Contemporary
Celluloid and Pixel: The Duality in Film Preservation
We explore how film institutions balance the material integrity of physical copies with digital accessibility, a hybrid model that redefines the survival of audiovisual heritage.
Cinema and the ways audiences discovered films
Latest additions
1990s
The physical weight of narrative in stop motion animation
An analysis of how material intervention and technological evolution defined the identity of stop motion, from its origins in silent cinema to its consolidation as a cinematic language.
1990s
What an articulated puppet reveals about animation production
Articulated puppets and their bases preserve practical decisions that a synopsis leaves out. Evidence from studies of Chilean and Peruvian animation and Cuban television shows both the value of these objects and the limits of what they can establish.
1950s
Clay, frame by frame: what production records can reveal
Clay animation turns physical manipulation into cinematic movement. Sketches and production materials can help examine decisions left outside the finished film, although the available evidence supports only a narrowly framed account of its early history.
1990s
Snow White in the Living Room: How VHS Rewrote the Experience of a Classic
The shift from the dark theater to the domestic television transformed the perception of Disney's 1937 film. We analyze how the materiality of the medium altered the cultural hierarchy and reception of a work that went from being an ephemeral event to an everyday object.
1960s
Engineering Motion: Animatronics as a Discipline
Beyond the spectacle, animatronics established a technical framework for simulating life through robotic mechanisms, merging engineering with narrative in physical space.
Contemporary
What remains of a film after the lights go out
Posters, programmes, photographs and production documents help us study how cinema was presented and preserved. They also reveal the limits of what can be said about reception, especially when trying to connect theatrical exhibition with home video.
1980s
Leisure as a document: what sources reveal about everyday life
Analyzes how the history of everyday life uses leisure as a lens to understand the routines and social practices of the 1970s and 1980s in Spain, highlighting the limits of available documentation.
1990s
Time as a medium: the border between photo and video
Analysis of how the introduction of home video in the 80s and 90s redefined the relationship between photography and movement, using evidence from archives and academic studies on the temporal factor.
1990s
Beyond the screen: the material memory of cinema
Explores how archives and museums preserve cinema history through objects, documents, and contexts, beyond the simple projection of films.
Contemporary
At the museum, cinema is read through more than the film
Museums and archives can place films, documents, apparatus and contexts in relation. The available sources raise a question about theatrical and video viewing, but do not establish how reception of any particular film changed.
1990s
A film does not end at the screen: what a cinema museum can preserve
Archives, objects and contexts help explain cinema history, but they do not replace films or, on their own, reconstruct how films were received in theatres and on video. The available sources let us draw that boundary and ask better questions.
