Digital technology and the Internet have revolutionized film criticism, programming, and preservation in deeply paradoxical ways. The Internet allows almost everyone to participate in critical discourse, but many print publications and salaried positions for professional film critics have been eliminated. Digital technologies have broadened access to filmmaking capabilities, as well as making thousands of older films available on DVD and electronically. At the same time, however, fewer older films can be viewed in their original celluloid format, and newer, digitally produced films that have no “material” prototype are threatened by ever-changing servers that render them obsolete and inaccessible.
Cineaste, one of the oldest and most influential publications focusing on film, has investigated these trends through a series of symposia with the top film critics, programmers, and preservationists in the United States and beyond. This volume compiles several of these symposia: “Film Criticism in America Today” (2000), “International Film Criticism Today” (2005), “Film Criticism in the Age of the Internet” (2008), “Film Criticism: The Next Generation” (2013), “The Art of Repertory Film Exhibition and Digital Age Challenges” (2010), and “Film Preservation in the Digital Age” (2011). It also includes interviews with the late, celebrated New Yorker film critic Pauline Kael and the critic John Bloom (“Joe Bob Briggs”), as well as interviews with the programmers/curators Peter von Bagh and Mark Cousins and with the film preservationist George Feltenstein. This authoritative collection of primary-source documents will be essential reading for scholars, students, and film enthusiasts.
Green Republican chronicles the life of Congressman John Saylor and his personal legacy as an environmental champion. Saylor believed the wilderness was intrinsic to the American experience-that our concepts of democracy, love of country, conservation, and independence were shaped by our wilderness experiences. Through his ardent protection of national parks and diligent work to add new areas to the parks system, Saylor helped propel the American environmental movement in the three decades following Word War II.
At the height of the federal dam-building program in the 1950s and 1960s, Saylor blocked efforts to erect hydroelectric dams whose impounded waters would have invaded Dinosaur National Monument and the Grand Canyon. During the energy crisis of the early 1970s, Saylor denounced attempts to open the Alaska National Wildlife Refuge to oil drilling. He was the House architect of the Wilderness Act of 1964 and the Wild and Scenic Rivers Act of 1968. Because Saylor represented a coal-mining district, he doggedly promoted the use of coal, instead of atomic or hydropower, to generate electricity, and repeatedly won the support of his constituents over thirteen terms between 1949 and 1973. But he also fervently supported legislation to purify the air and water and redeem stripped lands.
Considered both a maverick and a pioneer, John Saylor won respect on both sides of the aisle because he was direct, hardworking, and passionate about conservation at a time when the cause was not popular. Environmental leaders dubbed him “St. John” because he tenaciously advocated their proposals and battled resistance by resource-use proponents.
Based on extensive research and numerous interviews with Saylor's colleagues and members of the conservationist community, Thomas G. Smith assembles the remarkable story of John Saylor, arguably the leading congressional conservationist of the twentieth century, and a major force in the preservation of America's wilderness.
Washington, D.C. has long been known as a frustrating and sometimes confusing city for its residents to call home. The monumental core of federal office buildings, museums, and the National Mall dominates the city’s surrounding neighborhoods and urban fabric. For much of the postwar era, Washingtonians battled to make the city their own, fighting the federal government over the basic question of home rule, the right of the city’s residents to govern their local affairs.
In Historic Capital, urban historian Cameron Logan examines how the historic preservation movement played an integral role in Washingtonians’ claiming the city as their own. Going back to the earliest days of the local historic preservation movement in the 1920s, Logan shows how Washington, D.C.’s historic buildings and neighborhoods have been a site of contestation between local interests and the expansion of the federal government’s footprint. He carefully analyzes the long history of fights over the right to name and define historic districts in Georgetown, Dupont Circle, and Capitol Hill and documents a series of high-profile conflicts surrounding the fate of Lafayette Square, Rhodes Tavern, and Capitol Park, SW before discussing D.C. today.
Diving deep into the racial fault lines of D.C., Historic Capital also explores how the historic preservation movement affected poor and African American residents in Anacostia and the U Street and Shaw neighborhoods and changed the social and cultural fabric of the nation’s capital. Broadening his inquiry to the United States as a whole, Logan ultimately makes the provocative and compelling case that historic preservation has had as great an impact on the physical fabric of U.S. cities as any other private or public sector initiative in the twentieth century.
Our Movie Heritage should be read by anyone interested in motion picture history. Without film preservation, there can be no valid film history. Documents, autobiographies, oral histories, and secondary sources are of importance, but viewing the actual films preserved or restored to a state comparable to the way they were originally viewed is of inestimable importance.Rudy Behlmer, film historian and author of Memo from David O. Selznick
Our Movie Heritage is an enticing, up to the minute account of the complex National Film preservation effort, and should be read by anyone interested in our rich cinematic heritage.Mary Lea Bandy, chief curator, The Museum of Modern Art
Imagine an America without any images of itself no Judy Garland in the Wizard of Oz, no Orson Welles in Citizen Kane, and no Bogart and Bergman in Casablanca. Movies are an extraordinary personal and collective history of the American people. Unfortunately, over 90 percent of America's silent films are already lost to us, and more than half of the American feature films made before 1950 no longer exist. Whether it is a piece of cellulose nitrate exposed in 1910 or a strip of Eastman Color acetate stock produced in the 1970s all film self-destructs. Rapidly.
Our Movie Heritage is a highly readable and informative view of the world of film preservation, showing the work being done to save our national treasure trove of film history. Full of tales of discovery and rescue, the book is an urgent plea for preservation. Our Movie Heritage describes the race against time currently under way both in the public and private sectors in order to salvage what is left in vaults, theaters, and private collections. The book explains the basics of film preservation, covering the who, what, when, where, and how of the field, with top archivists and film restoration experts expressing their concerns and hopes for the future of movies. This beautifully produced book, with over one hundred pictures of top stars, directors, and film people, is itself a treasure that showcases the importance of this legacy.Before the Second Vatican Council, America’s Catholics operated largely as a coherent voting bloc, usually in connection with the Democratic Party. Their episcopal leaders generally spoke for Catholics in political matters; at least, where America’s bishops asserted themselves in public affairs there was little audible dissent from the faithful.
More than occasionally, the immigrant Church’s eagerness to demonstrate its patriotic bona fides furthered its tendency to speak with one voice about national matters, and in line with the broader societal consensus. And, notwithstanding the considerable conflict which Catholics encountered, and generated, in American political life, there was before the Council broad agreement in American culture about the centrality of Biblical morality to the success of Americans’ experiment with republican government.
In other words: before the Council, American Catholics’ relationship to the political common good was mediated, somewhat uncritical, and insulated from conflict (both within and without the Church) over such fundamental matters as protection of innocent life, marriage and family life, and (to a lesser extent) religious liberty.
This has all changed since the mid-1960s. For the first time in the Church’s pilgrimage on these shores, controversial questions about the basic moral requirements of the political common good are front and center for America’s Catholics. These questions require Catholics to confront matters which heretofore they either took for granted, read off from the background culture, or which they left to the bishops to handle. But the Council Fathers rightly recognized that Jesus calls upon a formed and informed laity to act as leaven in the public realm, to bring Gospel values to the temporal sphere. In this book of essays touching upon Catholic social doctrine, the truth about human equality and political liberty, and religious faith as it bears upon public life and the public engagement of lay Catholics, Gerard Bradley supplies indispensable aid to those seeking to answer Jesus’ call.
To further understanding of the meanings and values of wilderness, this volume explores wilderness and its significance to humans from myriad viewpoints, based on a meeting of the North American Interdisciplinary Wilderness Conference.
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