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Moving Image and Sound Collections for Archivists by Anthony Cocciolo is for every archivist (or archivist in training) who has unearthed some carrier of moving image and sound and wondered what to do. Combining best practices with guidance for specific media formats, Cocciolo applies concepts of appraisal, description, and accessioning to audiovisual collections, providing a solid grounding for archivists in environments where resources for description, digitization, and storage are scarce.

An essential collection of new and selected essays by influential cinema and media studies scholar Tom Gunning.
 
Tom Gunning is the author of multiple books and nearly two hundred essays that have defined the field of cinema and media studies. His works have transformed our understanding of early cinema and the American avant-garde and reset the terms of many central debates in film and media history and theory. His 1986 essay “The Cinema of Attractions” is among the most cited essays on film ever published. Gunning’s writings articulate a distinctive and powerful model for thinking about cinema’s history and likely future, addressing the full range of moving-image media, from film to still photography to digital media. His discussions draw on stage melodrama and magic lantern shows, as well as criminology, world’s fairs, and Spiritualism, surveying the medium as a cultural phenomenon informed by the industrial and information ages, psychiatry, urban experience, discourses on art and aesthetics, and more.
 
This collection brings together twenty-six essays that showcase the depth and range of Gunning’s scholarship, including four that have never before been published. Together, they solidify Gunning’s place as a scholar who has transformed the way generations of scholars, archivists, critics, and artists think about cinema.
 

Eadweard Muybridge is among the seminal originators of the contemporary world’s visual form. Projectionists examines mostly unknown aspects of Muybridge’s work: his period as a touring projectionist who enthralled audiences with unprecedented moving-images and his creation of a moving-image auditorium—long before cinemas—in which to project his work at the 1893 World’s Columbian Exposition. That auditorium was both a catastrophe and a vital precursor for the following century’s manias for projection. Based on new research into his travels, audiences, auditoria, and projectors, Projectionists explores Muybridge’s initiating role in moving-image projection and also maps his driving inspiration for subsequent filmmakers preoccupied with the volatile entity of projection, from 1890s Berlin to contemporary Japan, via further World’s Exposition events and cinemas’ overheated projection-boxes.