Paolo Cherchi Usai

George Eastman Museum · Moving Image Department

Paolo Cherchi Usai provides a comprehensive introduction to the study, research and preservation of silent cinema from its heyday in the early 20th century to its present day flourishing. He traces the history of the moving image in its formative years, from Edison’s and Lumière’s first experiments to the dawn of ‘talkies’; provides a clear guide t...

Por que essa ansiedade para criar imagens em movimento? Haveria sentido falar de arte e da ética da visão? Qual é a diferença entre observar os restos de um antigo manuscrito iluminado e o fragmento de um filme desconhecido, a pista de um aeroporto filmada por uma câmera de vigilância, um home movie de uma família que nunca conhecemos?

Por que essa ansiedade para criar imagens em movimento? Haveria sentido falar de arte e da ética da visão? Qual é a diferença entre observar os restos de um antigo manuscrito iluminado e o fragmento de um filme desconhecido, a pista de um aeroporto filmada por uma câmera de vigilância, um home movie de uma família que nunca conhecemos?

Generally speaking, moving image preservation has developed in relative isolation from other disciplines related to the conservation of cultural heritage. This is mainly due to the short history of the medium and to the fact that film preservation has become the object of scientific study only in the past few decades. However, there are other reaso...

early cinema recollections;early films and age of content, by digital means;paradigm shift, language of moving image preservation;technology, reshaping the understanding of early cinema;film preservation, following Brighton retrospective;moving image preservation;early cinema, ideal laboratory digital media study;DVD, and tinting to a black-and-whi...

In lieu of an abstract, here is a brief excerpt of the content: Once upon a time there was a thing called “persistence of vision.” Then, when video began to question the supremacy of film in terms of image quality, the key term of reference chosen for the debate was “definition.” In a telling harbinger of things to come, comparisons between the el...

The divide between film theory and film history is often lamented at both sides of the barricade. Or, is it? Each party blames the other with the usual, well-worn arguments: the impatience towards the burden of empirical proof on one side, the reluctance to engage with philosophyand abstraction on the other. Both communities have their fundamentali...

Generally speaking, moving image preservation has developed in relative isolation from other disciplines related to the conservation of the cultural heritage. This is mainly due to the short history of the medium and to the fact that film preservation has become the object of scientific study only in the past few decades. However, there are other r...

Given the degree of sophistication achieved by moving image studies in the past decades, I am puzzled by their relative indifference to the nature of the visual experience they're supposed to deal with. It all started in the 1980s, when the mass distribution of cinema by electronic means began to reshape the scope and depth of our knowledge in the...

Provocative polemic on digital media; Features foreword by Martin Scorsese, extract overleaf; It is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there was...

Cet essai examine la pertinence eloquente des elements d'architecture dans les films de Stanley Kubrick. Les propositions de Hermann Muthesius et Frank Lloyd Wright concernant les rapports entre la forme et l'architecture sont consideres comme une base theorique pour explorer les voies selon lesquelles des elements comme les fenetres, les cages d'e...

Attached file contains the summaries only.

Traducción de: The Death of Cinema