The greatest films never seen : the film archive and the copyright smokescreen
著者
書誌事項
The greatest films never seen : the film archive and the copyright smokescreen
（Framing film）
Amsterdam University Press, 2018
大学図書館所蔵 全1件
注記
Includes bibliographical references, filmography and index
内容説明・目次
内容説明
Orphan works, or artworks for which no copyright holder is traceable, pose a growing problem for museums, archives, and other heritage institutions. As they come under more and more pressure to digitize and share their archives, they are often hampered by the uncertain rights status of items in their collections. The Greatest Films Never Seen: The Film Archive and the Copyright Smokescreen uses the prism of copyright to reconsider human agency and the politics of the archive, and asks what the practical implications are for educational institutions, the creative industries, and the general public.
目次
Acknowledgements Preface THE ORPHAN IN A HANDBAG An introduction to the film archive and intellectual property The book's approach The film archive: a brief history Archival beginnings Digitization Intellectual property Structure of the book 1 TERRA INCOGNITA The Nederlands Filmmuseum / EYE Film Institute Netherlands What's in a name? Dichotomy I: Creating historical resonance Dichotomy II: The need for re-categorization 2 A SWISS BANK Re-categorization I - The embargoed film The archive as rights holder Third party rights holders: Fragile relations Close-up: ALS TWEE DRUPPELS WATER ('LIKE TWO DROPS OF WATER') The colourization debate 3 A HANDBAG Re-categorization II - The orphan film Close-up: De OVERVAL ('THE SILENT RAID') The 'orphan works problem' and its causes Definition, demarcation, and scope Legal causes Administrative causes Proposed solutions to the orphan works problem Legislative measures Administrative measures 4 A VEHICLE OF POWER Re-categorization III - The public domain film Close-up: BEYOND THE ROCKS What is the public domain? The digital skew The public domain and public access The public domain and access to high-quality originals 5 A BIRTHPLACE The begotten film Found footage, legal provenance, and the 'aesthetics of access' Institutional re-use Non-institutional re-use The question of the archive 'BITS & PIECES as synecdoche': a challenge to film history 6 THE POTENTIAL FOR HISTORY MAKING Of accidents and activation Close-up: The Paper Print Collection Themes and tensions Archival practice, and the 'activation of copyright' Public domain status The potential for (film) history making The archive and 'doing' history The 'research program' CONCLUSION The Brighton line Notes Filmography Bibliography Index
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