Posted on behalf of Leo Enticknap. Please respond to him, not to me.
The Moving Image, vol. 8 no. 1 - 'The end of film as we know it?'
Submissions are invited for a themed issue of the AMIA journal, The
Moving Image, which is being guest edited by Leo Enticknap.
Evidence is emerging that the replacement of film with digital
imaging technologies is gathering pace. The manufacture of several lines of
stock has been phased out by Eastman Kodak in the last two years, including
most of its reversal products. High definition digital cameras and
post-production technology are flooding the market: the launch of the Red
camera last October marked the first time a studio camera designed to
replace 35mm as an origination medium went on sale for less than $20,000.
The DCI digital cinema specification, launched in November 2005, marked a
start of a high profile initiative to promote the rollout of this technology
for theatrical presentation. Last year America's fourth largest theatre
chain, Carmike, announced a deal with Texas Instruments to convert all of
its 311 theatres to DLP projection within the next two years.
Where does this leave the archivist? A panel on digital projection
at the 2005 AMIA conference attracted one of the highest attendances of the
event, thereby demonstrating the importance of this fundamental shift in the
mainstream use of imaging technologies to our field. We therefore ask for
entries for a special issue of The Moving Image, which will be devoted to
addressing this question. Possible topics include (but are not necessarily
* The form and timescale in which film will (or will not) become
* Whether or not it will be desirable, possible or realistic to
maintain the production of film stocks as a 'boutique operation' for
archival use in the long term.
* How to ensure that digital technologies used for restoration and/or
reconstruction can best preserve the aesthetic qualities of the original
* Film-related metadata - how can we preserve information on the film
surface (mattes, perforations, stock marks etc.) that is not captured by
scanning the frame itself?
* The ethical implications of continuing to use archival film viewing
copies (release prints) for projection after it is no longer possible to
* Whether or not it will be possible to maintain the operation of film
projection in theatres as living museum exhibits when it is no longer used
by the mainstream exhibition industry.
* How to ensure that digital projection can reproduce the aesthetic
qualities of film projection for archive materials.
* Approaches, methodologies and challenges of preserving 'born
digital' moving image content that would previously have been originated and
preserved on film.
This is not intended to be an exhaustive list, and proposals on
other relevant topics are very welcome. Please submit paper proposals
(abstracts of up to 500 words), to the issue's editor, Leo Enticknap, by
1700 hours BST on Friday 1 June. Full manuscripts (up to 5,000 words) are
due by 1700 hours BST on Friday 29 June. Manuscripts should be double-spaced
throughout, using 12-point type and 1-inch margins and parenthetical
documentation with a list of works cited (using The Chicago Manual of Style,
15th edition). They may be submitted electronically, using Rich Text (RTF)
or Microsoft Word 2003 or earlier format (if you are using Word 2007please
ensure that you save the file in a format which is compatible with earlier
versions). Please email proposals and manuscripts to [log in to unmask], and
you are advised to select the 'request read receipt' option on your email
client in order to be sure that I got it. If you wish to submit your
manuscript in hard copy form, please post it to Dr. Leo Enticknap, Institute
of Communications Studies, Houldsworth Building, University of Leeds, Leeds,
LS2 9JT, United Kingdom. If you are submitting materials by post please
include a CD-ROM containing an RTF or Word file as specified above. If you
wish to include illustrations with your manuscript, please ensure that you
have obtained all the necessary copyright clearances for their publication,
and please submit them as uncompressed TIF files with a resolution of at
least 300 DPI. Alternatively, you may send originals to me for scanning by
post (which will be returned), but we can accept no responsibility for items
lost or damaged in transit. Please feel free to contact Leo with any queries
More information about the journal can be found at
P.S. Please pass this email on to any other listservs, institutions
or individuals you feel may be interested.
Dr. Leo Enticknap
Lecturer in Cinema
Institute of Communications Studies
3rd Floor, Houldsworth Building
University of Leeds
Tel. +44 113 343 5853
Tyne & Wear Archives Service
Blandford House, Blandford Square, Newcastle upon Tyne NE1 4JA
Tel (direct) 0191 277 2241; (switchboard) 0191 232 6789
Fax 0191 230 2614
E-mail [log in to unmask]
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