This thesis examines the concepts of reliability, authenticity and documentary form as defined by archival diplomatics and their relation to moving image records, for the purpose of exploring the possibility of using them to develop a method for the preservation of the moving image's intellectual integrity over time. To achieve this purpose, the study establishes a correspondence between the tenriinology and the theories used to express these concepts in the two fields through an examination of archival diplomatics and moving images glossaries, dictionaries and literature. Notwithstanding the different understandings of the concepts examined, the thesis finds that when moving images can be regarded as records - that is, as contextual mediated visual and aural representations compiled for the purpose.of.entering into communication - it is possible to use archival diplomatics methodology to analyze them successfully. On the strength of this finding, the thesis proceeds to establish a correspondence between the diplomatic elements of documentary form and the components of an ideal moving image record, demonstrating parallels and explaining and reconciling differences, in order to build a template for the analysis of all kinds of moving image records. This diplomatic instrument is to be used for the identification of the formal elements of a moving image that allow for the maintenance, verification and preservation of its reliability and authenticity over the long term. The necessity of such an instrument derives from the fact that the use of digital technologies for the making, exhibiting and storing of moving images will render the ability to prove their integrity and their preservation increasingly more difficult. The thesis is concluded by a discussion relating the effects of the pervasive use of digital technologies in the field of moving images, and a demonstration of the substantial threat they present for the continuing reliability and authenticity of moving images. This discussion shows the advantages of a close cooperative effort by archivists and moving image theorists in developing interdisciplinary methods for addressing such threats that are rooted in archival diplomatics and fully respect the nature of the moving image record.

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.

This thesis examines the concepts of reliability, authenticity and documentary form as defined by archival diplomatics and their relation to moving image records, for the purpose of exploring the possibility of using them to develop a method for the preservation of the moving image's intellectual integrity over time. To achieve this purpose, the study establishes a correspondence between the tenriinology and the theories used to express these concepts in the two fields through an examination of archival diplomatics and moving images glossaries, dictionaries and literature. Notwithstanding the different understandings of the concepts examined, the thesis finds that when moving images can be regarded as records - that is, as contextual mediated visual and aural representations compiled for the purpose.of.entering into communication - it is possible to use archival diplomatics methodology to analyze them successfully. On the strength of this finding, the thesis proceeds to establish a correspondence between the diplomatic elements of documentary form and the components of an ideal moving image record, demonstrating parallels and explaining and reconciling differences, in order to build a template for the analysis of all kinds of moving image records. This diplomatic instrument is to be used for the identification of the formal elements of a moving image that allow for the maintenance, verification and preservation of its reliability and authenticity over the long term. The necessity of such an instrument derives from the fact that the use of digital technologies for the making, exhibiting and storing of moving images will render the ability to prove their integrity and their preservation increasingly more difficult. The thesis is concluded by a discussion relating the effects of the pervasive use of digital technologies in the field of moving images, and a demonstration of the substantial threat they present for the continuing reliability and authenticity of moving images. This discussion shows the advantages of a close cooperative effort by archivists and moving image theorists in developing interdisciplinary methods for addressing such threats that are rooted in archival diplomatics and fully respect the nature of the moving image record. / Arts, Faculty of / Library, Archival and Information Studies (SLAIS), School of / Graduate

Le terme de « restauration » n’a pas toujours été en usage dans le domaine du cinéma. Cette thèse de doctorat retrace la généalogie de la notion de restauration et l’histoire des pratiques d’intervention sur les films anciens, depuis les premières campagnes de réhabilitation critique et historiographique dans les années 1920 jusqu’à la généralisation du terme dans les années 1980 autour des quatre-vingt-dix ans du cinéma. Ces pratiques de réparation, de rénovation, de tirage, de sauvegarde, de compilation, de réédition, de sonorisation, de reconstitution, de reconstruction sont partagées entre une quête de l’original et une nécessaire adaptation à un nouveau contexte, culturel et technologique. Locales comme internationales, elles se trouvent au croisement de nombreux discours, institutionnel, politique, critique, et mobilisent différents acteurs, techniciens, archivistes, conservateurs, producteurs, distributeurs, réalisateurs, historiens et bientôt restaurateurs de films. Techniques autant qu’éditoriales, elles sont au cœur de l’histoire du cinéma et de sa matière. Dernière étape du processus de légitimation du septième art, la restauration des films crée des œuvres qui visent à être protégées ainsi que réinterprétées dans leur matérialité pour être présentées devant un nouveau public. / The word “restoration” has not always been applied to film. This Ph.D. traces back the origins of that notion and the evolution of curatorial practices dealing with old films, starting with the first critic and historiographic rehabilitation campaigns in the 1920ies and ending when the word “restoration” is commonly accepted in the 1980ies at the time of the celebration of the ninetieth birthday of cinema. These practices – repairing, renovating, duplicating, preserving, compiling, reediting, creating sound versions, reconstituting, reconstructing – rely on two contradictory urges: a quest for the original, and a necessary adaptation to a new cultural and technological background. Both local and international, these practices stand at the crossing between numerous types of discourses (such as institutional, political, critical discourses) and they are due to different kinds of people (technicians, archivists, curators, producers, distributors, film directors, historians, and in later days film restorers). Technical as well as editorial, these practices are at the heart of film history. Film restoration may be the last step in the legitimizing process of cinema as an art form. It produces works of art that aim to be protected and materially reinterpreted so that they can be presented to a new audience.

