Criteria for the Use of Digital Technology in Moving Image Restoration

Digital techniques for moving image restoration have developed considerably in recent years and have become an alternative to traditional methods of analog duplication. However, enthusiasm about new possibilities suddenly available has been mixed with skepticism among restorers and archivists. Looking at some of the results achieved by digital technologies, this skepticism is understandable, especially when viewing those products that are mistakenly called "restorations." But, taking a closer look at this issue, could it be possible that we are dealing less with a criticism of new tools than with the conventional use of them? This article does not aim to favor digital over analog methods. Rather, it addresses the question of whether the new technology can be applied without violating conventional criteria in moving image restoration.

What are conventional criteria in moving image restoration? Classical restoration theory defines authenticity, reversibility, and transparency as the most important ethical requirements. Furthermore, when considering this question, we have to bear in mind certain aesthetic aspects, such as the concept of the aesthetic value and the characteristic look of a work, both of which become relevant when dealing with moving images.¹ In this article I will discuss to what extent these ethical and aesthetic concepts can be adopted for the use of digital technologies in moving image restoration (as defined in the next section). In some parts, especially those dealing with ethical and aesthetic issues, the principles will apply for both analog and digital restoration methods, since restoration will be discussed as a theoretical concept rather than as a technical process. Theoretically, any technique or system that supports this concept has to be regarded as appropriate for restoration purposes. For most parts, the reader will notice the absence of practical examples. The objective of this article is to propose theoretical guidelines that can help restorers and archivists use available technological possibilities in an ethically sound manner. In this discussion, digital techniques will be regarded as merely additional tools for moving image restoration in general. Nevertheless, their role within my discussion is crucial, since the wide range of new possibilities they offer brings ethical considerations back to the attention of restorers and archivists. Furthermore, the fact that this discussion applies to both analog and digital techniques underlines the requirement that ethical principles for traditional restoration methods must not lose their validity with the advance of digital tools. The fields of reconstruction and sound restoration will not be discussed, since I am focusing on the restoration of the image alone.

Moving images consist of two components: a material component, which is the image carrier as an object, and an immaterial component, which is the image content. The latter is represented by the image, being the readable and visible part of the work. The image has two functions: an aesthetic one, referring to its aesthetic value, and a narrative one, as it tells a story. "Story," or content, is not restricted to so-called narrative films; it can also be of documentary or abstract character. This article deals with the aesthetic function of the image. Thus it will discuss theoretical principles for the restoration of the image on a visual level.

To prevent confusion that could arise from the lack of a definitive terminology in the field, I commence by defining some relevant terms. Naturally, they are based on interpretations and personal opinions of several authors. Although many differing interpretations of these relevant terms can be found in literature, to me the following provide the most logical explanations.

Terminology

Before proposing a definition of restoration it is necessary first to clarify some terms that relate to the condition of moving images. Using texts by Michele Canosa and Gian Luca Farinelli and Nicola Mazzanti, we can differentiate between damage, errors, and defects when describing the physical condition of moving image material.²

Damage (Italian: guasto; French: dommage; Spanish: daño; Portuguese: dano; German: Schaden) concerns the physical and chemical condition of a moving image.³ Its origin lies in the history of the work. Damage includes traces of age, decay, and use or misuse of the material, such as scratches...