Much of the scholarly reading was drawn from Prof. Snowden Becker’s class syllabi. Becker’s individual syllabi can be found on her website. Special thanks also goes to the L. Jeffrey Selznick cohort, MIAP cohort, and Morgan Morel from BAVC for their contributions to this list.
If you are located in Los Angeles and would like to join a book club, the Los Angeles Archivist Collective (LAAC) organizes one that focuses on material relating more broadly to archival practice. Email firstname.lastname@example.org or sign up for their email list to join.
* This page focuses predominately on books – as opposed to articles. These readings are supplemented by the lists of online guides and handbooks available on our Resource page. This reading list was last updated July 24th, 2019.
Belton, John. Widescreen Cinema. Cambridge: Harvard University Press, 1992.
Bensinger, Charles. The Video Guide. Santa Barbara: Video-Info Publications, 1979.
Brown, Harold. Physical Characteristics of Early Films as Aids to Identification. Brussels, Belgium: International Federation of Film Archives (FIAF), 1990.
Case, Dominic. Motion Picture Film Processing. London; Boston: Focal Press, 1985.
Cleveland, David and Brian Pritchard. How Films Were Made and Shown: Some Aspects of the Technical Side of Motion Picture Film 1895-2015. Manningtree, Essex: David Cleveland, 2015.
Cocciolo, Anthony. Moving Image and Sound Collections for Archivists. Chicago: Society of American Archivists (SAA), 2017.
Compendium of Image Errors in Analogue Video, eds. Johannes Gfeller, Agathe Jarczyk, Joanna Phillips and Irene Schubiger. Zürich: SIK ISEA, Schweizerisches Institut für Kunstwissenschaft; Zürich: Scheidegger & Spiess, 2012.
Eastman Kodak Company. Motion Picture Laboratory Practice and Characteristics of Eastman Motion Picture Films. Rochester: Eastman Kodak Co., 1936.
Hollyn, Norman. The Film Editing Room Handbook: How to Tame the Chaos of the Editing Room (1st edition). Berkeley: Peachpit Press, 1984. * There are several editions and each quickly becomes outdated, but the early editions (1st or 2nd) are recommended for helping make sense of dailies, trims, and outs in different collections.
The Film Preservation Guide: The Basics for Archives, Libraries and Museums. San Francisco: National Film Preservation Foundation, 2004.
Happé, L. Bernard. Your Film & the Lab. New York: Hastings House, 1974.
Kallenberger, Richard H. and George D Cvjetnicanin. Film Into Video: A Guide to Merging the Technologies. Boston: Focal Press, 1994.
Korbel, Frantisek. FFmpeg Basics: Multimedia Handling with a Fast Audio and Video Encoder. Lexington: Createspace, 2012.
Lipton, Lenny. Independent Film Making. New York: Simon and Schuster, 1978.
Marsh, Ken. Independent Video: A Complete Guide to the Physics, Operation, and Application of the New Television for the Student, the Artist, and for Community TV. San Francisco: Straight Arrow Books, 1974.
Mees, Kenneth C.E. From Dry Plates to Ektachrome Film: A Story of Photographic Research. New York: Ziff-Davis Publishing Company, 1961.
Peltzman, Shira. Unlocking the DCP: Evaluating the Risks, Preservation, and Long-Term Management of Digital Cinema Packages in Audiovisual Archives. Masters Thesis for MIAP, NYU Tisch School of the Arts, 2013.
Restoration of Motion Picture Film, eds. Paul Read and Mark-Paul Meyer. Oxford; Boston; Butterworth-Heinemann, 2000.
Ronan, David T. Practical VCR Repair. New York: Delmar Publishers, 1995.
Sætervadet, Torkell. The Advanced Projection Manual: Presenting Classic Films in a Modern Projection Environment. Oslo: The Norwegian Film Institut; Brussels: The International Federation of Film Archives (FIAF), 2006.
Shanebrook, Robert L. Making Kodak Film, The Illustrated Story of State-of-the Art Photographic Film Manufacturing. Rochester: R.L. Shanebrook, Robert Shanebrook Photography, 2010.
Society of Motion Picture and Television Engineers Laboratory Practice Committee. Control Techniques in Film Processing. New York: Society of Motion Picture and Television Engineers, 1960.
Swinson, Peter. “The Film Look: Can It Really Be Defined? (Bernard Happé Memorial Lecture Report).” Image Technology (April 2005): 3–12.