Les années de dictature militaire (1973-1984) furent paradoxalement la période la plus importante dans l’histoire de la Cinémathèque Uruguayenne. En ces temps obscurs l'institution s’est forgé une réputation au niveau local et international sur la base d’un travail culturel indépendant. Malgré les circonstances répressives propres au régime, le public de la cinémathèque a montré des signes de vie publique et a participé activement à la création d'un espace symbolique de résistance. En ce sens, pendant la période de dictature, la Cinémathèque Uruguayenne va s’inscrire en tant qu’institution de médiation, comme un « nouveau » acteur culturel qui émerge dans des circonstances critiques particulières, pour assumer un rôle que ne l’avait pas été réservé jusqu'à ce moment-là. Ainsi, nous croyons que dans le contexte latino-américain des années 1960-70, le cinéma s’est transformé, suivant l’expression de Pierre Sorlin, en un « lieu de conflits » L’objectif principal de ce travail consiste donc en décrire, à travers le témoignage des abonnés qui assistaient aux séances programmées par l’institution tout au long de la période de dictature, le lieu social où se déroulait la réception. A la suite de l’approche historique des études de réception développée par la théoricienne américaine Janet Staiger, nous nous proposons de comprendre l’influence du contexte dans les formes de réception cinématographiques et de discerner les mécanismes à travers lesquels le public s’est approprié le cinéma comme un « espace de résistance culturelle », appellation que recevait la Cinémathèque à l’époque. / The years of military dictatorship (1973 – 1984) ironically turned into the most important period in the history of Uruguayan Cinematheque. Based on an independent cultural work, back in those dark times, the institution was able to consolidate a task acknowledged both locally as well as internationally. Despite the repressive circumstances of the regime, the public of the institution showed signs of a public life and actively participated in the creation of a symbolic space for the resistance. As a cultural mediation institution, the Cinematheque so appeared as a "new" actor emerging in specific critical circumstances to assume a role that it did not have in store until then. In this way, we believe that in the 70s and 80s Latin American context, cinema transformed into a “place of conflicts” (lieu de conflits), following Pierre Sorlin’s expression. The main objective of this work is to describe – through the testimony of the spectators who attended the films programmed by the institution during the dictatorship period – the social place where the reception occurred. Following the historical focus of the reception developed by American theorist Janet Staiger, we intend to understand the influence of the sociopolitical context in the ways of cinematographic reception and to discern the mechanisms whereby the public got hold of the cinema as a “cultural resistance space”, name given to Uruguayan Cinematheque back then. / Los años de dictadura militar (1973-1984) se transformaron, paradójicamente, en el período más importante de la historia de la Cinemateca Uruguaya. En base a un trabajo cultural independiente, en esos tiempos oscuros, la institución supo consolidar una tarea reconocida tanto a nivel local como a nivel internacional. A pesar de las circunstancias represivas del régimen, el público de la Cinemateca mostró signos de vida pública y participó activamente en la creación de un espacio simbólico de la resistencia. Como institución de mediación cultural, la Cinemateca apareció así como un "nuevo" actor, que emergía en circunstancias críticas específicas para asumir un papel que no tenía reservado hasta entonces. De esta manera, creemos que en el contexto latinoamericano de los años 1970 a 1980, el cine se transformó, siguiendo la expresión de Sorlin, en un "lugar de conflictos." El objetivo principal de este trabajo es describir - a través del testimonio de los socios que asistieron a las funciones programadas por la institución durante el período de dictadura - el lugar social donde se desarrollaba la recepción. Siguiendo el enfoque histórico de la recepción desarrollado por la historiadora norteamericana Janet Staiger, nos proponemos entender la influencia del contexto socio-político en las formas de recepción cinematográfica y discernir los mecanismos mediante los cuales el público se apropió del cine como un “espacio de resistencia cultural”, apelativo que recibía la Cinemateca Uruguaya en aquel momento.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

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