Archival Moving Image Preservation and Restoration

Abstract—Recently, digital image inpainting has attracted strong research interest because of its extensive applications in real life. The terminology ”inpainting ” refers to automatic restoration of image defects such as scratches or blotches as well as removal of unwanted objects as, for instance, subtitles, logos, etc, such that it is undetectable by viewers without the reference to the original image. Many works on this subject have been pub-lished in recent years. This paper introduces a novel unsupervised image completion framework using a modified exemplar-based method in conjunction with a pyramidal representation of an image. A top-down iterative completion is performed gradually with multi-resolution patches and a window-based priority. The proposed approach is verified on different natural images. Also, a comparison with some existing methods coming from literature is carried out and the results show improvement in favor of our approach. Keywords—inpainting, image complet...

O Coordenador da Unidade do Arquivo Público do Estado, no uso das atribuições previstas na alínea "a", IV, art. 7º, artigo 10 e dos incisos I e IV, artigo 16-A do Decreto nº 54.276/2009; Considerando a necessidade de formalização de instância de articulação inter-setorial de modo a convergir as ações desenvolvidas pela Unidade do Arquivo Público do Estado para implementação de uma política de gestão, preservação e segurança de documentos, dados e informações digitais, e contribuir para o alcance da meta 13.01 de disponibilização de serviços passíveis de digitalização por meio de plataformas digitais, constante no Programa de Metas do Estado;

From early-twentieth-century stag films to 1960s sexploitation pictures to the burst of 1970s “porno chic,” adult cinema’s vintage forms have seen reappraisal by a new generation of historians, collectors, archivists, and fans—all figures both dependent on and helping shape the archive of film history. But what is the present-day allure of these artifacts that have since become fetishized more for their age than the explicit acts they show? And what are the political implications of recovering and re-releasing rare but still-visceral adults-only texts from a less “enlightened,” pre-feminist past? David Church argues that vintage pornography retains its retrospective fascination precisely because these culturally denigrated texts have been so poorly preserved on political and aesthetic grounds. Often orphaned, mutilated, or left to rot, vintage pornography thus serves as the absent center of film preservation efforts in general. With these films’ ongoing moves from cultural emergence to concealment to rediscovery re-enacting the erotic visual strategies at their core, the archive itself performs a striptease by permitting material contact with these corporeally stimulating forms at a moment when the physicality of media objects is undergoing rapid transformation. Chapters include discussions of cinephilia and stag films, the eroticism of sexploitation ephemera, archival practices and the porn industry’s self-censorship, and an emerging generation of home video companies dedicated to preserving hardcore films. Addressing both film historians and film preservationists, this study explores the archival and historiographic lessons that vintage pornography can teach us about which materials our society chooses to keep, how we interact with these anachronistic forms, and who plays a role in keeping them alive today.

TABLE OF CONTENTS

Introduction

Chapter 1
Eroticizing the Degraded Past:
Stag Films, Cinephilia, and the Marketing of Necro-Erotic Desire

Chapter 2
Ephemerality Between Fantasy and Reality:
Sexploitation, Fan Magazines, and the Adults-Only Film and Publishing Industries

Chapter 3
“Whatever Happened to Gigi Darlene?”
Object Lessons for a Disappearing and Reappearing Corpus

Chapter 4
Preservational Ethics, Cultural Distinctions, and Vintage Pornoisseurship in the Internet Age

Conclusion

In this paper, the effect of the kernel size of Wiener and Gaussian filters on their image restoration qualities has been studied and analyzed. Four sizes of such kernels, namely 3x3, 5x5, 7x7 and 9x9 were simulated. Two different types of noise with zero mean and several variances have been used: Gaussian noise and speckle noise. Several image quality measuring indices have been applied in the computer simulations. In particular, mean absolute error (MAE), mean square error (MSE) and structural similarity (SSIM) index were used. Many images were tested in the simulations; however the results of three of them are shown in this paper. The results show that the Gaussian filter has a superior performance over the Wiener filter for all values of Gaussian and speckle noise variances mainly as it uses the smallest kernel size. To obtain a similar performance in Wiener filtering, a larger kernel size is required which produces much more blur in the output mage. The Wiener filter shows poor performance using the smallest kernel size (3x3) while the Gaussian filter shows the best results in such case. With the Gaussian filter being used, similar results of those obtained with low noise could be obtained in the case of high noise variance but with a higher kernel size.

