Chapter 1 and 2

Ginintuang Telon: A Sustainable Museum for Tomorrow
Batac, Elaiza M. Cruz, Camille Rose M.| BSAR 4A
CHAPTER I: Introduction
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A. The Problem and its Setting
a. Introduction
People pursue artistic and creative expression through a variety of outlets. These activities are usually influenced by culture which
in turn manifests ones identity and customs suggesting the history of a country. The diverse outlet of arts paved way in exhibiting the
talents of Filipinos both locally and internationally in the fields such as visual arts, performing arts and multimedia arts.
Filmmaking is an important art form, source of entertainment and a powerful media in educating people. It has always been a
part of our culture since the introduction of Spaniards of the first moving picture. The very first movie created by Jose
Nepomuceno marked the start of cinema as an art form in the Philippines. The emergence of more artistic and mature films as well
as the improvement on cinematic techniques paved way to the Golden Age of Philippine Cinema in the 1950s. The industry has
created 8,000 films or so with only 3,000 conserved and preserved at hand, while the rest are gone forever.
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In light of this situation, this study aims to understand the current state of the Philippine classic films and the issues concerning its
preservation. The possible architectural concepts concerning the effects of space, culture and technology towards the revitalization of
archiving and awareness of our cultural identity shall also be discussed.
b. Background of the Study
The Filipino film has a very diverse and important role that encompasses not only in the form of entertainment but more so it
expressively depicts the life back then, it let us look on the past of buildings, landscapes, and artifacts, attesting how a film can provide a
window into history. Philippine history can be reflected through a lot of classic Filipino films. In 1945 after the pacific war, the entire
nation had gone through hell and there were many stories to tell about heroic deeds and immoral crimes during the three years of
Japanese occupation. This resulted to a Philippine version of a war movie, a genre in which they recreated narratives of horror and
heroism. And theres Gerardo de Leons Ang Daigdig ng mga Api, one of the acclaimed greatest work produced in 1965, financed by the
political machinery of then candidate for president Diosdado Macapagal. The main topic being land reform which is one of Macapagals
platforms, the resulting film was not an embarrassingly direct propaganda but a magnificent film. On the other hand, Lino Brockas
Maynila sa Kuko ng Liwanag, tackled how people struggle in the time of the Martial Law in Marcos regime, which awakened the
rebellious spirit of the Filipinos back then. This just proves how Filipino film industry had mirrored the society and its development
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through time, in fact according to (Garcia and Masigan, 2001.) Movies are powerful force in Philippine society. Movies, more than just
a source of entertainment, reflect a nations personality.
The gap now with the present generation is their undeniable lack of appreciation and interest and sometimes even the basic
knowledge of our history. According to the survey made by Inquirer.net, asking the younger generation about how they view the EDSA
People Power, a lot of them seen the date as only a holiday in the calendar, sadly, youth of today have little emphasis on nationalism.
While in the recent survey of teachers conducted by Film: 21st Century Literacy, 100% agreed or strongly agreed that exposure to wide
range of films helps to broaden childrens understanding of the world. The use of film archive is particularly powerful in this respect, it
has been revealed that national and regional archives provide a rich source for learning about and creative engagement with the social
and cultural heritage.
The sad truth though, even with the great number of exceptional classic Filipino films that have been produced since the start of
the industry of Filipino Cinema in 1919, very few had survived while many still faces the threat of being forever gone eventhough we
have a law for this. The Republic Act 9167 Sec. 3. 10 states that the Film Development Council of the Philippine (FDCP) shall ensure
the establishment of a film archive in order to conserve and protect film negatives and/or prints as part of a nations cultural, historical
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and artistic heritage. Theres also a UNESCO provision, recommending the safeguarding and preservation of moving images, which
states that moving images also provide a fundamental means of recording the unfolding of events, and, as such, constitute important and
unique testimonies, of a new dimension, to the history, way of life and culture of peoples and to the evolution of the universe...
(UNESCO, 1980, p.156)
The films in their nature are very sensitive, nitrate which is one of its major components, though flexible is highly flammable at
the same time, making storing them a lot precautious. While the acetate component, can undergo decay with high humidity and heat
which is common in tropical countries like the Philippines. What is happening in the Philippines is that films are merely stored in
uncontrolled environment, and each day, the vinegar syndrome destroys our film heritage. In fact, the various small film archive in the
country couldnt even be called true archive. You can see tons of film reels inside rusting tin cans stored in an uncontrolled
environment just like how they have it in the Film Institute of The University of the Philippines-Diliman. If this continues, preservation
of films may not be applicable anymore, leaving us the option of film restoration. Film restoration from the start has been always made
abroad, like Gerardo de Leons Noli Me Tangere which has been restored in Munich, while the film Giliw Ko, the first production of LVN
Pictures was restored in Australia. Though in the present, film restoration has been done by private institution like the ABS-CBN and
some private collectors. Access to these materials is now the challenge, taking a lot of requirements and processes. Conflicting to film
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preservation movement, which according to Ms. Manet Dayrit, Head of the Roadrunner Editing House, the main goal of preservation is
to ensure the archive can be viewed by anyone in the current or, more importantly the next generation. Films are historical documents
and we are lucky to be in this digital age because now it is easy to restore and preserve films. (Dayrit, 2010)
c. Statement of the Problem
Main Problem:
The Film Industry in the Philippines is one of the oldest in Asia and had been in the limelight in the 1950s, also known as the
Golden Age of The Philippine Cinema. Since its beginning, Philippine cinema has produced some 8,000 films but only 3,000 have
survived, the remaining of which are irretrievably lost, including the works of National Artists for film.
There is currently the presence of individual small archives in the country but an absence of a national one. And a concerted effort
from the government is necessary to make any archival program of preservation and restoration feasible. While these small archives are
taking care of their own preferred collections, there must be a way to save works that are of importance to our history and culture in order
to make it available for future generations.
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Sub Problems:
o How can the facility help in the awareness and promotion of Filipino Classic Films as cultural heritage?
o How can the facility support its financial needs considering its high operation cost?
o How can the facility introduce and integrate digitalization as innovative technology to film archives?
d. Architectural Thesis Goals, Objectives, and Strategies
Goal
This paper aims to establish an awareness of the historical and cultural value of the Filipino classic films for the
present and future generation. Furthermore, the study aims to present strategies that can be applied in more sustainable archiving and
restoration of classic Filipino films.
Objective 1:
Discuss the current issues and problems about restoration of Filipino classic films in the Philippines.
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Strategies:
1. Gather data about previous restoration of Filipino classic films

