In this Issue

Table of Contents

“Is This Pay-TV to Be the End for Us?”: Film Exhibitors Confront Pay Television, 1968–76

Deron Overpeck
pp. 2-40
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Jasper Rigole’s Quixotic Art Experiments with Home Movies and Archival Practices: The International Institute for the Conservation, Archiving, and Distribution of Other People’s Memories (IICADOM)

Gerda Cammaer
pp. 42-69
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Pittsburgh (1959): “Equilibriums of Paradox” and the Bicentennial City of Tomorrow

Sean P. Kilcoyne
pp. 70-94
DOI: https://doi.org/10.5749/movingimage.12.2.0070
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Round the World and Back Again: Mapping the Cultural and Historic Significance of the Adelaide Pearson Film Collection

Kimberly Tarr
pp. 96-120
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Screening the Stage Irishman: Irish Masculinity in Early American Cinema, 1895–1907

Peter Flynn
pp. 122-147
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Out of Print: The Changing Landscape of Print Accessibility for Repertory Programming

May HaDuong
pp. 148-161
DOI: https://doi.org/10.5749/movingimage.12.2.0148
free access

Restoring The Spanish Dancer (1923)

Rob Byrne
pp. 161-169
DOI: https://doi.org/10.5749/movingimage.12.2.0161
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Stardust Monuments: The Saving and Selling of Hollywood (review)

Peter Decherney
pp. 170-172
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Saving Cinema: The Politics of Preservation (review)

Jan-Christopher Horak
pp. 172-174
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The Phantom Carriage (1921) (review)

Rob Byrne
pp. 175-178
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The Life and Times of Rosie the Riveter (review)

Melissa Dollman
pp. 178-181
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Treasures 5: The West, 1898–1938 (review)

Laura Horak
pp. 181-186
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Georges Méliès: First Wizard of Cinema (1896–1913), and: Georges Méliès Encore: New Discoveries (1896–1911) (review)

Matthew Solomon
pp. 187-192
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Welcome Back: Association of Moving Image Archivists Annual Conference (review)

Melissa Dollman
pp. 193-198
DOI: https://doi.org/10.5749/movingimage.12.2.0193
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Editors’ Foreword

Marsha Orgeron, Devin Orgeron
pp. vii-xi
DOI: https://doi.org/10.5749/movingimage.12.2.0vii
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