Provenance and Early Cinema

Joanne Bernardi is Professor of Japanese and Film and Media Studies at the University of Rochester. She is author of Writing in Light: The Silent Scenario and the Japanese Pure Film Movement. Paolo Cherchi Usai is Senior Curator of the Moving Image Department at the George Eastman Museum and Adjunct Professor of Film at the University of Rochester. He is cofounder of Domitor. He is also author of Silent Cinema: A Guide to Study, Research and Curatorship and editor (with David Francis, Alexander Horwath, and Michael Loebenstein) of Film Curatorship: Archives, Museums, and the Digital Marketplace. Tami Williams is Associate Professor of Film Studies and English at the University of Wisconsin-Milwaukee and President of Domitor. She is author of Germaine Dulac: A Cinema of Sensations and editor (with Elena Gorfinkel) of Global Cinema Networks and (with Kaveh Askari, Scott Curtis, Frank Gray, Louis Pelletier, and Joshua Yumibe) of Performing New Media, 1890–1915. Joshua Yumibe is Professor and Director of Film Studies at Michigan State University. He is author (with Sarah Street) of Chromatic Modernity: Color, Cinema, and Media of the 1920s; (with Tom Gunning, Jonathan Rosen, and Giovanna Fossati) of Fantasia of Color in Early Cinema; and Moving Color: Early Film, Mass Culture, Modernism. He is also editor (with Scott Curtis, Philippe Gauthier, and Tom Gunning) of The Image in Early Cinema: Form and Material.

• Domitor Series - PrécisIntroduction: Provenance and Early Cinema: From Preservation and Collection to Circulation and RepurposingPart I: Studying Provenance: From Analog to Digital1. Film Provenance: A Framework for Analysis2. Origins: Early Films and Archival Collections3. From Provenience to Provenance: The Kerstrat d'Hauterives Collection4. Provenance and Film Historiography: 1910s Films at the George Eastman Museum5. Issues of Provenance and Attribution for the Canon: Bookending Robert Paul6. Shattered Provenance in the Digitization of Early Color FilmsPart II: Preservation and Collection7. Dreaming in Color: The Image and the Artifact8. Where Did the Costumes in Early Cinema Come From?9. Thinking with Provenance: Drawing Trajectories in the Francis Doublier Collection at the George Eastman Museum10. Revisiting the Films of Albert Kahn's Archives de la Planète: A Material Survey11. The Thanhouser Studio Filmography: Analysis and Extant Prints12. The Great War at Scale: New Opportunities for Provenance in World War I Collections at the National Archives (NARA)Part II: Circulation13. Chicago's "Censored Casualties" and the Provenance of Archive Prints14. What Made the Mechanicals Move? Postcards in Transit15. "The End of a Foreign Monopoly": Bausch and Lomb and the Wartime Provenance of Optical Glass16. Pathé Films in Brazil: The Archives of "Marc Ferrez & Sons" (1908-1916)17. Establishing the Provenance of Early Advertising Films: Film Catalogs and the Creation of the Non-theatrical Market18. A Journey on the World's Most Northerly Railway: The Renaming and Remaking of Swedish Industrial Films19. In Search of "The Edison Biograph Company": Film History through Philippine Archives20. Ownership, Exploitation, Stewardship: Tracking the Footage of the 1911-1913 Australian Antarctic ExpeditionPart IV: Repurposing21. Finding Early Cinema in the Avant-Garde: Research and Investigation22. Ernie Gehr's The Collector (2003) and Ernie Gehr the Collector23. Flicker: Thom Andersen Takes Muybridge to the Movies24. Provenance on Ice: Frozen Time and the Dawson City Collection25. Praxis as Media Historiography: The Peep Box's "Expanding View" as Virtual Reality26. How Newspaper Novels and Their Illustrations Shaped Japanese Films27. Archival Object or Object Lesson? Bricolage as Process and as Concept in the Edmundo Padilla CollectionAppendices28. French Language Essay: Germain Lacasse, La collection de Kerstrat-d'Hauterives, de sa provenience à sa provenance 29. French Language Essay: Priska Morrissey, D'où viennent les costumes du cinéma des premiers temps ? 30. Dryden Theatre Screening ProgramIndex

At a critical moment like this for international research, putting our artifacts back into their productive context seems to be an increasingly urgent duty. This volume has the merit of questioning the search for a new point of view, a new way to study film sources: a perspective that is more than ever necessary in the digital age, in which copying and sharing have become lightning-fast operations.- Coraline Refort (Drammaturgia) The scope of the text is such that a researcher with a pre-existing interest in provenance will undoubtedly find both definition and inspiration here, while scholars from other areas will likely find new and novel ways by which to integrate prove- nance into the frameworks of their research.- James Lewis Shelton (Early Popular Visual Culture)