ABSTRACT
Ten years on in the transition from analog to digital, the film archival field is still in search of a balance between digital technology, which, while becoming ever more diffused is yet to be fully standardized, and photochemical means and services, which are growing increasingly scarce but are often still part of restoration and presentation workflows. Following the Social Construction of Technology (SCOT) theory, the methodological approach to this chapter still offers a valid method to look at the current situation in the film archival field. Its key concepts of “relevant social groups,” “technological frame,” and “interpretive flexibility,” as described in the following sections, will once more help analyze the field and its changing relationship with tools, practices, and (analog, digital, and hybrid) artifacts, namely films.
