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02225nam a2200349 u 4500 |
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EBX01000000000000001297649 |
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230515 r ||| eng |
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|a 9048526744
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|a PN1993.43.A45
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|a Lameris, Bregt
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|a Film museum practice and film historiography
|h Elektronische Ressource
|b the case of the Nederlands Filmmuseum (1946-2000)
|c Bregt Lameris
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|a Amsterdam
|b Amsterdam University Press
|c 2017, [2017]
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|a 1 electronic resource (270 pages
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|a Table of Contents; Acknowledgements; Introduction; PART I. COLLECTIONS; 1. Private Collectors; 2. Blind Choices: Parameters and Repetitions; 3. Eyes Wide Open: Duplicates; PART II. PRESERVATIONS; 4. Passive Preservation: An Historical Overview; 5. Impressions: Restoration of the Film Image; 6. Reconstructions; PART III. PRESENTATIONS; 7. Film Museum Exhibition Spaces; 8. Framing Programmes; 9. Performances; Coda: Past Futures, Future Pasts; Notes; Bibliography; Index
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|a Includes bibliographical references (pages 245-260) and index
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|a Bauhaus Dessau / 1986-1994 / Bereich Architektur und Sammlungen
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|a Nederlands Filmmuseum
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|a Netherlands / Amsterdam / fast
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|a Filmmuseum
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|a Diskurs
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|a PERFORMING ARTS / Film & Video / General
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|a PERFORMING ARTS / Reference
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|a Filmgeschichtsschreibung
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|a eng
|2 ISO 639-2
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|b ZDB-39-JOA
|a JSTOR Open Access Books
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|a Framing film
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|u https://www.jstor.org/stable/10.2307/j.ctt1v2xssp
|x Verlag
|3 Volltext
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|a 791
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|a Rich in detail, this is a study of the interrelationships between film historical discourse and archival practices. Exploring the history of several important collections from the EYE Film Museum in Amsterdam, Bregt Lameris shows how archival films and collections always carry the historical traces of selection policies, restoration philosophies, and exhibition strategies. The result is a compelling argument that film archives can never be viewed simply as innocent or neutral sources of film history
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