The greatest films never seen : the film archive and the copyright smokescreen
Author(s)
Bibliographic Information
The greatest films never seen : the film archive and the copyright smokescreen
(Framing film)
Amsterdam University Press, 2018
Available at 1 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references, filmography and index
Description and Table of Contents
Description
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.
Table of Contents
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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