Machine generated contents note: 51. Between Knowledge And Faith Or Curator As Karamazov. 2. The Eye Of The Beholder Or On The Shifting Nature Of The Big Screen, Part I -- 3. The Myth Of The Big Screen Or On The Forces Propelling Transition From Kinetoscope Across Cinematographe To Netflix -- 4. The Shared Parentage Of Global Warming And Digital Revolution Or A Parable About Film Restoration -- 5. Dry Humping Against The Grain Or Digital Film Restoration Manifesto: A Satire -- 6. Beyond Reasonable Doubt Or On The Nature Of Wear, Tear, Ought, And Can -- 7. Film As An Object In Time Or Film Fermentation, Part I -- 8. Film As An Object In Space Or Film Fermentation, Part Ii -- 9. The Myth Of Icarus In A Digital Age Or Does Matter Really Matter? -- 10. Dreyer In Prizren Or A Tale Of Privilege, Part 1 -- 11. The Emergence Of Gaps Or On Human Curiosity -- 12. Can A Narrative Account Ever Be Adequate? Or On The Importance Of Gaps And Memories Carried In Poetry -- 13. In Praise Of Forgetting Or To Know Everything Is To Know Nothing -- 14. The Nitrate Picture Show Or On The Subversive Potential Of The Obsolete -- 15. Film Exhibition Vs. Film Screening Or On The Authentic Cinematographic Experience -- 16. Godard In Tehran Or A Tale Of Privilege, Part Ii -- 17. Original Vs. Facsimile Or Faraday-Maxwell's Mechanics Of Image Transmission -- 18. The Subterranean Strata Of The Film Economy Or In Praise Of The Celestial Cinematheque -- 19. Courage Under Fire Or On The Organic And Egalitarian Nature Of The Celestial Cinematheque -- 20. The Next Stage Of Interpassivity Or The Impotence Of The Celestial Cinematheque -- 21. Please Leave Us Be: Analog Is Easy, Digital Is Hard Or Please Omit Flowers: Digital Is Easy, Analog Is Hard -- 22. Sen In Kolkata Or A Tale Of Privilege, Part Iii -- 23. The Festival Of 35Mm Film Or Remembering Vlado Pintar -- 24. The Importance Of Imperfection Or A Tale Of Privilege, Part Iv -- 25. The Importance Of Imperfection, Post Scriptum Or The Case Of Zelimir Zilnik -- 26. Re/Writing Film History, Part I Or On The Shifting Nature Of Values -- 27. Re/Writing Film History, Part Ii Or On Ideology Parading As An Aesthetic Arbiter -- 28. Re/Writing Film History, Part Iii Or On Subjective Experience Parading As Canon -- 29. The Privilege Of A Film Museum, Part I Or Against "Attendance! Attendance!" -- 30. The Privilege Of A Film Museum, Part Ii Or A Leninist Film Ratio -- 31. The Privilege Of A Film Museum, Part Iii Or On Preserving Global Cultural Asynchronicity -- 32. Digital Pandemics Or On Preserving The Audience And The Will To Will -- 33. Psychology Of A Crisis Or On Preserving The Audience And The Will To Will, Continued -- 34. The Church Of Cinema, Part I Or The Questions Of Darkness, Distance, Silence, And Scale -- 35. The Church Of Cinema, Part Ii Or A Century Of Priests -- 36. The Church Of Cinema, Part Iii Or Cinema As Sanctuary -- 37. Copying Is Not Looting Or Film Museum And Decolonization, Part 1 -- 38. The Fall Of The Self-Evident Masterpiece Or Film Museum And Decolonization, Part Ii -- 39. The Firewalls Of A Film Museum Or The Celestial Cinematheque As Andre Malraux's Museum Without Walls -- 40. Open The Museums! Or Film Museum As A Tomb Of The Obsolete -- 41. How To Drive A Bargain With A Copyright Holder Or Practical Advice For Young Film Programmers -- 42. Film Museum's Living-Dead Surplus Or The Secret Truth Of A Film Archivist -- 43. Stalinism Is Not Socialism Orcapitalism Is Not Freedom -- 44. The Church Of Cinema, Part Iv Or Technology As A Source Of Wonder -- 45. A List With An Agenda Or In Praise Of Careless Curating, Part I -- 46. Politics Of Culture Vs. Culture Of Politics Or In Praise Of Careless Curating, Part Ii -- 47. Against The Balkanization Of Knowledge Or Film History In The Framework Of History -- 48. The Costs Of Saving An Ocean Wave Or What Is It That We Want To Conserve And Why?, Part Ii -- 49. Learning From Foolish Things Or On The Shifting Nature Of The Big Screen, Part Ii -- 50. Farewell To Scratches Or The Last Person On Earth To Run Film Dailies -- 51. Between Knowledge And Faith Or Curator As Karamazov.
Summary:
A quick succession of changes - some entirely expected, some less so - has drastically reshaped the domain of preserving and exhibiting film heritage in the first two decades of the 21st century. Film production, exhibition, restoration and reflection became predominantly, almost exclusively digital affairs. Professional profiles became obsolete and new ones have emerged. Other forms of art and entertainment took the center stage of collective dreams and discussions. The principles of curatorship clashed with the idea of access. Streaming took over the world as the predominant way of experiencing moving images and private space trumped public space as the primary site of these experiences. Scratches and Glitches is a collection of essays that attempt to make sense of these changes-in-progress in the wider context of cultural history, focusing on the responsibility of film archives and museums, guardians of film heritage.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.