Keyword : Film Preservation
Salmon's excellent think-piece is a great companion piece to Offscreen's Volume 15, Issue 10 treatment of the "end of celluloid," suggesting that the online streaming and archiving of movies beyond the mainstream holds an important resource for the future of cinephilia and film education.
In this thinkpiece Offscreen editor Donato Totaro ponders the end of film.
An interview with San Francisco-based curator, critic, theorist, writer, producer Jenni Olson
Recent films of New York filmmaker Bill Morrison have been concerned with the particular struggle between film and its material medium. There is a conflict between the image and matter which ruins the narrative of the original, twisted by the gnawing power of time, but which at the same time produces a paradoxical tale of ruins, born out of this double resistance of the filmic image and its material.
One of the most impressive publishing endeavors in the area of film scholarship in recent years is the mammoth nine-year undertaking which resulted in this 720 page tome, This Film is Dangerous: A Celebration of Nitrate Film.
The fact that Decasia (USA, Bill Morrison, 2002) has had many screenings at an equal amount of very diverse feature and documentary film festivals is testament to its slippery nature.
This essay is a response to having seen a two programme retrospective of Bill Morrison’s work on April 28 and April 29, 2004 at La Cinémathèque Québécoise.
It is during the retrospective of his work that was held in Montreal, on April 28-29 2004, at the Cinémathèque québécoise, that New York filmmaker Bill Morrison gave us this long interview, in which he discusses his background, his career, and certain essential features of his artistic and intellectual process, dwelling on issues concerning new technologies, the memory of the film material and the historicity of the filmic medium.
The Association of Moving Image Archivists journal's flagship issue.
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