Metro: Islands Brygge CONFERENCE DINNER VENUE Madklubben Store Kongensgade 66 Copenhagen Centre www.madklubben.dk Metro: Kongens Nytorv INTERNET Eduroam 3 INDEX WELCOME 3 ABOUT LARM -THE RESEARCH PROJECT 4 KEYNOTE SPEAKERS 5 PERFORMANCE 10 PANELS 11 ABSTRACTS 18 PRACTICAL INFORMATION 53 LIST OF ABSTRACTS 57 4

This volume is the first of a series of books dedicated to individual areas of Virtual Restoration, which today represents one of the possible ways to know, preserve, safeguard and enhance works of art. Through the examination of numerous case studies, this book deals with the restoration of pictorial and mosaic surfaces and all the topics related to restoration through the use of digital technologies: from the relief to the representation of decorated surfaces, the integration of gaps to virtual iconographic reconstruction up to the use of non-invasive diagnostic analysis. For each individual issue, solutions are compatible with the principles, rules and methods of real restoration, according to the axiom physical restoration to preserve and virtual restoration to enhance: an evolving methodology.
Massimo Limoncelli is an archaeologist and teaches Virtual Archeology at the ISUFI High School of the Salento University and 3D Digital Modeling Techniques at the Lecce Academy of Fine Arts. He participates in excavation and restoration activities with renown Italian and foreign research institutes such as the Universities of Salento, Calabria, Bari, Naples, and Venice, the CNR-Ibam, the Deutsches Archaologisches Institut Rom, the University of Zurich, the Institute of Fine Arts, New York, and the University Of Texas. He has conducted research on Virtual Archeology in the Mediterranean, particulary at Hierapolis of Frigia (Turkey), Dime (Egypt), Leptis Magna (Libya), Nabeul (Tunisia), Rome, Selinunte, and Metapontum.
Year: 2017
Publisher: L'ERMA di BRETSCHNEIDER
Series :Studia Archaeologica, 218
ISBN: 978-88-913-1575-5
Binding: Paperback
Pages: 200, 138 ill. B/N, 69 ill. Col.
Size: 17 x 24 cm

'The Politics of Nostalgia: Colorization, Spectatorship and the Archive'. Comparative Cinema. Vol.IX, No.17, pp.123-145 - special issue on Color Contrast - Chromatic Connections in Cinema.
Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, practices and exhibition. An examination of They Shall Not Grow Old (Jackson, 2018) finds a use of digital editing and coloring techniques in the colorization of First World War film footage held in the Imperial War Museum archives that is familiar to the director’s fiction films. Jackson’s film is a commemorative project, yet the “holistic unity” of authorial technique operates across fragments of archive film and photographs to imbricate of fiction and nonfiction, signaling vital questions around the ethics and ideologies of “natural color”, historiography, and the authenticity of materials and spectator experience.

Film – understood here as succession of still images on a material support designed for projection, which results in a perception of movement – is an ephemeral medium. To show a film, as Paolo Cerchi Usai argues, is to destroy a film.  Perhaps more than any other medium, film requires special efforts of preservation to save its storage technology from what appears to be an irreversible material decay. Yet at the same time, a film only lives for and through audience. One could argue that film is a four-fold object: First, a film is a given print; second, a film encompasses the entirety of prints (and versions) in which it is available; third, there a film is a projection, an ephemeral event on a screen; and fourth, a film is the memory and record it leaves in the form of shared experiences and written texts. For its cultural meaning to come alive, a film must be projected and performed, but for that to be possible, its material base must be preserved. To elaborate on Cerchi Usai’s point, a film is an ephemeral medium in the senses that it.

