{"product_id":"provenance-and-early-cinema-paperback-softback-9780253052995","title":"Provenance and Early Cinema (Paperback \/ softback) 9780253052995","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eProvenance and Early Cinema\u003c\/font\u003e\u003cbr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\n\u003cp\u003e\u003cfont size=\"4\"\u003eJoanne Bernardi (Edited by), Paolo Cherchi Usai (Edited by), Tami Williams (Edited by), Joshua Yumibe (Edited by), Camille Blot-Wellens (Contributions by), Germain Lacasse (Contributions by), Grazia Ingravalle (Contributions by), Ian Christie (Contributions by), Noemi Daugaard (Contributions by), Olivia Kristina Stutz (Contributions by), Priska Morrissey (Contributions by), Clara Auclair (Contributions by), Teresa Castro (Contributions by), Anne Sigaud (Contributions by), Ned Thanhouser (Contributions by), Bret Vukoder (Contributions by), Mark Williams (Contributions by), Richard Abel (Contributions by), Patrick Ellis (Contributions by), Allain Daigle (Contributions by), Danielle Crepaldi Carvalho (Contributions by), Martin L. Johnson (Contributions by), Marina Dahlquist (Contributions by), Nadi Tofighian (Contributions by), Gregory A. Waller (Contributions by), André Habib (Contributions by), Ken Eisenstein (Contributions by), Eszter Polonyi (Contributions by), Charles Keil (Contributions by), Christina Stewart (Contributions by), Christina Corfield (Contributions by), Norie Taniguchi (Contributions by), Kim Tomadjoglou (Contributions by), Barbara Flueckiger (Contributions by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780253052995\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 1 February 2021\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e430 pages, 60 b\u0026amp;w illus., 2 b\u0026amp;w tables - 60 Illustrations, black and white - 2 Tables, black and white\u003cbr\u003e22.9 x 15.2 x 2.3 cm, 0.612 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eAt a critical moment like this for international research, putting our artifacts back into their productive context seems to be an increasingly urgent duty. This volume has the merit of questioning the search for a new point of view, a new way to study film sources: a perspective that is more than ever necessary in the digital age, in which copying and sharing have become lightning-fast operations.\u003c\/p\u003e - Coraline Refort (Drammaturgia) \u003cp\u003eThe scope of the text is such that a researcher with a pre-existing interest in provenance will undoubtedly find both definition and inspiration here, while scholars from other areas will likely find new and novel ways by which to integrate prove- nance into the frameworks of their research.\u003c\/p\u003e - James Lewis Shelton (Early Popular Visual Culture)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eRemnants of early films often have a story to tell. \u003c\/p\u003e \u003cp\u003eAs material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing. If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured. When the question of origin is overlooked, the story can be lost. Concerned contributors in \u003ci\u003eProvenance and Early Cinema\u003c\/i\u003e challenge scholars digging through film archives to ask, \"How did these moving images get here for me to see them?\" \u003c\/p\u003e \u003cp\u003eThis volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eDomitor Series - Précis\u003cbr\u003eIntroduction: Provenance and Early Cinema: From Preservation and Collection to Circulation and Repurposing\u003cbr\u003e\u003cb\u003ePart I: Studying Provenance: From Analog to Digital\u003cbr\u003e\u003c\/b\u003e1. Film Provenance: A Framework for Analysis\u003cbr\u003e2. Origins: Early Films and Archival Collections\u003cbr\u003e3. From Provenience to Provenance: The Kerstrat d'Hauterives Collection\u003cbr\u003e4. Provenance and Film Historiography: 1910s Films at the George Eastman Museum\u003cbr\u003e5. Issues of Provenance and Attribution for the Canon: Bookending Robert Paul\u003cbr\u003e6. Shattered Provenance in the Digitization of Early Color Films\u003cbr\u003e\u003cb\u003ePart II: Preservation and Collection\u003cbr\u003e\u003c\/b\u003e7. Dreaming in Color: The Image and the Artifact\u003cbr\u003e8. Where Did the Costumes in Early Cinema Come From?\u003cbr\u003e9. Thinking with Provenance: Drawing Trajectories in the Francis Doublier Collection at the George Eastman Museum\u003cbr\u003e10. Revisiting the Films of Albert Kahn's Archives de la Planète: A Material Survey\u003cbr\u003e11. The Thanhouser Studio Filmography: Analysis and Extant Prints\u003cbr\u003e12. The Great War at Scale: New Opportunities for Provenance in World War I Collections at the National Archives (NARA)\u003cbr\u003e\u003cb\u003ePart II: Circulation\u003cbr\u003e\u003c\/b\u003e13. Chicago's \"Censored Casualties\" and the Provenance of Archive Prints\u003cbr\u003e14. What Made the Mechanicals Move? Postcards in Transit\u003cbr\u003e15. \"The End of a Foreign Monopoly\": Bausch and Lomb and the Wartime Provenance of Optical Glass\u003cbr\u003e16. Pathé Films in Brazil: The Archives of \"Marc Ferrez \u0026amp; Sons\" (1908-1916)\u003cbr\u003e17. Establishing the Provenance of Early Advertising Films: Film Catalogs and the Creation of the Non-theatrical Market\u003cbr\u003e18. A Journey on the World's Most Northerly Railway: The Renaming and Remaking of Swedish Industrial Films\u003cbr\u003e19. In Search of \"The Edison Biograph Company\": Film History through Philippine Archives\u003cbr\u003e20. Ownership, Exploitation, Stewardship: Tracking the Footage of the 1911-1913 Australian Antarctic Expedition\u003cbr\u003e\u003cb\u003ePart IV: Repurposing\u003cbr\u003e\u003c\/b\u003e21. Finding Early Cinema in the Avant-Garde: Research and Investigation\u003cbr\u003e22. Ernie Gehr's The Collector (2003) and Ernie Gehr the Collector\u003cbr\u003e23. Flicker: Thom Andersen Takes Muybridge to the Movies\u003cbr\u003e24. Provenance on Ice: Frozen Time and the Dawson City Collection\u003cbr\u003e25. Praxis as Media Historiography: The Peep Box's \"Expanding View\" as Virtual Reality\u003cbr\u003e26. How Newspaper Novels and Their Illustrations Shaped Japanese Films\u003cbr\u003e27. Archival Object or Object Lesson? Bricolage as Process and as Concept in the Edmundo Padilla Collection\u003cbr\u003eAppendices\u003cbr\u003e28. French Language Essay: Germain Lacasse, La collection de Kerstrat-d'Hauterives, de sa provenience à sa provenance \u003cbr\u003e29. French Language Essay: Priska Morrissey, D'où viennent les costumes du cinéma des premiers temps ? \u003cbr\u003e30. Dryden Theatre Screening Program\u003cbr\u003eIndex\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"Indiana University Press","offers":[{"title":"Brand New","offer_id":52525340262680,"sku":"9780253052995","price":29.49,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/provenance-and-early-cinema-paperback-softback-9780253052995","provider":"Freshly Printed Books","version":"1.0","type":"link"}