Interesting stuff...

Gary Handman (ghandman@library.berkeley.edu)
Tue, 15 Feb 2000 10:45:34 -0800 (PST)

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>Date: Tue, 15 Feb 2000 08:47:09 -0800
>To: ghandman@library.berkeley.edu
>From: Ellen Meltzer <emeltzer@library.berkeley.edu>
>Subject: FYI
>
>
>MAGAZINES & JOURNALS
>
>A glance at the winter issue of "Stanford Humanities Review":
>Moneymaking and preservation collide in the film archive
>
>Alfred Hitchcock's "Rear Window" is once again in theaters, the
>latest in a series of classic films back in circulation and
>advertised as "newly restored." These new runs cost relatively
>little and reap considerable profit, notes Karen F. Gracy, a
>doctoral candidate in library and information science at the
>University of California at Los Angeles. She estimates that the
>Walt Disney Company has made more than $250-million by releasing
>eight films from the studio vaults. After years of neglect,
>"film preservation and restoration are now the buzzwords in
>Hollywood, as corporate owners rediscover and capitalize on
>their valuable assets," writes Ms. Gracy. Yet studio goals often
>clash with the strategies of archivists trying to "preserve and
>safeguard" cinema's heritage. Films that promise to bring in
>cash get attention at the expense of older films that will
>disappear if not preserved, she points out. Her article is one
>of several in the special issue of the journal that consider the
>film archive as a site of aesthetic, scholarly, and commercial
>debate. "How might intellectual dialogue and professional
>collaboration between archvists and researchers be enhanced in
>the moving image field?" asks Richard Martin Benjamin, a
>Stanford University graduate student and the issue editor. Brian
>Taves, a staff member in the motion-picture division of the
>Library of Congress, discusses the importance of saving
>"marginal" and "B-movies" to retain the clearest record of film
>history, even though those are not necessarily the best films
>produced or suited for teaching. Daniel Bernardi, an assistant
>professor of media arts at the University of Arizona, describes
>how the way films and television programs get categorized in
>university collections may unwittingly shape scholarly research,
>especially in regard to race and ethnicity. And Jan Krawitz, a
>Stanford professor and documentary filmmaker, suggests that
>archives themselves have a commercial stake in building their
>collections. She shares her own uphill battles to get the rights
>to archival film footage for her low-budget works. The journal
>concludes with a helpful appendix offering details on 38 leading
>film archives around the world. The articles are not available
>online, but information about the journal is available on its
>World Wide Web site, at http://www.stanford.edu/group/SHR
>_________________________________________________________________
>
>
>
Gary Handman
Director
Media Resources Center
Moffitt Library
UC Berkeley 94720-6000
http://www.lib.berkeley.edu/MRC

"Everything wants to become television" (James Ulmer -- Teletheory)