Link: http://synoptique.hybrid.concordia.ca/index.php/main/issue/current/showToc

Public Service Broadcasters have an obligation to manage their records as public organisations. This is often legislated and public broadcasters therefore have to protect collections from physical deterioration and damage to minimise the loss of information. Public Service Broadcasters should thus be informed and up to date with preservation strategies to ensure the safeguarding of their collections. This study investigated the current status of the Southern African Broadcasting Association member Public Service Broadcasting archives collections and their digitisation strategies to ensure long-term preservation of collections. While many aspects of preservation status were investigated, this article focuses on the formats held within each collection, playback equipment available in archives, cataloguing practices to provide access to the collections and the digitisation initiatives undertaken by the broadcaster. Findings showed that decisive action for long-term preservation is needed to mitigate the risk of large portions of the study sample collections being lost for ever.

O conceito e a aplicabilidade do ICA-AtoM (ATOM) como ferramenta de descrição, difusão e acesso do patrimônio documental arquivístico
Graziella Cé, Daniel Flores

Resumen:
Este artigo tem como tema o conceito e a aplicabilidade do ICA-AtoM (AtoM) no contexto de descrição, difusão e acesso dos conjuntos documentais arquivísticos no Brasil, derivado de revisão de literatura referente a pesquisa  intitulada “uma política de identificação de fundos, descrição e difusão documental em instituições federais de ensino superior (IFES)”, defendida no ano de 2016 .  Em uma conjuntura de legislação federal que promove o direito de acesso à informação a citar a Constituição Federal da República Federativa do Brasil (1988), Lei Nacional de Arquivos (1991) e Lei de Acesso à Informação (2011) a adoção do software ICA-AtoM (AtoM)  possui um papel essencial na promoção do acesso público aos documentos. Nessa perspectiva, essa ferramenta possibilita o acesso e o conhecimento dos conjuntos documentais, colaborando na divulgação das informações e na construção da cidadania. Diante disso, o estudo aprofundado sobre o ICA-AtoM (AtoM), possibilita, demonstrar sua potencialidade.

Referencias

BUSHEY, Jessica. “Access to Memory” (AtoM): Open-source software for archival description. International Council on Archives (ICA). 2012. Disponível em: https://www.ICA-AtoM.org/download/ICA-AtoM_JBushey.pdf. Acesso em: 01 mar. 2015.

CE, Graziella. Uma política de identificação de fundos, descrição e difusão documental em instituições federais de ensino superior (IFES). 2016. 323 f. Dissertação (mestrado) - Curso de Mestrado de Pós-Graduação em Patrimônio Cultural, Área de Concentração em Patrimônio documental,– Universidade Federal de Santa Maria.

GARDEREN, Peter Van. The ICA-AtoM Project and Technology. 2009. Disponível em: https://www.ica-atom.org/download/VanGarderen_TheICA-AtoMProjectAndTechnology_AAB_RioDeJaniero_16-17March2009.pdf. Acesso em: 20 fev. 2015.

IBICT WIKI. Disponível em: < http://wiki.ibict.br/index.php/Pagina_Inicial>. Acesso em: 15 set. 2015.

JARDIM, José Maria. Arquivos, Transparência do Estado e Capacidade Governativa na Sociedade da Informação. Paper elaborado por solicitação da Oficina de Asuntos Culturales da Organização dos Estados Americanos. 2001. Disponível em:

https://bvc.cgu.gov.br/bitstream/123456789/3350/1/Arquivos_transparencia_do_estado_capacidade>. Acesso em: 30 ago. 2015.

FONTANA, Fabiana Fagundes. Archivematica como ferramenta para acesso e preservação digital à longo prazo. ÁGORA, ISSN 0103-3557, Florianópolis, v. 24, n. 48, p. 62-82, 2014. 72. Disponível em: . Acesso em: 10 jan. 2016

MITCHAM, Jenny. Arquivamento Digital na Universidade de York. 2016. Disponível em: < http://digital-archiving.blogspot.com.br/2016/05/why-atom.html>. Acesso em: 22 jun. 2016

El concepto y la aplicabilidad del ica-atom (atom) como herramienta de
descripción, difusión y acceso al patrimonio documental archivístico

