including community interviews, photographs, and short films.
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