Thesis (M.A.)--Brigham Young University. Dept. of Theatre and Media Arts, 2007. / Includes bibliographical references (p. 131-134).

Thesis (Ph. D.)--University of Chicago, Department of English Language and Literature, August 2002. / Includes bibliographical references. Also available on the Internet.

Lau Ka Yan, Jessie. / Subtitle on added t.p.: Movement in city, city in movement. / At head of title on added t.p.: Film museum at Yau Ma Tei Fruit Laan. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2009-2010, design report." / "May 2010." / Includes bibliographical references. / Text in English with some Chinese. / Chapter 00 --- Research --- p.10 / Abstract / Research Framework / Introduction / Chapter 01 --- Physical Reality --- p.19 / Film List of HK Space Study / Archetypal Space / Archetypal Space in HK Film / Chapter 02 --- Mental Reality --- p.56 / Screen / Eye of Camera / Cinematography / Techiques of illusion / Chapter 03 --- Site Analysis --- p.70 / Chapter 04 --- Case Study --- p.84 / Berlin Jewish Museum / Temple Bar / Pallazza Del Cinema / Comparison / Chapter 05 --- Film Facility in HK --- p.102 / Chapter 06 --- Design Idea --- p.112 / Chapter 07 --- Research and Design --- p.124 / Chapter 08 --- Physical Reality vs Mental Reality --- p.124 / Chapter 09 --- Space and Activities --- p.124 / Chapter 10 --- Presentation --- p.124 / Chapter 11 --- Bibliography --- p.124

Chung Hung Yu Rex. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report." / Chapter I. --- BACKGROUND / Chapter I.I --- Client / Chapter I.II --- Need / Chapter I.III --- Program/ Brief / Chapter I.IV --- Users / Chapter I.V --- Site selection & context / Chapter I.VI --- Design Objectives / Chapter II. --- DESIGN STRATEGY / Chapter II.I --- Design Philosophy / Chapter II.II --- Concept Development / Chapter II.III --- Site Aspect / Chapter a) --- Site Context / Chapter b) --- Site Zoning Strategy / Chapter c) --- Site Circulation / Chapter II.IV --- Building Design / Chapter a) --- Building Zoning Strategy / Chapter b) --- Building Circulation / Chapter III. --- STRUCTURE / Chapter III.I --- Superstructure / Chapter III.I --- Curtain wall System / Chapter IV. --- AIR-CONDITIONING / Chapter IV.I --- Zoning Strategy / Chapter IV.II --- Detail Design / Chapter V. --- FIRE SERVICE / Chapter V.I --- Means Of Escape / Chapter V.II --- Fire Compartmentation / Chapter VI. --- PLUMBING & DRAINAGE / Chapter VII. --- APPENDIX / Chapter 1. --- Assembly Drawings & Model Photos / Chapter 2. --- Programming Report/ Design Brief

The American Genre Film Archive is a 501(c)(3) non-profit organization established in 2009 by Tim League, founder and CEO of the Alamo Drafthouse Cinema. With a sense of rebellion against established film archives, AGFA is dedicated to the collection of 35mm prints of exploitation films from the 1960s-1980s in order to conserve and distribute these neglected films. A confluence of issues including the history of the films in the collection, AGFA’s connection with the Alamo Drafthouse, and influences from the hipster subcultures combine to inform AGFA’s practices and mission. This thesis will explore how the American Genre Film Archive conforms to and rebels against the established archive community by means of its mission and institutional structure. Also, this thesis will explore AGFA as a hipster institution through its collecting and exhibition practices. AGFA’s roles in the wider film archive community and the hipster community converge into an unusual archive serving unusual films. / text

Thesis (M.S.)--Rochester Institute of Technology, 2007. / Typescript. Accompanying CD-ROM contains versions of the thesis in Word document and PDF forms. Includes bibliographical references (leaves 35-42).

Since the invention of the cinema, people have been taking home movies. The everincreasing popularity of this activity has produced a hundred years worth of amateur film culture which is in desperate need of preservation. As film archival and public history have coalesced in the past thirty years around the idea that every person’s history is important, home movies represent a way for those histories to be preserved and studied by communities and researchers alike. The University of Central Florida is in a perfect position to establish an archive of this nature, one that is specifically dedicated to acquiring, preserving, and presenting the home movies of Central Florida residents. This project has resulted in the establishment of The Central Florida Home Movie Archive, and the resulting analysis will show that the archive will be a benefit for researchers from all areas of academic study as well as the residents of Central Florida.

