Journal of Film Preservation N° 60/61 - FIAF

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used to control the output signal during the transfer of the restored movie into negative films, video tapes or laser disk. - The automatic printing machine, an OXBERRY-KODAK, which is controlled by the Solitaire Cine-II computer. To date, our technicians can apply all technical functions of the aforementioned equipment and in fact, nearly 3,000 meters of negative film have been printed by this equipment. In the Institute, although great effort has been put to coping with mould and vinegar syndrome, they are still threatening our film collection. Therefore, in addition to the treatment of mould or vinegar syndrome affected films, the periodical inspection of the collection to discover damaged films in time and the spending of the budget for printing films from bad quality films after restoration have received the greatest priority. 40 Journal of Film Preservation / 60/61 / 2000
A Brief History of Plasticized Cellulose Nitrate or Celuloid Alfonso del Amo This article would have been impossible to write without the knowledge of the research accomplished by Dr. Fernando Catalina. In Prometheus Bound, Aeschylus depicts the benevolent hero who, on giving humans the gift of fire, laid the foundation for all of mankind’s artistic endeavors. It is perhaps this grand idea involving Mankind being wrought on creating, developing and modifying the material aspects on which human existence is based that may aid us in understanding how the changes which filmmaking has wrought in twentieth-century culture are related, in part, to the existence of a material unstable to the point of being self-inflammable yet flexible and transparent, the golden era of which lasted little over fifty years but which would afford the possibility of the mechanical projection of moving pictures to make its way onto the scene as a possible, fundamental human art form. The discovery, the processing and the development of new materials with which to more cost-effectively cover society’s needs has been one of mankind’s constant endeavors to which it has devoted a major portion of its industriousness, but, in all truth, a vast majority of the new materials discovered are not totally new but can be termed as being processes or new ways of processing or of employing previously-existing materials already in use. Truly new materials being discovered is quite a rare event, and the processes which lead to these new materials coming into being were often not initially set into motion with the aim of meeting any specific, known needs, or the needs it was being attempted to cover had nothing to do with the uses achieved in the end for the material in question. Often only after many different modifications and changes were new materials used in a way that would exploit their full potential. To illustrate the above statement, we can begin by discussing another material which is in no way new and which became an essential part of our lives during the last half of the nineteenth century. Afterward, we can discuss the discovery of celluloid by drawing a comparison. Steel is a product which has been known to Man since the dawning of history and which is made by heating iron ore to release the oxygen from the iron oxide and lowering the carbon content in the masses of molten iron to quite specific proportions. But the nature of 41 Journal of Film Preservation / 60/61 / 2000
Page 1 and 2: Journal of Film Preservation 60/61
Page 3 and 4: July / juilliet / julio 2000 From t
Page 5 and 6: ut the editor believes that the abo
Page 7 and 8: made and time has come to look seri
Page 9 and 10: must review nitrate film that has p
Page 11 and 12: must always compare the correspondi
Page 13 and 14: and cataloguing and customer servic
Page 15 and 16: another, so as to make maximum use
Page 17 and 18: on those used during the Soviet occ
Page 19 and 20: Les “Etats généraux du patrimoi
Page 21 and 22: technologies analogiques et numéri
Page 23 and 24: magnétiques ou de disques, les sup
Page 25 and 26: Kranner (Austrian Plastics Institut
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Page 29 and 30: conservation pour les archives les
Page 31 and 32: d’accès et de communication des
Page 33 and 34: encontrée consiste à devoir trans
Page 35 and 36: destination. Comme le décrit Werne
Page 37 and 38: UMID) est indispensable pour assure
Page 39 and 40: 1987 the institute’s technicians
Page 41: machine without damage. Therefore,
Page 45 and 46: product which could be based on cel
Page 47 and 48: Camphor, which was chiefly responsi
Page 49 and 50: Die Abenteuer des Prinzen Achmed Re
Page 51 and 52: Luckily it emerged that the complet
Page 53 and 54: El primer anuncio de F. Hollmann y
Page 55 and 56: que ha causado tremendas discusione
Page 57 and 58: se mantuvo indiferente. Con segurid
Page 59 and 60: Eso han querido realizar los direct
Page 61 and 62: hard to conceive of a more effectiv
Page 63 and 64: question and answer session confirm
Page 65 and 66: Mais que dire de la négligence de
Page 67 and 68: In Memoriam Brigitte van der Elst (
Page 69 and 70: comme professionnels, pour répandr
Page 71 and 72: What happened then was both patheti
Page 73 and 74: Mona Mitropoulos ( † 1999) Theodo
Page 75 and 76: Le cinéma d’Azerbaïdjan, quelqu
Page 77 and 78: dans les anciens studios devenus mu
Page 79 and 80: assurer les meilleures conditions d
Page 81 and 82: In the end, the fourth category was
Page 83 and 84: ecordings are in B. This leaves 51%
Page 85 and 86: El Poder Ejecutivo decretó patrimo
Page 87 and 88: El Archivo Buñuel En 1995 el Minis
Page 89 and 90: Su hijo Juan Luis, en un reciente e
Page 91 and 92: Book Reviews Paolo Cherchi Usai Hen
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Yasujiro Ozu, ediciones Textos Film
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2000 Aki Kaurismäki, collectif, N.
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gouaches del pintor Karel Appel, co
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Please contact the following if you
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This publications list and the orde
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Réseau Européen de Formation pour
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Although it is not a mastering mach
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Notes:
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Notes:
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Contributors to this issue... Ont p
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Journal of Film Preservation N° 60/61 - FIAF

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