The Film Preservation Guide
The Basics for Archives, Libraries, and Museums
This publication would not have been possible without the encouragement and support of The Andrew W. Mellon Foundation.
Scores of individuals generously contributed to The Film Preservation Guide. Heading the list is David Francis who, as a consultant, developed the technical framework and helped lead the discussion at the needs assessment workshops and the testing sessions at the L. Jeffrey Selznick School of Film Preservation at George Eastman House. Members of the editorial committee—Abby Smith (Council on Library and Information Resources), Karen Glynn (Duke University), Paolo Cherchi Usai and Caroline Yeager (George Eastman House), Jean-Louis Bigourdan (Image Permanence Institute, Rochester Institute of Technology), Bonnie Wilson (Minnesota Historical Society), Paul Eisloeffel (Nebraska State Historical Society), and Dwight Swanson (Northeast Historic Film)—were instrumental in seeing the project through, from start to finish. All deserve special thanks for tirelessly giving their time to make this guide a reality.
Many others had a significant role in the publication process. Participating in the needs assessment groups were Debra Elfenbeine (American Dance Festival Archives), Barbara Mathe (American Museum of Natural History), Elizabeth Barret (Appalshop), Leslie Calmes (Center for Creative Photography, University of Arizona), Erin Foley (Circus World Museum), Suellyn Lathrop (East Carolina University), Jon Williams (Hagley Museum and Library), Lynn Smith (Herbert Hoover Presidential Library and Museum), Glenn Small (Johns Hopkins University), Rachael Stoeltje (Kinsey Institute), Andy Lucas (Mayo Foundation), Katy Wood (Motorcycle Hall of Fame Museum), Michael McLaughlin (National Endowment for the Arts), Steve Massengill (North Carolina State Archives), Bill Moore (Oklahoma Historical Society), Steve Wilson (Harry Ransom Humanities Research Center, University of Texas at Austin), Julie Arnott (Southeastern Library Network), Ginny Daly (Southern Highland Craft Guild), Connie Brooks (Stanford University Library), David McCartney (University of Iowa Libraries), Al Lathrop (University of Minnesota), David Boutros (University of Missouri—Kansas City), Jill Vetter (Walker Art Center), and Mark Peterson (Winona County Historical Society). A number of participants also reviewed the manuscript and contributed information.
At George Eastman House, many staff members helped with the illustrations, testing, and technical information, including Jared Case, Karen Everson, Barbara Galasso, Kelli Hicks, Chad Hunter, Anthony L’Abbate, Deborah Stoiber, Jeff Stoiber, Edward Stratmann, Dan Wagner, and Tim Wagner. The students critiquing the working draft were Susan Busam, May Dea, Andrew Lampert, Diana Little, Ember Lundgren, Brianne Merkel, Robert Nanovic, Heather Olson, Brent Phillips, Magnus Rosborn, Alexandra Terziev, and Benjamin Tucker. Also assisting were Daniel Blazek, Brendan Burchill, Donna Ellithorpe, Eric Green, Annette Groschke, Laura Krasnow, Siusan Moffat, Nathan Moles, Christina Nobles, Ayuno Okamura, Loubna Regragui, David Rice, Norberto Rivero Sanz, Jennifer Sidley, Marcus Smith, and Anna Sperone.
Many others reviewed the manuscript or provided information. Invaluable for their technical review were Robert Heiber (Chace Productions Inc.), Ralph Sargent and Alan Stark (Film Technology Company Inc.), Peter Z. Adelstein and Karen Santoro (Image Permanence Institute), Ken Weissman (Library of Congress), John Carlson (Monaco Film Labs), Alan F. Lewis (National Archives and Records Administration), Grover Crisp (Sony Pictures Entertainment), Roger L. Mayer (Turner Entertainment Company), and Eddie Richmond (UCLA Film & Television Archive). Paul Eisloeffel graciously wrote the chapter on cataloging, as did Eric J. Schwartz (Smith & Metalitz L.L.P.) the chapter on legal issues. Rick Prelinger (National Film Preservation Board) reviewed the curatorial, legal, and access chapters and offered many helpful suggestions.
Contributing and reviewing information relating to their collections or specialties were Josef Lindner (Academy of Motion Picture Arts and Sciences), Dirk Tordoff (Alaska Film Archives, University of Alaska Fairbanks), Norma Myers (Archives of Appalachia, East Tennessee State University), Janice Simpson (Association of Moving Image Archivists), Katherine Nyberg (Bell Museum of Natural History, University of Minnesota), Carol Brendlinger (California Pacific Medical Center), Steven Davidson (Florida Moving Image Archive), James Reilly (Image Permanence Institute), Jim Hubbard (Independent Media Arts Preservation), Gregory Lukow and George Willeman (Library of Congress), Jennifer O’Neill (MIT Museum), Steven Higgins (Museum of Modern Art), Miriam Saul Krant and Sharon Rivo (National Center for Jewish Film), Nancy Goldman (Pacific Film Archive, University of California at Berkeley), Rick Utley (Protek), Jeff Joseph (Sabucat Productions), Lisa Scholten (South Dakota Art Museum, South Dakota State University), Charles Hopkins (UCLA Film & Television Archive), Ben Singleton (University of South Carolina Newsfilm Library), Linda Thatcher (Utah State Historical Society), Jeff Liu (Visual Communications), and Richard Fauss (West Virginia State Archives). To all who have helped, thank you.