O tema deste trabalho é a preservação de filmes e seu foco é a Cinemateca Brasileira. Na introdução aborda-se a bibliografia existente sobre arquivos de filmes e preservação, definem-se conceitos e explica-se a questão da narrativa adotada. A primeira parte é dedicada à investigação das relações entre arquivos de filmes e Estado, com seu conseqüente reflexo na questão da autonomia de gestão dos arquivos sobre seus acervos. A partir das quatro instituições fundadoras da Fédération Internationale des Archives du Film propõe-se um quadro de categorias para os arquivos de filmes e seus estatutos jurídicos. A questão da autonomia é investigada em países do Leste europeu e experimenta-se a aplicação do quadro de categorias proposto aos arquivos da América Latina. A maior parte do trabalho é a segunda, que narra a história da Cinemateca Brasileira desde suas origens como Clube de Cinema de São Paulo, sua anexação ao Museu de Arte Moderna, a mudança de personalidade jurídica para fundação e sua transformação em órgão vinculado ao poder federal. As realizações e os obstáculos encontrados pela instituição para a preservação do patrimônio nacional de imagens em movimento são descritos e comentados desde aquelas origens até o ano de 2006, quando a Cinemateca Brasileira abriga o 62º Congresso anual da Fiaf. A conclusão questiona a tutela jurídica que a Cinemateca Brasileira se atribui em relação à preservação do patrimônio de imagens em movimento no Brasil. / The subject of this work is film preservation and its focus is on the Cinemateca Brasileira. The introduction approaches the existing bibliography about film archives and preservation, defines concepts and explains the type of narrative that will be adopted. Part I is aimed at the investigation of the relations between film archives and the State, with its subsequent reflex on the question of management autonomy of the archives on their own collections. By analyzing the four institutions that founded the Fédération Internationale des Archives du Film, a framework of categories for the film archives and their legal statutes is proposed. The autonomy question is investigated in East European countries and the categories proposed before are applied to Latin America. Part II is the most extensive: the history of the Cinemateca Brasileira is narrated, from its origins as the Clube de Cinema de São Paulo, its attachment to the Museum of Modern Art, the change of juridical figure into foundation and its transformation into a federal organ. The accomplishments and the difficulties met by the preservation of the national moving images heritage are described and commented from those origins until the year 2006, when the Cinemateca Brasileira held the 62nd Fiaf Annual Congress. The concluding remarks question the legal tutelage that the Cinemateca Brasileira attributes itself regarding the preservation of the moving images heritage in Brazil.

<p>The aim with this archive guide is to give a guide to Karl-Anders Wollter’s film collection at Grängesberg Film archive. Karl-Anders Wollter worked between 1962–1993 for the State Department and mainly outside Sweden. The film collection consists of 67 films regarding his work, holidays and family life. In his work as a diplomat Wollter visited a lot of different places around the world, but he also travelled and made some trips with hisfamily. The collection also consists of footage from state visits, installations, negotiations in conflicts and inter-national conferences with politicians. Altogether the film collection gives not only a good view of how the life as a diplomat might be, but also of the development of the society and footage over villages and minor villages both in Sweden and other countries. This archive guide could thus serve as a guide both to those who are interested in the life as a diplomat, politic – and civic life and for those who are interested in cities and minor village’s devel-opment over time. This archive guide can also serve as a guide for those who are looking for film footage for various documentaries.</p>

The aim with this archive guide is to give a guide to Karl-Anders Wollter’s film collection at Grängesberg Film archive. Karl-Anders Wollter worked between 1962–1993 for the State Department and mainly outside Sweden. The film collection consists of 67 films regarding his work, holidays and family life. In his work as a diplomat Wollter visited a lot of different places around the world, but he also travelled and made some trips with hisfamily. The collection also consists of footage from state visits, installations, negotiations in conflicts and inter-national conferences with politicians. Altogether the film collection gives not only a good view of how the life as a diplomat might be, but also of the development of the society and footage over villages and minor villages both in Sweden and other countries. This archive guide could thus serve as a guide both to those who are interested in the life as a diplomat, politic – and civic life and for those who are interested in cities and minor village’s devel-opment over time. This archive guide can also serve as a guide for those who are looking for film footage for various documentaries.