From Ephemera to Art: The Birth of Film Preservation and the Museum of Modern Art Film Library

2014 ◽  
Vol 33 (2) ◽  
pp. 295-312
Author(s):  
Justin McKinney
2019 ◽  
Vol 6 ◽  
pp. 113-124
Author(s):  
Agata Łysakowska-Trzoss

W 1938 r. z inicjatywy Henriego Langois’a i Georges’a Franju z Cinémathèque Française, Franka Hensela z R eichsfilmarchiv, Johna Abbotta z Museum of Modern Art Film Library oraz Olwen Vaughan z londyńskiej National Film Library powołano do życia Fédération Internationale des Archives du Film – Międzynarodową Federację Archiwów Filmowych. Celem artykułu jest przedstawienie działalności FIAF, która w zeszłym roku obchodziła swoje osiemdziesiąte urodziny. W teście omówiono początki Federacji, jej cele i strukturę oraz działalność (włączając w to organizację warsztatów, kongresów, działalność wydawniczą i koordynowane projekty). Podkreślono także zasługi FIAF w zakresie zabezpieczania dziedzictwa filmowego oraz współpracy między archiwami. W artykule wykorzystano źródła drukowane umieszczone na stronie Federacji (takie jak sprawozdania z posiedzeń, raporty), informacje ze strony internetowej organizacji oraz literaturę dotyczącą historii filmu. “Not a single tape can be destroyed.” Eighty years of operation of the International Federation of Film Archives In 1938, upon the initiative of Henry Langois and Georges Franju from Cinémathèque Française, Frank Hensel from Reichsfilmarchiv, John Abbott from the Museum of Modern Art Film Library, and Olwen Vaughan from the London National Film Library, Fédération Internationale des Archives du Film (International Federation of Film Archives) was established. The objective of the article is to present the operation of FIAF, which celebrated its 80th birthday last year. The text presents the early days of the Federation, its goals, structure and activity — including its workshops, congresses, publications, and projects. The achievements of FIAF in terms of protecting the film heritage and fostering cooperation between various archival offices are also discussed. The following sources have been used for the purposes of this paper: printed sources posted on the Federations’ website (such as minutes from meetings and reports), information from the organization’s website, and literature on the history of film.


Author(s):  
Nathaniel Brennan

This chapter, by Nathaniel Brennan, discusses the efforts of the Museum of Modern Art Film Library to make use of captured enemy motion pictures on behalf of the federal government’s wartime intelligence programs during World War II. While the chapter presents an overview of the film library’s governmental intelligence work, ranging from matters of storage to the challenges of training analysts, the central case study examines the work of British anthropologist Gregory Bateson, whose work at the film library consisted of trying to define an objective approach to the study of culture through cinema and the preparation of a test film that would instruct American soldiers about the peculiarities of the German character. Although Bateson’s plans did not materialize, the efforts of Margaret Mead to adapt Bateson’s anthropological film methodology for the Cold War nonetheless influenced the development of postwar film studies and the analysis of national cinemas.


Film History ◽  
2003 ◽  
Vol 15 (1) ◽  
pp. 103-105
Author(s):  
David Callahan

2020 ◽  
Vol 47 (1) ◽  
pp. 141-172
Author(s):  
Frederic Ponten

Abstract This article details the brief collaboration between Siegfried Kracauer and Gregory Bateson in the Film Library of the Museum of Modern Art during World War II as an intriguing episode in intellectual history, touching on film and media studies, anthropology, and German studies. The article presents the Frankfurt School as part of the 1940s’ memorandum culture and thereby attempts to situate the historiography of critical theory during this formative period within a broader intellectual landscape, that is, in dialogue and competition with several other projects, to analyze the Nazi German enemy, in this case, the Culture and Personality School. The article takes Kracauer’s and Bateson’s analyses of the Nazi movie Hitlerjunge Quex as a case in point and, with the help of institutional and biographical contextualization, develops some of their most important methodical innovations and insights into Nazi German propaganda. In particular, the article points to Kracauer’s concept of hypnosis and relates it to Bateson’s media theory.


1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser

Author(s):  
Anselm Franke ◽  
Annett Busch ◽  
Katarzyna Bojarska

A conversation between Annett Busch, Anselm Franke, and Katarzyna Bojarska about the exhibition "After Year Zero. Universal Imaginaries - Geographies of Collaboration", shown at the Museum of Modern Art in Warsaw between June and August 2015.


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