ABSTRACT
In this book I focused on film restoration and presentation practices of restored films. At the time of researching and writing (2007-2009), I felt that the restoration practice was still too little understood by those who were not directly involved and too little “explained” by those who were. The first step in stimulating a renewed dialogue on archival practice was to make visible some of the possibilities and choices made by film restorers based on their interpretation of film and their use of technology. At the time, my sole focus was on film, more specifically, recognizable film titles (rather than other film-related objects and other archival activities) as I felt this was the most effective way to start.
