In From Grain to Pixel, Giovanna Fossati analyzes the transition from analog to digital film and its profound effects on filmmaking and film archiving. Reflecting on the theoretical conceptualization of the medium itself, Fossati poses significant questions about the status of physical film and the practice of its archival preservation, restoration and presentation. From Grain to Pixel attempts to bridge the fields of film archiving and academic research by addressing the discourse on film's ontology and analyzing how different interpretations of what film is affect the role and practices of film archives. Ultimately, Fossati proposes a novel theorization of film archival practice as the starting point for a renewed dialogue between film scholars and film archivists. Almost a decade after its first publication, this updated edition covers the latest developments in the field. Besides a new general introduction, a new conclusion and extensive updates to each chapter, a novel theoretical framework and a new case study have been added.
Author(s): Giovanna Fossati
Edition: 3
Publisher: Amsterdam University Press
Year: 2019
Language: English
Commentary: OpenAcess
Pages: 448
Tags: Transition, Analog To Digital FilmMaking, Film Archiving
Table of Contents......Page 8
Acknowledgements......Page 10
Introduction to the Third Revised Edition......Page 14
Framing Film (in Transition): an Introduction......Page 22
PART ONE. PRACTICE AND THEORY OF (ARCHIVAL) FILM......Page 40
1 Film Practice in Transition......Page 42
1.1 Film Production......Page 47
1.2 Film Archiving......Page 85
2 Theorizing Archival Film......Page 146
2.1 Film Ontology between Reality and Mind......Page 154
2.2 Film Ontology in Transition......Page 181
PART TWO. THEORIZING (ARCHIVAL) PRACTICE......Page 196
3 Film Archival Field in Transition......Page 198
3.1 Film Archives......Page 207
3.2 Film Laboratories......Page 239
3.3 European Union Funded Projects: Politics in Practice......Page 261
4 Restoration Case Studies: Theorizing Archival Practice......Page 272
4.1 The Matinee Idol (USA, 1928 and 1997): "Film as State of the Art" and Simulation......Page 274
4.2 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (USA, 1964 and 2006): "Film as State of the Art" and Remediation......Page 281
4.3 Mahagonny (USA, 1970/1980 and 2002): "Film as Art," Convergence/Divergence, and Simulation......Page 287
4.4 Zeemansvrouwen/Sailor’s Wives (NL, 1931 and NL/DK, 2003): "Film as Dispositif" and Remediation......Page 294
4.5 Beyond the Rocks (USA, 1922 and NL, 2005): "Film as Dispositif," Convergence/Divergence......Page 298
4.6 We Can't Go Home Again (USA, 1973 and NL/USA, 2011)" "Film as Performance" and Remediation......Page 308
A New Mindset for (Archival) Film in Transition: A Conclusion......Page 326
Conclusions to the Third Revised Edition......Page 332
Notes......Page 340
Notes to the Third Revised Edition......Page 364
Glossary of Technical Terms......Page 380
List of Illustrations......Page 386
Filmography......Page 388
Bibliography......Page 392
Index......Page 412
Color Section......Page 425
