This study concerns with the characters, movie watching behaviors and lifestyles of the audiences of Kaohsiung Film Archive. Kaohsiung Film Archive, one of the local cultural museums in Kaohsiung city, provides film exhibitions and movie activities for people. The museum studies in Taiwan seldom discussed the audiences¡¦ behaviors based on personal psychological variables. On the other hand, most of the researches about movie viewers were focused in Taipei. This study attempts to reveal the differences of viewers between Kaohsiung Film Archive and other movie theaters. Some marketing suggestions for Kaohsiung Film Archive will be raised based on this study. This research has been conducted by questionnaire surveies from January 20th, 2010 to February 10th, 2010 in Kaohsiung Film Archive daily. 387 valid questionnaires are collected from the audience going to the screen room on the 3rd floor. The result shows: The majority of the movie viewers in Kaohsiung Film Archive are college-educated. The ratio of femail audience to male is 6:4. Their age distributes equally from the youth to retirements. Many people attend movies alone in Kaohsiung Film Archive, and plan the trips in advance. Their motivations to watch movies and the criteria for choosing movies are similar to the results found in the past. Except the mainstream romance and comedy, the study also finds that the audiences¡¦ favorite movie genres include non-mainstream art, documentary, and adaption of literary etc. With respect to viewers¡¦ lifestyles, there are 27 questions in the study listed on the scale meter. By using factor analysis and reliability tests, six common factors can be classified: ¡§loving cinematography,¡¨ ¡§independent and appreciative,¡¨ ¡§engaging in community activities,¡¨ ¡§enjoying family life,¡¨ ¡§taking part in social activities,¡¨ and ¡§calm and gentle nature.¡¨ These common factors further can be divided into 3 groups: ¡§pragmatic,¡¨ ¡§art and leisure¡¨ and ¡§fashion and dynamic.¡¨ The characters and movie-watching behaviors of these three groups are quite different. The age of ¡§pragmatic¡¨ people are relatively aged. They don¡¦t have paracticular vhoice of movie genres. The most frequently moviegoers are ¡§art and leisure¡¨ people, distributed in all ages. They like to watch non-mainstream art and documentary movies. ¡§Fashion and dynamic¡¨ group is the youngest people. Their choices of movies are the same as normal movie audiences.

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

A navegação e recuperação entre recursos de catálogos diferentes através de tecnologias Linked Data e da web semântica pode diminuir a sobrecarga para gestão, interoperabilidade e compartilhamento de dados como forma de cooperação institucional, além disso ser modo diferente de navegação entre acervos de instituições e ambientes informacionais externos, possibilitando novas formas de consulta de dados. O objetivo desta pesquisa é identificar os instrumentos e metodologias de representação descritiva, temática e recuperação de documentos audiovisuais no contexto de bibliotecas, arquivos fímicos e da web semântica. Dessa forma, a metodologia inclui a revisão de literatura da área para estudo do estado da arte e o levantamento de tecnologias da web semântica que visam a criação de padrões de metadados, vocabulários, ontologias e modelos conceituais voltados a anotação e descrição audiovisual, assim como uma parte empírica com estudo de caso do catálogo e do manual de filmes da Biblioteca da ECA. / The navigation and retrieval between different catalog resources through Linked Data and semantic web technologies can reduce the overhead for management, interoperability and data sharing as a form of institutional cooperation, besides being a different way of navigating between collections of institutions and informational environments new ways of querying data. The objective of this research is to identify the instruments and methodologies of descriptive, thematic representation and retrieval of audiovisual documents in the context of libraries, phylogenies and the semantic web. Thus, the methodology includes the review of the literature of the area for the study of the state of the art and the survey of semantic web technologies that aim at the creation of standards of metadata, vocabularies, ontologies and conceptual models aimed at annotation and audiovisual description, as well as an empirical part with a case study of the catalog and the film manual of the ECA Library.

Thesis (Ph. D.)--University of Zurich, 1995. / Vita. Includes bibliographical references (p. 74-88).

