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Table of Contents

  1. Negotiating the Archives: The Natalie Kalmus Papers and the “Branding” of Technicolor in Britain and the United States
  2. Sarah Street
  3. pp. 1-24
  4. DOI: https://doi.org/10.1353/mov.2011.0022
  5. restricted access
  1. Going to the Movies in Paris, Around 1933: Film Culture, National Cinema, and Historical Method
  2. Eric Smoodin
  3. pp. 25-55
  4. DOI: https://doi.org/10.1353/mov.2011.0003
  5. restricted access
  1. Useful Cinema, Film Genres, and Screen Networks: The Story of Canadian Films Limited (1919–1920)
  2. Louis Pelletier
  3. pp. 56-97
  4. DOI: https://doi.org/10.1353/mov.2011.0007
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  1. Present at the Creation: A Memoir
  2. Wendy Ann Shay
  3. pp. 98-102
  4. DOI: https://doi.org/10.1353/mov.2011.0010
  5. restricted access
  1. Genesis of a Profession: Origins of the Film and Television Archives Advisory Committees
  2. William T. Murphy
  3. pp. 103-112
  4. DOI: https://doi.org/10.1353/mov.2011.0013
  5. restricted access
  1. Surveying AMIA’s First Twenty Years
  2. Jan-Christopher Horak
  3. pp. 113-126
  4. DOI: https://doi.org/10.1353/mov.2011.0016
  5. restricted access
  1. We Are the World: AMIA Comes of Age and Discovers International Relations
  2. Sam Kula
  3. pp. 127-129
  4. DOI: https://doi.org/10.1353/mov.2011.0020
  5. restricted access
  1. Antipodean Reflections on AMIA
  2. Ray Edmondson
  3. pp. 130-131
  4. DOI: https://doi.org/10.1353/mov.2011.0001
  5. restricted access
  1. How the AMIA Scholarships and Fellowships Program Helped Pave the Way for a New Generation of Moving Image Archivists
  2. Robert Dirig
  3. pp. 132-138
  4. DOI: https://doi.org/10.1353/mov.2011.0005
  5. restricted access
  1. AMIA’s Local Television Project
  2. Karen Cariani
  3. pp. 139-145
  4. DOI: https://doi.org/10.1353/mov.2011.0009
  5. restricted access
  1. A View from the Booth: Archival Screening Night
  2. Katie Trainor
  3. pp. 146-149
  4. DOI: https://doi.org/10.1353/mov.2011.0012
  5. restricted access
  1. I Am an Amateur Moving Image Archivist
  2. Robbins Barstow
  3. pp. 150-154
  4. DOI: https://doi.org/10.1353/mov.2011.0015
  5. restricted access
  1. On the Role of AMIA in Reshaping the Field of the Moving Image
  2. Giovanna Fossati
  3. pp. 155-158
  4. DOI: https://doi.org/10.1353/mov.2011.0019
  5. restricted access
  1. The Passion of Montgomery Clift (review)
  2. Kate Fortmueller
  3. pp. 159-161
  4. DOI: https://doi.org/10.1353/mov.2011.0000
  5. restricted access
  1. Films That Work: Industrial Film and the Productivity of Media (review)
  2. Martin L. Johnson
  3. pp. 161-163
  4. DOI: https://doi.org/10.1353/mov.2011.0004
  5. restricted access
  1. Kumar Talkies (review)
  2. Ashish Chadha
  3. pp. 163-165
  4. DOI: https://doi.org/10.1353/mov.2011.0008
  5. restricted access
  1. The Exiles (review)
  2. Josh Glick
  3. pp. 166-168
  4. DOI: https://doi.org/10.1353/mov.2011.0011
  5. restricted access
  1. Make Way for Tomorrow (review)
  2. John Migliore
  3. pp. 168-170
  4. DOI: https://doi.org/10.1353/mov.2011.0014
  5. restricted access
  1. Columbia Pictures Film Noir Classics I, and :Columbia Pictures Film Noir Classics II, and :Columbia Classics Bad Girls of Film Noir Volume 1, and :Columbia Classics Bad Girls of Film Noir Volume 2 (review)
  2. Ronald Wilson
  3. pp. 170-174
  4. DOI: https://doi.org/10.1353/mov.2011.0017
  5. restricted access
  1. Seventh Orphan Film Symposium: April 7–10, 2010, New York
  2. Daniel Eagan
  3. pp. 175-178
  4. DOI: https://doi.org/10.1353/mov.2011.0021
  5. restricted access
  1. “Rescued and Regained”: Il Cinema Ritrovato 2010 June 26–July 3, 2010, Bologna, Italy
  2. Margaret Parsons
  3. pp. 178-181
  4. DOI: https://doi.org/10.1353/mov.2011.0002
  5. restricted access
  1. Editors’ Foreword
  2. Marsha Orgeron, Devin Orgeron
  3. pp. viii-xiv
  4. DOI: https://doi.org/10.1353/mov.2011.0018
  5. restricted access
  1. Contributors
  3. pp. 182-185
  4. DOI: https://doi.org/10.1353/mov.2011.0006
  5. restricted access