The writing of cinema history would not be possible without the contribution of collectors. Whether through their pioneering excavation work or their passionate defence of forgotten productions and artifacts, collectors have had a lasting influence on both the field and the methods of moving image history. Proceeding from a renewed dialogue between international film scholars, collectors, filmmakers, curators, and archivists, this book aims to reveal the extent to which collectors and collections have contributed to both the history and the epistemology of moving images. It showcases specific studies of collecting practices, as well as in-depth interviews with collectors and artists bringing to light the innumerable articulations between collecting cinema and the rewriting of film history.
- Cover
- Half Title
- Series Page
- Title Page
- Copyright Page
- Table of Contents
- List of Illustrations
- Foreword
- Chapter 1: Introduction. Collecting cinema, Rewriting History: Between the Visible and the Invisible
- Chapter 2: Out from The Shadows: Lotte Eisner’s Significance as a Collector
- Chapter 3: Repatriating the Work of Georges Méliès: The Collection of Madeleine Malthête-Méliès
- Chapter 4: Her Eyes That Saw—Maria Adriana Prolo’s Dream of a Museum of Cinema
- Chapter 5: The Personal is Technical: Strategies of Remembrance in the Francis Doublier Collection
- Chapter 6: The Beginnings of Cinema as a Museum Exhibit: The Cases of the Smithsonian Institution and the Science Museum in London
- Chapter 7: Robert Vrielynck—The Microcosm of Small Changes, or: Collecting Details and Not (Only) Principles
- Chapter 8: Werner Nekes: The Filmmaker as Collector and Model
- Chapter 9: The Pleasure of Possession: Joseph Cornell
- Chapter 10: Eclipses, Ellipses, Explosions: Joseph Cornell as Filmmaker & Collector. A Conversation Between André Habib and Bruce Posner
- Chapter 11: Notes on William K. Everson
- Chapter 12: Confessions of a Filmmaker-Collector
- Chapter 13: Ernie Gehr’s the Collector (2003) and Ernie Gehr the Collector
- Chapter 14: Collecting Methodologies with the Phonograph: The Performance of “Canned” Vaudeville
- Chapter 15: Film and Media Merchandising in the Eye of the Fan Historian: Practices, Objects, Media
- Chapter 16: The Memory of a Suitcase: Margret Veit’s Film Souvenirs
- Chapter 17: “Margaret’s World”: The Creative Geography of an Amateur Filmmaker
- Chapter 18: The Emergence of Collecting and the Effacement of Archives
- Indices
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