Film museum practice and film historiography : the case of the Nederlands Filmmuseum (1946-2000) /
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...
Saved in:
| Online Access: |
Access full-text online via JSTOR |
|---|---|
| Author / Contributor: | |
| Imprint: |
Amsterdam :
Amsterdam University Press,
[2017]
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| Format: | Electronic |
| Language: | English |
| Subjects: | |
| Series: | Framing film (Amsterdam, Netherlands)
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MARC
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| 100 | 1 | |a Lameris, Bregt, |e author. | |
| 245 | 1 | 0 | |a Film museum practice and film historiography : |b the case of the Nederlands Filmmuseum (1946-2000) / |c Bregt Lameris. |
| 264 | 1 | |a Amsterdam : |b Amsterdam University Press, |c [2017] | |
| 300 | |a 1 electronic resource (270 pages ). | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 344 | |a digital |2 rdatr | ||
| 347 | |a data file | ||
| 490 | 1 | |a Framing film | |
| 504 | |a Includes bibliographical references (pages 245-260) and index. | ||
| 520 | |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. | ||
| 588 | |a Description based on print version record; resource not viewed. | ||
| 505 | 0 | |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. | |
| 506 | 0 | |a Open Access |5 EbpS | |
| 945 | |a JSTOR |b JSTOR Open Access Books | ||
| 610 | 2 | 0 | |a EYE Film Instituut Nederland |x History. |
| 610 | 2 | 0 | |a Nederlands Filmmuseum |x History. |
| 610 | 2 | 7 | |a EYE Film Instituut Nederland |2 fast |
| 610 | 2 | 7 | |a Nederlands Filmmuseum |2 fast |
| 650 | 0 | |a Film archives |z Netherlands |z Amsterdam |x History |y 20th century. | |
| 650 | 0 | |a Motion pictures |x Historiography. | |
| 776 | 0 | 8 | |i Print version: |t Film museum practice and film historiography |d Amsterdam : Amsterdam University Press, [2017] |z 9089648267 |w (DLC) 2017453193 |
| 830 | 0 | |a Framing film (Amsterdam, Netherlands) | |
| 856 | 4 | 0 | |u https://go.openathens.net/redirector/philamuseum.org?url=https://www.jstor.org/stable/10.2307/j.ctt1v2xssp |z Access full-text online via JSTOR |
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