La recherche interroge la valorisation des archives du Nederlands Filmmuseum [NFM] à partir du travail de compilation du cinéaste Peter Delpeut. Ce corpus de dix films [1989-1999] se situe à cheval entre deux ambitions qui ne sont pas toujours compatibles, entre une volonté d’archiviste de rendre accessible des films muets [1895-1931] parfois de simples fragments, en restituant leur couleur, en créant une sonorisation et une quête artistique, plus personnel et liée à un cinéaste. Convoquant des sources audiovisuelles mais également écrites et orales, il s’agit d’abord de se demander comment le NFM en vient à produire ces compilations afin de mettre en valeur ses collections, de tracer l’histoire de cette cinémathèque et de suivre la trajectoire de Delpeut, en somme de comprendre la rencontre entre cet homme riche d’une expérience de recherche, de critique et de réalisation et une institution en plein bouleversement de sa philosophie dans les années 1990. Le questionnement s’oriente ensuite sur le processus de fabrication lui-même et de la façon dont fonctionnent ces compilations en vue de montrer comment elles sont prises en tension entre le sensoriel et l’analytique, étant au-delà et en deçà d’une stricte valorisation des films muets du NFM. La dernière partie interroge les usages des compilations, la manière dont elles sont liées à la politique de programmation du NFM, comment elles affectent la dynamique de l’institution et du cinéaste, mais aussi comment elles sortent du cadre de la cinémathèque, évaluant à chaque fois les apports et les limites en terme de transmission d’un patrimoine cinématographique. / The research examines the promotion of film archives from the Netherlands Filmmuseum [NFM] through Peter Delpeut’s compilation work. These ten films [1989-1999] are between two directions that are not always in compatibility, on one side an artistic cinematic search and on the other side the archivist’s will of giving access to silent films [1895-1931] that are in fragments, in colour and with a sound creation. Using audiovisual, written and oral sources, the first interest is to focus on whether how the NFM comes to produce these compilations for promoting its collections, lining out the history of this film archive and following Delpeut’s career, to understand the meeting between a man with great experience as researcher, critic and filmmaker and an institution challenging its philosophy during the 1990’s. The research then examines the process of filmmaking itself and functioning of this compilation work to show that there is a tension between sensorial and analytical terms, over the borderline of a strict promotion of NFM’s silent films. The last part explores the utilisation of these compilations, the way they are related to Museum’s programming politics, how they affect this institution and Delpeut’s dynamics, beyond the film archive, each time evaluating the contributions and limitations for the transmission of silent cinema heritage

Based on the premise that only in being accessible can the film reach its potential for history making, the contribution of the film archive to a particular film historical narrative is fragmented: the films that are extant are not necessarily available and the ones that are available are not necessarily publicly accessible. The contention of the thesis is that ‘doing’ film history in the context of the film archive should always be seen in light of an ever increasingly narrowing fragmentation of accessible material that takes place in the film archive. What is new about the contribution of this thesis is not that the film archive can be seen simultaneously as a result of a particular historical narrative as well as contributing to one, but that this debate is put in the context of copyright as a determining factor of why the accessible part of the film archive is only a partial picture. To this end, the thesis proposes a reorganisation of existing categories of analysis in the form of a cross-section of the film archive based on copyright ownership plotted against the material’s ‘availability’. By such practices as using a risk-managed approach to copyright clearance for archival digitisation projects, the film archive can be seen to act as a mediator between copyright and film historiography. On the one hand, the film archive is subjected to copyright law, against the constraints of which it can be seen to resist. On the other hand, the archive makes productive use of copyright in its involvement in the interplay between the ownership of the physical objects and the ability to control the subsequent use and dissemination of those objects. Some of these resistant and productive practices, such as found footage filmmaking as a historiographic intervention and providing access to public domain material, are analysed in the context of some of the digital access practices of EYE Film Institute Netherlands between 2002-2005, in which the film archive can be seen to actively shape access to its film archival holdings as well as a particular potential for film history writing.

The thesis is devoted to the topic of film material archiving, digitization, digital restoration and possibilities of preserving a digital copy of the film. In the theoretical part, the reader will be introduced to the basic concepts related to topic of film material preservation and digitization. The digitization process will be explained both in theory and on practical examples from digitization of film Old Czech Legends. Based on the theoretical knowledge from the first part, the situation regarding digitization of film material in the Czech Republic and Slovak Republic will be discussed in the practical part. This thesis aims to find the fundamental differences in film material digitization approaches in these two countries.

