Digitization of the moving image – do we only preserve content or also the medium? Between the art of technique and technique of the art (He) Hila Abraham, Israel Film Archive - Jerusalem Cinemateque, Digitization and Access Project Coordinator

1. ‫בין‬‫אמנ‬(‫ו‬)‫לשימור‬ ‫השימור‬ ‫ת‬‫האמנ‬(‫ו‬)‫ת‬
‫ארכיונאי‬–‫נתונה‬ ‫שלו‬ ‫המחויבות‬ ‫למי‬?‫רוצים‬ ‫לא‬ ‫אנחנו‬ ‫מה‬ ‫ועל‬
‫של‬ ‫והנגשה‬ ‫דיגיטציה‬ ‫על‬ ‫חולמים‬ ‫כשאנחנו‬ ‫לוותר‬‫הכל‬‫לכל‬
Hila Abraham
Project Coordinator Digitization and Access
Israel Film Archive / Jerusalem Cinematheque

5. 1895

6. 1895-2013

7. 1895-2013

8. 1895-2013

11. ‫פילם‬–‫חומרי‬ ‫בסיס‬

12. ‫מגוון‬ ‫מדיום‬ ‫הוא‬ ‫פילם‬,‫אחיד‬ ‫לא‬
•‫וצורות‬ ‫גדלי‬‫הפרפורציות‬‫הפילם‬ ‫על‬ ‫ומיקומן‬
•‫הפילם‬ ‫פס‬ ‫רוחב‬
•‫צבע‬ ‫שיטות‬
•‫התמונה‬ ‫של‬ ‫מידה‬ ‫קנה‬
•‫פסקול‬ ‫סוג‬
•‫הבסיס‬ ‫סוג‬

13. ‫וצורות‬ ‫גדלי‬‫הפרפורציות‬‫הפילם‬ ‫על‬ ‫ומיקומן‬

14. ‫מגוון‬ ‫מדיום‬ ‫הוא‬ ‫פילם‬,‫אחיד‬ ‫לא‬
•‫וצורות‬ ‫גדלי‬‫הפרפורציות‬‫הפילם‬ ‫על‬ ‫ומיקומן‬
•‫הפילם‬ ‫פס‬ ‫רוחב‬
•‫צבע‬ ‫שיטות‬
•‫התמונה‬ ‫של‬ ‫מידה‬ ‫קנה‬
•‫פסקול‬ ‫סוג‬
•‫הבסיס‬ ‫סוג‬

15. ‫פס‬ ‫רוחב‬‫הפילם‬–‫טכנולוגיה‬/‫אסתטיקה‬

17. 35 mm 16mm 8mm

18. •‫וצורות‬ ‫גדלי‬‫הפרפורציות‬‫הפילם‬ ‫על‬ ‫ומיקומן‬
•‫הפילם‬ ‫פס‬ ‫רוחב‬
•‫צבע‬ ‫שיטות‬
•‫התמונה‬ ‫של‬ ‫מידה‬ ‫קנה‬
•‫פסקול‬ ‫סוג‬
•‫הבסיס‬ ‫סוג‬

19. ‫פילם‬ ‫בסיס‬ ‫סוגי‬
• Nitrate (35 mm 1895-1952)
Safety film
• Diacetate (16 mm 1923-1950s)
• Triacetate (1940s-1990s)
• Polyester (1990s-today)

21. ‫הנגטיב‬‫הפילמאי‬‫הוא‬
‫המקור‬ ‫אובייקט‬
‫מפיקים‬ ‫אנו‬ ‫שממנו‬
‫חדשים‬ ‫עותקים‬,‫הוא‬
‫המידע‬ ‫את‬ ‫מכיל‬
‫הויזואלי‬‫ביותר‬ ‫הרב‬,
‫ביותר‬ ‫השלם‬
‫ביותר‬ ‫והאותנטי‬.

24. ‫שימור‬ ‫עבור‬ ‫דיגיטציה‬ ‫בין‬ ‫להבדיל‬ ‫יודעים‬ ‫אנו‬ ‫האם‬
‫הנגשה‬ ‫עבור‬ ‫לדיגיטציה‬?

25. Preservation Master /
new master copy
Access Master
Access Copy

26. UNESCO Universal Declaration on Cultural Diversity
November 2001
“Cultural diversity is made manifest not only through the
varied ways in which the cultural heritage of humanity is
expressed, augmented and transmitted through the variety of
cultural expressions, but also through diverse modes of
artistic creation, production, dissemination, distribution and
enjoyment, whatever the means and technologies used”
Article 4

27. Within the field of moving images, it is stimulating and productive
to consider the various gauges and emulsions of motion picture
film and various formats of analog and digital video as languages
– and even perhaps as dialects.

28. • The importance of maintaining a range of creative options for
filmmakers. Choice is at the heart of creativity; and creativity is
the driver of the commercial film and television industry.
• Choice is at the heart of creativity; and creativity is the driver
of the commercial film and television industry. It is this
understanding that lies behind the evident will to ensure that
talent is not restricted in the tools and mediums available with
which to tell stories, communicate ideas, and entertain
audiences.

29. • Media Plurality and Cultural Diversity
• Access to content is not the same as access to
an experience – isn’t experience a form of
heritage as well?

30. • We don’t know enough yet on digital preservation of
large AV files

33. ‫מדברים‬ ‫אנחנו‬ ‫מה‬ ‫על‬
‫שימור‬ ‫על‬ ‫מדברים‬ ‫כשאנחנו‬
‫קולנועי‬?
‫בין‬‫אמנ‬(‫ו‬)‫לשימור‬ ‫השימור‬ ‫ת‬‫האמנ‬(‫ו‬)‫ת‬