An International Study of Film Museums

An International Study of Film Museums examines how cinema has been transformed and strengthened through museological and archival activities since its origins, and asks what paradoxes may be involved, if any, in putting cinema into a museum.

Autorentext

Rinella Cere is a Reader in Media and Cultural Studies at Sheffield Hallam University. She teaches the courses Globalisation and the Media and Postcolonial Media Culture and her publications include books, chapters and journal articles on media and popular culture in Britain, France and Italy. She is continuing to research museums of cinema around the world.

Klappentext

An International Study of Film Museums examines how cinema has been transformed and strengthened through museological and archival activities since its origins and asks what paradoxes may be involved, if any, in putting cinema into a museum. Cere explores the ideas that were first proposed during the first half of the twentieth century around the need to establish national museums of cinema and how these have been adapted in the subsequent development of the five case studies presented here: four in Europe and one in the USA. The book traces the history of the five museums' foundation, exhibitions, collections, and festivals organised under their aegis and it asks how they resolve the tensions between cinema as an aesthetic artefact - now officially recognised as part of humanity's cultural heritage - and cinema as an entertainment and leisure activity. It also gives an account of recent developments around unifying collections, exhibition activities and archives in one national film centre that offers the general public a space totally devoted to film and cinematographic culture. An International Study of Film Museums provides a unique comparative study of museums of cinema in varying national contexts. The book will be of interest to academics and students around the world who are engaged in the study of museums, archives, heritage, film, history and visual culture.

Inhalt

Introduction; Chapter 1 The birth of the museum of Cinema; Chapter 2 The National Science and Media Museum; Chapter 3 Who is guarding the treasures now? The Cinémathèque Française-Musée du Cinéma; Chapter 4 'Thought of a museum of cinema': The Museo Nazionale del Cinema in Turin; Chapter 5 The Museu del Cinema in Girona, Catalonia; Chapter 6 Eastman House: An international museum of photography and cinema; Conclusion