Resumen:
Este artículo tiene como tema el concepto y la aplicabilidad del ICA-AtoM (AtoM) en el contexto de la descripción, difusión y acceso de los conjuntos documentales archivísticos en Brasil. Deriva de los fundamentos teóricos de la investigación que tiene por título “uma política de identificação de fundos, descrição e difusão documental em instituições federais de ensino superior (IFES)”, defendida en 2016. En una coyuntura de legislación federal que promueve el derecho de acceso a la información, a citar la Constitución Federal de la República Federativa de Brasil (1988), la Ley Nacional de Archivos (1991) y la
Ley de Acceso a la Información (2011), la utilización del software ICA-AtoM (AtoM) tiene un papel esencial para promover el acceso público a los documentos. Desde esa perspectiva, tal herramienta posibilita el acceso y el conocimiento de los conjuntos documentales, contribuyendo para la divulgación de las informaciones y para la construcción de la ciudadanía. De esa manera, el estudio profundizado del ICA-AtoM (AtoM) hace posible demostrar su potencialidad.

Palabras clave: ICA-AtoM (AtoM, difusión, acceso a las informaciones.

The ica-atom concept and ica-atom applicability as a tool of description,
access and dissemination of archival documentary heritage

KinoCuban : The Significance of Soviet and East European Cinemas for the Cuban Moving Image examines a piece of evidence that has been misunderstood in the existing body of Cuban film studies. The first revolutionary legislation concerning the arts was the creation of the ICAIC in 1959, a fact that demonstrates the importance of cinema for the new cultural project. This thesis argues that the moving image was radically affected by the proclamation of the socialist character of the Revolution on 16 April 1961. What was it that the distant audiovisual culture, film theories and practices of the Soviet-bloc offered Cubans? Is it not the case that Soviet-bloc cinemas had an influence upon the shaping of the Cuban moving image, if one takes into consideration the very few films co-produced in 30 years? It should be stressed that during this period, the moving image was the direct or indirect effect of the different waves that arrived in Cuba from ‘the other’ Europe, which were born at the...

This thesis investigates the under-examined history of militant film distribution and exhibition in the Netherlands. The Cineclub Vrijheidsfilms (1966-1986) was an activist film collective that worked as a producer, distributor and exhibitor of political and subversive film. Through an analysis of the archival paper- and film collection of the Cineclub, situated at the International Institute for Social History, this study aims to reconstruct the Dutch non-theatrical, multi-sited film circuit of Cineclub by asking: How does the documentation of the Cineclub Vrijheidsfilms collection reveal a militant programming practice? In the context of New Cinema History, Waller (2016) defined multi-sited cinema to indicate the problematic exclusion of cinematic activity that took place outside of the theatrical distribution and exhibition circuits. Faced with this challenge, this thesis makes a case for the integrality of the Cineclub film- and paper collection by use of the film act notion, allowing to understand the value of Cineclub’s activist practices.

Keywords: militant cinema, Third Cinema, Multi-sited Cinema, Cineclub Vrijheidsfilms, International Institute for Social History.

interviewed, the spectator can see the letters ICAIC on the side of a truck. 2 Por primera vez reflects a belief in cinema as an art form that could have a direct relationship with society, and thus in its social and political role in shaping the human mind. The composition and editing, and the montage of the film as a whole, reflect the film style of the ICAIC, which was engaged in an urgent social quest for new forms of communication. For Cuban filmmakers, ‗hacer cine revolucionario fue cambiar totalmente la concepción de hacer cine, además, la posibilidad de hacer la revolución en el cine'. 3

Read the article here: https://www.jstor.org/stable/10.5749/movingimage.20.1-2.0123 or here https://muse.jhu.edu/issue/46049

The recently digitized films of the Czech cinema pioneer Jan Kříženecký (made between 1898 and 1911) demonstrate how even the sharpest 4K image quality may communicate physical damages and instabilities that were present in the film materials all along. A non-interventionist approach to digitization allowed to preserve marks of historical decay but, crucially, also many intrinsic properties of the used Lumière film stock, even if they interfered significantly with the figurative content of the image.

This article shows how such an intrinsic technological feature becomes a dominant actor in reorganizing the figurative and material processes in Kříženecký’s Grand Consecration of the Emperor Franz I Bridge (1901). The yellowish-orange color veil of uncertain origin, typical for early Lumière nitrate prints, serves as a filter that distributes the range of material elements – analog and digital, external and internal, human and non-human – across the image, and consequently determines what can or cannot be seen and recognized of its content. The examination of the veil’s function and context enables us to rethink the reversible relationship between figuration and materiality in digitized audiovisual heritage in a miniature yet condensed manner.

