Further Reading

+ UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions 2005

“Cultural diversity is made manifest not only through the varied ways in which the cultural heritage of humanity is expressed, augmented and transmitted through the variety of cultural expressions, but also through diverse modes of artistic creation, production, dissemination, distribution and enjoyment, whatever the means and technologies used” Article 4 (1)
+ The Digital Dilemma

A free download published by the Academy of Motion Picture Arts and Sciences, this  document addresses issues such as digital storage reliability and the obsolescence of digital formats, exploring the question of how to best protect and disseminate archival materials into the future.
+ The Digital Dilemma 2

This follow-up report details how the issues raised in the original affect independent filmmakers, documentarians and nonprofit audiovisual archives.
+ Cineaste Magazine (Fall 2012, Vol. XXXVII, No. 4), Various – Film vs Digital Projection at the Movie Theater

A collection of informed, critical perspectives on current developments from key figures in the archival and arthouse and repertory exhibition fields.
+ The Moving Image (Fall 2012, Vol. 12, No. 2, pp. 148-161), Haduong, May – Out of Print: The Changing Landscape of Print Accessibility for Repertory Programming

A comprehensive examination of the effects of current technological changes in exhibition on repertory programming, detailing the issues involved and discussing models for continuing, ongoing print provision.
+ Chapter 19 in Handbook of Research on Computational Arts and Creative Informatics (IGI Global, 2009, pp. 326-342, ISBN13: 9781605663524), Grace, Lindsay – The Philosophies of Software

An analysis of the philosophies and assumptions underlying computer software. Important, critical limitations of binary technologies are referenced, such as reliance on Analogy and inherent Reductivism.
+ Angelaki – Journal of Theoretical Humanities (Volume 18, Issue 4, 2013 pp. 179-194), Stoddard, Matthew – Film Heritage and the Cinematic Common

The author advances concepts of the Cinematic Common – the understanding that Film is the shared property of Humanity and a common resource. Cinema is examined through the prism of social relations and labor theory in order to deepen academic understanding of Film Heritage.
+ Film Comment (Blog, May 16, 2014), Pinkerton, Nick – Bombast: This Print Could Be Your Life

A discussion on the unique properties of projected Film, and its cultural importance:
“You never step twice in the same river, you never see the same show twice—and you never see the same print, either, as it changes with the very process of passing through the projector. Given the scarcity of 35mm prints and the unique quality of every projection, 35mm screenings are closer to a live show than an LP.”
+ Journal of Film Preservation # 86, April 2012, Open Forum,
Horwath, Alexander – Persistence and Mimicry: The Digital Era and Film Collections

“…public cultural budgets and political energies need to be activated in order to ensure the continued production of film stocks and printing and projection machinery as well as the perpetuation of all related professions and systems of training. All this mainly for museum and heritage purposes, so that film, like many other historically influential art practices, can be preserved and kept visible as such and not only as a digital version of itself.”

▲ Modified December 3, 2014

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