It’s not easy to describe the Mediateca Onshore project as it is growing over the years, uniting an ever-wider variety of initiatives and sub-projects: It is a work in process in which numerous actors have participated since its inception. Here, text passages from the website and two previously published texts by Filipa César and Tobias Hering form a kind of montage. Montage, in the sense of a multiplicity of voices bringing together the various text forms and perspectives of the authors and other participating actors, seems a most appropriate way to present the project and reflect its character. Filipa César and Tobias Hering are key players in and co-founders of Mediateca Onshore. Tobias Hering’s text “Before ʹSix Years Afterʹ. Notes on the re-emergence of a film archive in Guinea Bissau” (first published in 2012, republished with annotations in 2014), which frames the montage, is based on conversations with Filipa César. On that level, but not only, it is connected to César’s “A Grin Without Marker” (2016) the other text used in the montage.

The aim of the thesis "Memory institutions on the threshold of the 21st century: media activities of the National Film Archive and the Deutsches Filminstitut" is to explain the context in which the archives are acting, and in particular explore specific media operations of two leading European film archives. The focus of the first part of the text is to describe the changing conditions mainly related to digitalization. The traditionally rigid institutions must adapt to this new conditions if they want to onform to the standards of cultural institutions of the 21st century. The main part of the text then analyzes the media actions of the National Film Archive and reference institution Deutsches Filminstitut. The thesis analyzes the specific media actions from onlinepresentation of the institution up to the work with journalists and, if necessary, proposes the optimization of existing processes. The reason of focusing just on media activities is the increasing need to develop new audiences, recruited from persons who were up to this moment not interested in the activities of the archives, and last but not least, the fact that a good media activity can be a compelling argument when approaching sponsors from the private sector. In the perspective of continual reduction of state contributions to cultural...

Les années 1950 et 1960 apparaissent comme deux décennies d’intense effervescence dans le champ du cinéma thaï. L’adoption, à l’issue de la Seconde Guerre mondiale, du format 16mm par une nouvelle génération de cinéastes donna lieu à l’essor d’une production cinématographique très populaire dans le royaume. Alors que les comédies musicales réalisées par les fondateurs pionniers de la compagnie Phaphayon Siang Si Krung jusqu’en 1941 semblaient promettre la pérenne hégémonie d’un véritable « Hollywood du Siam », ces fictions joyeusement rhapsodiques, filmées avec des moyens de fortune et accompagnées en direct par la légendaire faconde de doubleurs professionnels, rencontrèrent un vaste public de Bangkok aux plus lointains villages de province, dans le cadre de projections en prolongement direct avec les spectacles mixtes d’antan. La disparition accidentelle, le 8 octobre 1970, de l’acteur Mit Chaibancha au cours du tournage d’Insi thong [« L’aigle d’or »] mit cependant un brusque terme à cette expérience, singulièrement tardive, de cinéma oral. La récente constitution d’un fonds d’archives à la Cinémathèque thaï a permis la mise à jour de riches vestiges de cette bien nommée « ère du 16mm ». Cette recherche se propose comme une première tentative historiographique pour exhumer ce patrimoine visuel, à la fois ancré dans la tradition dramatique siamoise et apparu dans le contexte d’une dictature militaire placée sous la complexe influence de son allié américain en ces années de Guerre Froide. / The 1950s and 1960s appear as two decades of intense effervescence in the field of Thai cinema. In the immediate aftermath of the Second World War, the adoption of the 16mm format by a new generation of filmmakers gave rise to a very popular cinematic production in the kingdom. Whereas the musicals directed by the pioneer founders of the Phaphayon Siang Si Krung company until 1941 seemed to promise the perennial hegemony of a real ‘Hollywood of Siam’, these joyously rhapsodic fictions, filmed with makeshift means and accompanied live by the legendary loquaciousness of professional dubbers, encountered a broad public from Bangkok to the most remote provincial villages, within a screening framework stemming directly from earlier mixed shows. Nevertheless, the accidental disappearance of the actor Mit Chaibancha on the 8th of October 1970, during the shooting of Insi thong [« The golden eagle »], put an abrupt end to this singularly belated experience of oral cinema. The recent composition of an archival fund at the Thai Film Archive permitted the bringing to light of rich vestiges from this well-named ‘16mm era’. This research is a first historiographical attempt to exhume this visual patrimony, both embedded in the Siamese dramatic tradition and generated in the context of a military dictatorship that came under the complexe influence of its American ally during these Cold War years.