What is Film Preservation?
Film preservation encompasses an ever increasing array of technologies, including the processes of restoration and digitization. Many of these procedures are relatively new in archival science, as are film archives as a single entity. Film preservation is generally defined as maintaining the integrity of a film from when it came into the archive. Restoration is an attempt to restore the film to its original state as closely as possible from the date of its production and distribution. These two processes tend to go hand-in-hand: a film cannot be restored without preserving it first[1]. Digitization entails the process of transferring formats other than digital-born materials into a digital format so that they can be accessed by a larger number of people. Digitization is a big part of what archives do in response to the need for greater access, but this can have some negative implications. This is the most current unanswered concern that archivists are attempting to address. The problem is that many people assume that digitization is an end-all preservation measure that archivists have chosen to undergo. This is not the case, however; many archivists see digitization as a means in which to provide access, as a supplement to preserving the original materials. Unfortunately, however, due to the high expense of film reproduction and the lack of durability of VHS and DVD formats, digitization has often become the less-than-ideal solution to preserving films. But digitally preserving non- digital media is better than nothing forgoing the expensive reproduction onto 35mm film. Also, while digitization can preserve the integrity of the original film, digital files can become corrupted.
However, as of now, digitization is dually the most cost effective and the most lasting material of any of the other formats previously mentioned. It does have its own disadvantages, of course, which is why archivists are continually working to come up with a better solution. Some archives still provide access to their film prints if requested, though these sessions often come at both a monetary cost and risk to the archival film materials that have been requested.
Film archives and the act of preservation has a somewhat short, but complex, history. The following web pages provide an cursory look at what film archives do, what preservation entails, and the variety challenges that archives' face daily, as well as some future implications.
Film preservation encompasses an ever increasing array of technologies, including the processes of restoration and digitization. Many of these procedures are relatively new in archival science, as are film archives as a single entity. Film preservation is generally defined as maintaining the integrity of a film from when it came into the archive. Restoration is an attempt to restore the film to its original state as closely as possible from the date of its production and distribution. These two processes tend to go hand-in-hand: a film cannot be restored without preserving it first[1]. Digitization entails the process of transferring formats other than digital-born materials into a digital format so that they can be accessed by a larger number of people. Digitization is a big part of what archives do in response to the need for greater access, but this can have some negative implications. This is the most current unanswered concern that archivists are attempting to address. The problem is that many people assume that digitization is an end-all preservation measure that archivists have chosen to undergo. This is not the case, however; many archivists see digitization as a means in which to provide access, as a supplement to preserving the original materials. Unfortunately, however, due to the high expense of film reproduction and the lack of durability of VHS and DVD formats, digitization has often become the less-than-ideal solution to preserving films. But digitally preserving non- digital media is better than nothing forgoing the expensive reproduction onto 35mm film. Also, while digitization can preserve the integrity of the original film, digital files can become corrupted.
However, as of now, digitization is dually the most cost effective and the most lasting material of any of the other formats previously mentioned. It does have its own disadvantages, of course, which is why archivists are continually working to come up with a better solution. Some archives still provide access to their film prints if requested, though these sessions often come at both a monetary cost and risk to the archival film materials that have been requested.
Film archives and the act of preservation has a somewhat short, but complex, history. The following web pages provide an cursory look at what film archives do, what preservation entails, and the variety challenges that archives' face daily, as well as some future implications.
Notes
[1] "The Unwritten Record » Film Preservation 101: Is Restoration the Same as Preservation?" The Unwritten Record » Film Preservation 101: Is Restoration the Same as Preservation? N.p., n.d. Web. 23 Nov. 2014. <http://blogs.archives.gov/unwritten-record/2014/03/19/film-preservation-101-is-restoration-the-same-as-preservation/>.
[1] "The Unwritten Record » Film Preservation 101: Is Restoration the Same as Preservation?" The Unwritten Record » Film Preservation 101: Is Restoration the Same as Preservation? N.p., n.d. Web. 23 Nov. 2014. <http://blogs.archives.gov/unwritten-record/2014/03/19/film-preservation-101-is-restoration-the-same-as-preservation/>.