Obsolescence and film restoration
The case of colored silent films
Bibliographic Data
| ID | 15054338 |
|---|---|
| Authors | Giovanna Fossati (0000-0002-5919-8635, Asian Eye Institute, corresponding author) |
| Year | 2013 |
| Volume | 37 |
| Pages | 102-106 |
| Publication date | 2013-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Spotlight (JOURNAL) |
| Journal identifiers | ISSN: 2750-6185 • E-ISSN: 2750-6185 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/techne.15771 |
| OpenAlex | W2581687278 |
| Language | EN |
| References cited | 4 |
Elsewhere I have discussed the transitional nature of film and argued that the current shift from analog to digital technology is one of the many transitional phases that film has experienced in its history as a technology, a popular form of entertainment and art. The obsolescence brought about by the shift to digital technologies certainly complicates our possibility of experiencing original artifacts of the past. This is true also for other forms of art from the twentieth century that are linked to serial and industrial production, and is certainly true for film and for film after restoration. If obsolescence affects film as an artifact, it does not necessarily affect the way we experience it after restoration. This line of reasoning can be exemplified by the specific case of color in silent cinema. This contribution discusses how new technologies offer alternative solutions for the restoration of obsolete coloring practices typical of silent cinema, and how, in some cases, they can even improve our viewing experience compared to traditional restoration techniques
Aesthetics · Art · Business · Colored · Entertainment · Film industry · Movie theater · Obsolescence · Sociology · Visual arts · Art History and Market Analysis · Cinema and Media Studies · Computer Science · History · Photography and Visual Culture · Artificial Intelligence
| Highly cited | No |
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