The writing of cinema history would not be possible without the contribution of collectors. Whether through their pioneering excavation work or their passionate defence of forgotten productions and artifacts, collectors have had a lasting influence on both the field and the methods of moving image history. Proceeding from a renewed dialogue between international film scholars, collectors,... Read more
The writing of cinema history would not be possible without the contribution of collectors. Whether through their pioneering excavation work or their passionate defence of forgotten productions and artifacts, collectors have had a lasting influence on both the field and the methods of moving image history. Proceeding from a renewed dialogue between international film scholars, collectors, filmmakers, curators, and archivists, this book aims to reveal the extent to which collectors and collections have contributed to both the history and the epistemology of moving images. It showcases specific studies of collecting practices, as well as in-depth interviews with collectors and artists bringing to light the innumerable articulations between collecting cinema and the rewriting of film history. Read less
List of illustrations, Charlotte Brady-Savignac, André Habib, Louis Pelletier,Louis Pelletier, and Jean-Pierre Sirois-Trahan - Foreword, Chapter 1 : André Habib, Louis Pelletier, and Sirois-Trahan - Collecting Cinema, Rewriting History: Between the Visible and the Invisible, Chapter 2: Janet Bergstrom - Out from the Shadows: Lotte Eisner's Significance as a Collector, Chapter 3: Anne-Marie Malthête-Quévrain - Repatriating the Work of Georges Méliès: The Collection of Madeleine Malthête-Méliès, Chapter 4: Kimberly Tomadjoglou - Her Eyes that Saw—Maria Adriana Prolo's Dream of A Museum of Cinema, Chapter 5: Clara Auclair - The Personal Is Technical: Strategies of Remembrance in the Francis Doublier Collection, Chapter 6: Dimitrios Latsis - The Beginnings of Cinema as a Museum Exhibit: The Cases of the Smithsonian Institution and the Science Museum in London, Chapter 7: Sabine Lenk - Robert Vrielynck—The Microcosm of Small Changes, or: Collecting Details and Not (Only) Principles, Chapter 8: Frank Kessler - Werner Nekes—the Film Maker as Collector and Model, Chapter 9: Anne Morra - The Pleasure of Possession: Joseph Cornell, Chapter 10: André Habib & Bruce Posner - Eclipses, Ellipses, Explosions: Joseph Cornell as Filmmaker & Collector. A Conversation Between André Habib and Bruce Posner, Chapter 11: Peter Rist - Notes on William K. Everson, Chapter 12: Ernie Gehr - Confessions of a Filmmaker-Collector, Chapter 13: Ken Eisenstein - Ernie Gehr's The Collector (2003) and Ernie Gehr the Collector, Chapter 14: Noah Teichner - Collecting Methodologies with the Phonograph: The Performance of Canned Vaudeville, Chapter 15: Philipp Dominik Keidl - Film and Media Merchandising in the Eye of the Fan Historian: Practices, Objects, Media, Chapter 16: Stefanie Zingl - The Memory of a Suitcase. Margret Veit's Film Souvenirs, Chapter 17 : Charles Tepperman - Margaret's World: The Creative Geography of an Amateur Filmmaker, Chapter 18: Rick Prelinger - The Emergence of Collecting and the Effacement of Archives, Contributors, Index.
Biography
André Habib is a full professor of Film Studies at the Université de Montréal and director of the web journal Hors champ. His areas of research have focused on found footage filmmaking and the archive, experimental cinema, cinephilia and, more recently, technostalgia, intermediality and melancholy. Louis Pelletier teaches film history and film preservation at Université de Montréal. He holds a PhD in Communication from Concordia University, where he is research coordinator of the Canadian Educational, Sponsored and Industrial Film project. He has published on film history, useful cinema and film technology in many journals. Jean-Pierre Sirois-Trahan is the director of the program of cinema and digital culture of the Département de littérature, théâtre et cinéma at the Université Laval. He is interested in early cinema and he is currently working on the concept of découpage and the cinema of Georges Méliès.
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