Thomas, Steve. How to Keep Your VCR Alive: VCR Repairs Anyone Can Do. Tampa: Worthington Pub. Co., 1990.
Weise, Marcus. How Video Works: From Analog to High Definition (2nd edition). Oxford: Focal Press, 2007.
Wilhelm, Henry Gilmer and Carol Brower. The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. Grinnell: Preservation Pub. Co., 1993.
Videofreex. The Spaghetti City Video Manual: A Guide to Use, Repair, and Maintenance. New York: Praeger, 1973.
Yewdall, David Lewis, MPSE. Practical Art of Motion Picture Sound (4th edition). Burlington: Focal Press, 2011.
Academy of Motion Picture Arts and Sciences – Science and Technology Council. The Digital Dilemma: Strategic issues in archiving and accessing digital motion picture materials. Beverly Hills: Academy of Motion Picture Arts and Sciences, 2007.
Academy of Motion Picture Arts and Sciences – Science and Technology Council. The Digital Dilemma 2: Perspectives from independent filmmakers, documentarians, and nonprofit audiovisual archives. Beverly Hills: Academy of Motion Picture Arts and Sciences and Academy of Motion Picture Arts and Sciences, 2012.
Alexander, Geoff. Films You Saw in School: A Critical Review of 1,153 Classroom Educational Films. Jefferson: McFarland, 2014.
Amateur Filmmaking: The Home Movie, The Archive, The Web, eds. Laura Rascaroli and Gwenda Young, with Barry Monahan. New York: Bloomsbury Academic, 2014.
Amateur Movie Making: Aesthetics of the Everyday in New England Film, 1915-1960, eds. Martha McNamara and Karan Sheldo. Bloomington: Indiana University Press, 2017.
Bartok, Dennis and Jeff Joseph. A Thousand Cuts: The Bizarre Underground World of Collectors and Dealers Who Saved the Movies. Jackson: University Press of Mississippi, 2016.
Chalfen, Richard. Snapshot Versions of Life. Bowling Green: Bowling Green State University Popular Press, 1987.
Cherchi Usai, Paolo. Silent Cinema: An Introduction. London: British Film Institute, 2000.
Fifer, Sally Jo and Doug Hall. Illuminating Video: An Essential Guide to Video Art. New York: Aperture in association with the Bay Area Video Coalition, 1990.
Fossati, Giovanna. From Grain to Pixel: The Archival Life of Film in Transition. Amsterdam: Amsterdam University Press, 2009.
Frick, Caroline. Saving Cinema: The Politics of Preservation. New York: Oxford University Press, 2011.
Gracy, Karen F. Film Preservation: Competing Definitions of Value, Use, and Practice. Chicago: Society of American Archivists, 2007.
Gross, Larry P., John Stuart Katz and Jay Ruby. Image Ethics in the Digital Age. Minneapolis: University of Minnesota Press, 2003.
Houston, Penelope. Keepers of the Frame: The Film Archives. London: British Film Institute, 1994.
Ishizuka, Karen L. and Patricia Rodden Zimmermann. Mining the Home Movie: Excavations in Histories and Memories (1st edition). Berkeley: University of California Press, 2008.
Jones, Janna. The Past Is A Moving Picture: Preserving the Twentieth Century On Film. Gainesville: University Press of Florida, 2012.
Kattelle, Alan. Home Movies: A History of the American Industry, 1897-1979 (1st edition). Nashua: Transition Publishing, 2000.
Kula, Sam. Appraising Moving Images. Lanham: Scarecrow Press, 2003.
Moran, James M. There’s No Place Like Home Video. Minneapolis: University of Minnesota Press, c2002.
Nair, PK. Yesterday’s Films For Tomorrow. Film Heritage Foundation, 2017.
Prelinger, Rick. The Field Guide to Sponsored Films. San Francisco: National Film Preservation Foundation, 2006.
Ridener, John. From Polders to Postmodernism: A Concise History of Archival Theory. Duluth: Litwin Books, 2009.
Slide, Anthony. Nitrate Won’t Wait. Jefferson; London: McFarland Classics, 2000.
Tepperman, Charles. Amateur Cinema. Oakland: University of California Press, 2015.
Zimmermann, Patricia Rodden. Reel Families: A Social History of Amateur Film. Bloomington: Indiana University Press, c1995.