Image processing including noise suppression, feature extraction, edge detection, image segmentation,
shape recognition, texture analysis, image restoration and reconstruction, image compression etc uses
mathematical morphology which is a method of nonlinear filters.
It is modulated from traditional morphology to order morphology, soft mathematical morphology and fuzzy
soft mathematical morphology. This paper is covers 6 morphological operations which are implemented in
the matlab program, including erosion, dilation, opening, closing, boundary extraction and region filling.

Renaissance and Baroque building machines and construction techniques have been widely explored in the scientific literature, but scaffoldings for ordinary and extraordinary maintenance remain less well-documented, and were rarely part of architectural treatises. This is because on the building sites of the early modern age the construction of scaffolding was entrusted to the experience of craftsmen like bricklayers and carpenters. Nicola Zabaglia (1667-1750) was a master carpenter of the Fabbrica of St. Peter&#39;s and, exceptionally, his astonishing inventions and those of his successors were considered virtuoso examples of operational empiricism and were included in the main European treatises on construction up until the early 20th century. Their long-lasting fortune shows that the scientific method did not make the empirical approach obsolete, but a gradual incorporation of theoretical precepts sanctioned the successful qualitative transition in the relationship between theory ...

Having been remembered by the public of Antalya for its cone-less minaret for more than a century, the Kesik Minare was built as a Byzantine church in an agora dating back to the Roman Period during the second half of the Vth century/early VIth century, and almost all of its construction materials were gathered from buildings from the Hellenistic and Roman Period. Hence, it serves as an archive of the establishment and development process of the city. The building functioned as a mosque until a major fire in 1896. Although it remained exposed to all external effects and unprotected for more than a century following the fire, due to the fact that there was no comprehensive intervention except for some reinforcements in certain sections in 1974, it continued to contribute to the cultural diversity of Antalya with its historical as well as aesthetic and picturesque values. Having attracted the reaction of large circles on a scale partly as extensive as a reconstruction in 2019-2020. The aim of this article is to contribute to the discussions on the current interventions on Kesik Minare on a scientific scale by evaluating the attempt of re-functioning it as a mosque based on international conservation theories and criteria.

Found Footage Effect: Digital Kříženecký and the Crack-up of the Film Medium

The digitization of all preserved films by Jan Kříženecký, the so-called pioneer of Czech cinema, gave birth to filmic artifacts with uncertain media status. While they benefit from the crystal clear quality of HD video and many new options for variation and circulation, the decaying materiality of nitrate prints and negatives has not been effaced but made all the more visible. This paper aims to examine how this hybridity influences the aesthetic effects of the films, notably how it brings these films closer to a certain tradition of experimental found footage filmmaking that involves deformative practices and plays with the tension between figurative and material components of the film image (and the “crack-up” that keeps this tension alive). The alignment between Kříženecký’s early cinematic works and found footage is highlighted to show how the deformative practices of experimental cinema and destructive operations of archival audiovisual documents are closely entwined. Furthermore, it also emphasizes how the hybrid materiality of the digitized artifacts and its unintentional infiltration into the figurative meanings of the films can make us see many ontological and epistemological problems of the film medium in a new light.

Full article available here: https://www.tandfonline.com/doi/full/10.1080/2040350X.2020.1845007

The indexicality of film, generally understood as a connection between the object of reality and its photographic reproduction, remains a defining concept that distinguishes what cinema was and whether it persists in the digital age. Notably, the concept allows us to examine the ontological and aesthetic status of the digitised films from the analogue past. Nevertheless, the variety of material phenomena that appear in such artefacts requires us to reconsider the (f)actors that constitute indexicality.

The aim of this paper is to discern a specific indexical logic in the digitised films of the Czech cinema pioneer Jan Kříženecký. While the digitised films benefit from 4K image quality, their material deformations were not retouched but made more visible. These deformations include static electricity marks, which not only signify the original event of shooting the film but also intervene into the formation of figures in the represented world. Kříženecký’s short actuality The First Day of the Spring Races of Prague (1908) will highlight how such intrusive presence of a technological actor brings the quadruple logic of indexicality – torn between representation and materiality, and between trace and deixis – into play, and how it can be prolonged into a specific theoretical and aesthetic thinking.

