- Title
- Collecting Cinema, Rewriting Film History
- Subtitle
- Between the Visible and the Invisible
- Price
- € 146,00 excl. VAT
- ISBN
- 9789048565955
- Format
- Hardback
- Number of pages
- 356
- Language
- English
- Publication date
- 24 - 07 - 2025
- Dimensions
- 15.6 x 23.4 cm
- Series
- Framing Film
- Partner
- Discipline
- Film, Media, and Communication
List of illustrations
Charlotte Brady-Savignac, André Habib, Louis Pelletier,Louis Pelletier, and Jean-Pierre Sirois-Trahan - Foreword
Chapter 1 : André Habib, Louis Pelletier, and Sirois-Trahan - Collecting Cinema, Rewriting History: Between the Visible and the Invisible
Chapter 2: Janet Bergstrom - Out from the Shadows: Lotte Eisner’s Significance as a Collector
Chapter 3: Anne-Marie Malthête-Quévrain - Repatriating the Work of Georges Méliès: The Collection of Madeleine Malthête-Méliès
Chapter 4: Kimberly Tomadjoglou - Her Eyes that Saw—Maria Adriana Prolo’s Dream of A Museum of Cinema
Chapter 5: Clara Auclair - The Personal Is Technical: Strategies of Remembrance in the Francis Doublier Collection
Chapter 6: Dimitrios Latsis - The Beginnings of Cinema as a Museum Exhibit: The Cases of the Smithsonian Institution and the Science Museum in London
Chapter 7: Sabine Lenk - Robert Vrielynck—The Microcosm of Small Changes, or: Collecting Details and Not (Only) Principles
Chapter 8: Frank Kessler - Werner Nekes—the Film Maker as Collector and Model
Chapter 9: Anne Morra - The Pleasure of Possession: Joseph Cornell
Chapter 10: André Habib & Bruce Posner - Eclipses, Ellipses, Explosions: Joseph Cornell as Filmmaker & Collector. A Conversation Between André Habib and Bruce Posner
Chapter 11: Peter Rist - Notes on William K. Everson
Chapter 12: Ernie Gehr - Confessions of a Filmmaker-Collector
Chapter 13: Ken Eisenstein - Ernie Gehr’s The Collector (2003) and Ernie Gehr the Collector
Chapter 14: Noah Teichner - Collecting Methodologies with the Phonograph: The Performance of “Canned” Vaudeville
Chapter 15: Philipp Dominik Keidl - Film and Media Merchandising in the Eye of the Fan Historian: Practices, Objects, Media
Chapter 16: Stefanie Zingl - The Memory of a Suitcase. Margret Veit’s Film Souvenirs
Chapter 17 : Charles Tepperman - “Margaret’s World”: The Creative Geography of an Amateur Filmmaker
Chapter 18: Rick Prelinger - The Emergence of Collecting and the Effacement of Archives
Contributors
Index
Charlotte Brady-Savignac, André Habib, Louis Pelletier,Louis Pelletier, and Jean-Pierre Sirois-Trahan - Foreword
Chapter 1 : André Habib, Louis Pelletier, and Sirois-Trahan - Collecting Cinema, Rewriting History: Between the Visible and the Invisible
Chapter 2: Janet Bergstrom - Out from the Shadows: Lotte Eisner’s Significance as a Collector
Chapter 3: Anne-Marie Malthête-Quévrain - Repatriating the Work of Georges Méliès: The Collection of Madeleine Malthête-Méliès
Chapter 4: Kimberly Tomadjoglou - Her Eyes that Saw—Maria Adriana Prolo’s Dream of A Museum of Cinema
Chapter 5: Clara Auclair - The Personal Is Technical: Strategies of Remembrance in the Francis Doublier Collection
Chapter 6: Dimitrios Latsis - The Beginnings of Cinema as a Museum Exhibit: The Cases of the Smithsonian Institution and the Science Museum in London
Chapter 7: Sabine Lenk - Robert Vrielynck—The Microcosm of Small Changes, or: Collecting Details and Not (Only) Principles
Chapter 8: Frank Kessler - Werner Nekes—the Film Maker as Collector and Model
Chapter 9: Anne Morra - The Pleasure of Possession: Joseph Cornell
Chapter 10: André Habib & Bruce Posner - Eclipses, Ellipses, Explosions: Joseph Cornell as Filmmaker & Collector. A Conversation Between André Habib and Bruce Posner
Chapter 11: Peter Rist - Notes on William K. Everson
Chapter 12: Ernie Gehr - Confessions of a Filmmaker-Collector
Chapter 13: Ken Eisenstein - Ernie Gehr’s The Collector (2003) and Ernie Gehr the Collector
Chapter 14: Noah Teichner - Collecting Methodologies with the Phonograph: The Performance of “Canned” Vaudeville
Chapter 15: Philipp Dominik Keidl - Film and Media Merchandising in the Eye of the Fan Historian: Practices, Objects, Media
Chapter 16: Stefanie Zingl - The Memory of a Suitcase. Margret Veit’s Film Souvenirs
Chapter 17 : Charles Tepperman - “Margaret’s World”: The Creative Geography of an Amateur Filmmaker
Chapter 18: Rick Prelinger - The Emergence of Collecting and the Effacement of Archives
Contributors
Index
Collecting Cinema, Rewriting Film History
Between the Visible and the Invisible
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.
Editors
André Habib
André Habib is a full professor of Film Studies at the Université de Montréal and director of the web journal Hors champ. His areas of research have focused on found footage filmmaking and the archive, experimental cinema, cinephilia and, more recently, technostalgia, intermediality and melancholy.
Louis Pelletier
Louis Pelletier teaches film history and film preservation at Université de Montréal. He holds a PhD in Communication from Concordia University, where he is research coordinator of the Canadian Educational, Sponsored and Industrial Film project. He has published on film history, useful cinema and film technology in many journals.
Jean-Pierre Sirois-Trahan
Jean-Pierre Sirois-Trahan is the director of the program of cinema and digital culture of the Département de littérature, théâtre et cinéma at the Université Laval. He is interested in early cinema and he is currently working on the concept of découpage and the cinema of Georges Méliès.
