Journal of Film Preservation - FIAF

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Advertising Rates / Tarifs publicitaires The FIAF Journal of Film Preservation has a print-run of 1000 and reaches more than 200 film and television archives, libraries which means about 2000 individual professionals all over the world. Le Journal of Film Preservation de la FIAF est tiré à 1000 exemplaires et touche plus de 200 archives et bibliothèques, soit environ 2000 professionnels dans le monde. Printing / impression black and white / blanc et noir Journal page format / format page 23.6 x 17.8cm To be provided / matériel à fournir copy in camera-ready form, graphics and text/ prêt à imprimer tel quel, graphiques et textes inclus Price / Prix 600, - US$ per page 2 years (4 ads) / 2 ans (4 annonces) 450, - US$ each / 450,- US$ p. annonce Special offer for Subscribers: two years (4 ads) 300, - US$ each Offre spéciale Souscripteurs: 2 ans (4 annonces) 300, - US$ p. annonce Name / Nom Address / adresse Subscriptions / Abonnements Subscribe for 2 years at the special price of 1500,-BEF (50,-US$) Abonnez-vous pour 2 ans au tarif spécial de 1500,-BEF (50,-US$) Annual Subscription / Abonnement annuel 1000,-BEF (35,-US$) + banking costs if bank transfer / + frais bancaires si virement Postal code / Code postal Town / Ville Country / Pays Please debit my credit card / Veuillez débiter ma carte de crédit ■ American Express ■ Visa ■ Diners Club ■ Master Card / Eurocard N° ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ Expiry date / date d’expiration or please transfer directly from your bank account to FIAF account, Brussels ou veuillez transférer de votre compte bancaire au compte de la FIAF, Bruxelles - ■ Crédit Communal 068-2107754-68 Date: Signature FIAF - rue Defacqz, 1 - 1000 Bruxelles, Belgium ✂
Among this issue's contributors... Ce numéro a été rédigé avec la collaboration de... ISSN 1017-1126 Gabrielle Claes est conservateur de la Cinémathèque Royale (Bruxelles) Silvan Furlan is programme director of the Slovenian Cinematheque in Ljubljana Anton Giménez est cinéaste et photographe. Il est conservateur d’Arxiu d’audiovisuals (filmoteca) de Barcelone Ross Lipman is an independent filmmaker, archivist, and instructor. Currently cataloger at the Pacific Film Archive, he has previously taught at the San Francisco Art Institute, the University of London, and the Hungarian Academy of Film and Drama. His recent film, Rhythm 93, was honored with Director’s Choice at the 1995 Black Maria Film Festival Luke McKernan is a cataloguer at the National Film and Television Archive (London) and is the author of Topical Budget (1992), and co-editor of Walking Shadows (1994) and the recently-published Who’s Who of Victorian Cinema: A Worldwide Survey (1996) Peter MacNamara is President of the European Association Inédits (AEI). He is Principal Lecturer in history at University College of Ripon and York and founder of the Yorkshire Film Archive. Norman McLaren was born in Stirling, Scotland, in 1914. McLaren worked under John Grierson at the G. P. O. in London. At Grierson’s invitation he joined the National Film Board of Canada in 1941 where he set up an animation unit and created some of the most exciting films in the history of Animation. He died in Montréal in 1987. Micheline Morisset des Archives nationales du Canada à Ottawa est la responsable de la section Inédits au sein de l’AMIA (Association of Moving Image Archivists). Dominique Païni est critique de cinéma, critique d’art et essayiste, il est directeur de la Cinémathèque française (Paris) Walter Schobert is the director of the Deutsches Filmmuseum (Frankfurt). Pierre Véronneau est historien et critique de cinéma; il est conservateur des collections non film de la Cinémathèque québécoise (Montréal). Peter von Bagh is an author, film director and researcher. He is the editor of the magazine Filmhilillu (Helsinki).
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Journal of Film Preservation Revue
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November / novembre 1996 Open Forum
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nationales ou des productions étra
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politique en fait. N’oublions pas
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ut - c’est évident - de complét
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C’est une question que je me pose
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ment pour retomber dans des vieille
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and copies for other purposes of fi
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La Fundación del Caribe con sede e
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eling shows. The first one started
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participation were Demon (1911), Ka
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The Museum of Modern Art is pleased
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dessins de costumes et de décors).
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Ce livre s’attache du même coup,
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Additional courses are also offered
Page 31 and 32: And when the world war broke out in
Page 33 and 34: FIAF 53rd General Meeting will be h
Page 35 and 36: edundancy at either end. When shoot
Page 37 and 38: el nombre de cine amateur. Intuyo q
Page 39 and 40: película. Fué la que al año sigu
Page 41 and 42: elated activities that had been mar
Page 43 and 44: to E-motion Films during this perio
Page 45 and 46: ian redundant. Surely the ability t
Page 47 and 48: Through the media we can use Inédi
Page 49 and 50: portance du matériel et à l’urg
Page 51 and 52: For video release, the 35mm materia
Page 53 and 54: Bruce Conner’s Crossroads; a rewo
Page 55 and 56: pan across an archetypal California
Page 57 and 58: however, he had chosen an entirely
Page 59 and 60: film in large quantities as a speci
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Page 69 and 70: one, showing the 35mm prints of 68m
Page 71 and 72: Newsreels in Film Archives edited b
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Page 75 and 76: ema; the Lumière family; a themati
Page 77 and 78: FIAF publications available from th
Page 80 and 81: DEBRIE has during a period of 100 y
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