This article provides a research methodology narrative, harnessing the unique perspectives of two film and collections archivists and a graduate student studying television history. To detail the fruitful, feminist media historiography achievements of the partnership, we discuss the patience and collaboration utilized that helped advance broadcast history to better include one of its founding women who has often been left out of television history, Faye Emerson. Her powerful story, however, could not have been resuscitated and restored without new lines of scholarly inquiry and the digital preservation of her 70+ year-old kinescopes from her early CBS television program, The Faye Emerson Show. The differences and challenges between preservation and scholar access are also presented from the perspective of student researcher and archivist. Offering justification for continued connection and engagement, essentially bolstering the human aspect of humanities research in the archives, we discuss the productive roles of relationship-building and mutual respect towards actualizing archival film into media industry knowledge.

Image restoration is very popular as the research point of view. Lots of work was done to enhance the image quality in past. The images which are affected by the weakly illuminated environmental conditions show poor visibility. Due to background affect, lightning affect and nighttime conditions images are degraded. These images degraded condition can improve by enhancement process. Images were enhanced in some previous work. We studied lots of method regarding the image enhancement. The quality of the output image analysis paper also studied in this survey.

In and out of history: the three lives of the columns of the Roman temple in Barcelona. The history of the ruins of the Roman temple in Barcelona is a syncopated account that gathers over time different interpretations
about the six columns preserved among various buildings at Paradís Street. From the first descriptions of Micer Gerónimo Pau in 1490 to the drawings of the Enlightenment travelers in the eighteenth century, the historiographical impact that summarizes its fortune is vast and extensive. Among those voices, the architect Antoni Celles (1775-1835)
stands out, writing in 1835 the "Memoria sobre el colosal Templo de Hércules de Barcelona," as a request of the Junta Particular de
Comercio. The report included all the archaeological works promoted on site and the graphic hypotheses about its possible original restitution. This research focuses in the path unfolded by this report between the drawings that imagined its ruins, the first plaster casts that reproduced the fragments of the monument in the classrooms of Academies and Schools and, finally, the operation of disassembly, assembly and movement of one of its columns between different locations. Three
stories that demonstrate the arbitrariness of History and its inescapable incompleteness.
Keywords: Monument / Ruins / History / Preservation / Restoration / Roman Architecture / Plaster Casts / Barcelona

Thanks to the use of digital media, which is increasingly present in contemporary museography, the concept of anastylosis, and consequently its use, can be reviewed in the light of the results achieved to date in narrating heritage. The aim is to make the understanding of evidence in the field of archaeology and art history, which is often fragmented, more accessible.The anastylosis of such evidence can be enhanced both through digital reconstructions and the possibility of integrating them through a video projection, that makes use of SAR (Spatial Augmented Reality), directly onto the artefact, allowing appreciable and interesting levels of understanding of it to be reached. The transformation of spaces into knowledge-sensitive environments allows a perfect and natural hybridisation of analogue and digital technologies. The versatility of this technique-albeit with some limitations-allows correction and addition of all information that the advance of the studies and researches can bring over time, with relative operational simplicity. The restored and rebuilt portions, in fact immaterial and in compliance with the scientific transparency of the data, will be based on interdisciplinary studies and research in order to not alter the meaning of the artefact (considering the ease with which this information can be manipulated), thus giving a degree of accuracy that guarantees scientificity. In particular, this contribution will focus on the use of SAR in two specific case studies, in order to highlight the limits and potential of this hybrid technology; this discussion will take place in light of the ever current issues on virtual archaeology expressed both in the Charter of London and in the Principles of Seville. Digital anastylosis is a further tool of knowledge, which can thus favour the process of appropriation related to cultural heritage without this compromising conservation needs.

Object - Event – Performance
Art, Materiality, and Continuity since the 1960s

[Send applications to:] Chair: Hanna B. Hölling, University College London, h.holling@ucl.ac.uk

In the 1960s, the art world and its objects began to experience a dramatic shift in what and how art can be. New modes of artistic expression articulated through Fluxus activities, happening, performance, video, experimental film and the emerging practices of media art questioned the idea of a static object that endures unchanged and might thus be subject to a singular interpretation. Different from traditional visual arts, the blending genres and media in art since the 1960s began to transform not only curatorial and museum collecting practices, but also the traditional function and mandate of conservation, now augmented to accept the inherent dynamism and changeability of artworks.
How do these artworks endure over time despite their material and conceptual changes? How do their identities unfold contingent on ruling knowledge, values, politics, and culture? Forging an examination of the physical and immaterial aspects of artworks at the intersection of art history and theory, material culture studies, and conservation, our session proposes to interrogate artworks that evade physical stability and fixity familiar from traditional works often conceived in a singular medium and meant to last “forever.” Intrinsically changeable and often short-duration, these artworks challenge art, conservation, and museological discourses. Not only do they test the standard assumptions of what, how and when an artwork is or can be, but they also put forward the notion of materiality in constant flux that plays a significant role in the creation and mediation of meaning.

Selected contributions might be considered for publication.

The deadline for submissions is August 14, 2017. Please consult general guidelines for participants listed in the 2018 CAA Call for Participation attached here.

This article discusses how cinephilia is encouraged in the contemporary French film ecosystem, exploring the pro-youth archival outreach of the Pathé museum at the Fondation Jérôme Seydoux-Pathé. The authors interview archivist Anne Gourdet-Marès, whose ciné-spectacles at Pathé incorporate magic lanterns, live music, and early film screenings to introduce children to the pleasures of proto-film technologies.

ADMM (The alternating direction method of multipliers is being used now a days to solve the problem of image restoration. The ADMM splits the inverse problem into small fragments. In this paper we make the use of ADMM TV algorithm to reconstruct the distributes parameters. In each iteration an operator splitting is put into action to simplify the treatment of TV regularizes avoiding smooth estimation resulting into move efficient variant of ADMM.

Essa dissertação aborda como são utilizadas as políticas públicas e as políticas de acervo para a preservação e disseminação dos acervos de imagens em movimento sob a guarda de três instituições: Escola de Belas Artes da Universidade Federal de Minas Gerais (EBA-UFMG), Museu da Imagem e do Som de Belo Horizonte (MISBH) e Arquivo Público Mineiro (APM). Como ainda não existe uma Política Nacional de Preservação do Patrimônio Audiovisual, essa pesquisa teve como enfoque políticas e medidas adotadas por órgãos públicos no cenário brasileiro, mineiro e belo-horizontino a fim de viabilizar, mesmo que provisoriamente, as demandas dessas instituições. Objetivou-se nessa pesquisa verificar, através dessa metodologia, as dificuldades apresentadas pelos profissionais que tratam esses acervos e sugerir melhorias no uso das políticas públicas e de acervos existentes e, no caso do Laboratório Memória e Cinema (EBA-UFMG), sugerir uma política de acervo, que é um dos produtos dessa dissertação.

The goal of this Master’s Research Paper was to oversee the conservation, repairs, and provenance research of 159 total film reels, 157 on 16mm and 2 on 35mm, that were in the possession of the Polish Consulate of Toronto from 1976 until 2012. To promote national pride and to divert attention from human rights atrocities under Communist policies, the Polish Consulate of Toronto, in partnership with the federal entity Towarzystwo Łączności z Polonią Zagraniczną “Polonia” (Society for Foreign Liaison with Poles), organized screenings of epic wartime feature films, children’s cartoons, and short travelogues, among other genres, that also aired on Polish television. However, the screenings of such films only strengthened the pride of the diaspora, who largely supported the Solidarność (Solidarity) movement. By contextualizing the films within the history of Polish cinema and nationhood, this project underscores the necessity to save films that served diplomatic, propagandistic, and patriotic purposes.

We provide a solution to problem of occlusion in images by removing the occluding region and filling in the gap left behind. Inpainting algorithms fail in filling occlusions when the occluding region is large since there is loss of both structure and texture. We decompose the image into structure and texture images using a decomposition method based on sparseness of the image. The sparse reconstruction of the decomposed images result in an inpainted image with all the structures made intact. A texture synthesis is performed on the texture only image. Finally the structure and texture images are combined to get an image where the occlusion is filled. The performance of our algorithm in terms of visual effectiveness is compared with other algorithms used for inpainting.