2. Discuss the issues about the lack of archivist/restorer in the Philippines
3. Analyze the failure of previous local film archives
Objective 2:
To identify various concern on archiving and film restoration with a tropical climate.
Strategies:
1. Discuss the nature of predominant film diseases

2. Research on the organized process of film restoration and archiving
3. Research on how tropical climate affects film restoration and archiving
Objective 3:
Identify the issues on sustainability of film restoration facility and archives.
Strategies:
1. Study the desired environment needed for film restoration and archiving.
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2. Analyze the need for sustainable design for the building of today.
3. Conduct site visit on the existing local film archives.
e. Scope and Limitation
With the aim of preserving and restoring films as part of the countrys cultural, historical and artistic heritage and making it
available to the younger generation in the current or, more importantly of the next generations will be the focus of this study. Also, the
relationship of the concept of sustainability to the necessary redefinition of an archive design, function and strategies to respond to the
expectations of a dynamic society will be covered. History of archiving in the country will also be studied to understand the relevance
and potential of archive facilities in fostering a better understanding on the collective heritage of the country and its agenda for national
growth and development.
The researchers may be hindered by some limitations such as the definite timeline given, therefore, certain information will be
gathered through immediate sources. Also, the inaccessibility of some materials due to confidentiality of agencies and inadequate sources
of information that could possibly help in the study.
a. Significance of The Study

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The importance of promoting awareness of Filipino Classic Films came from the idea that films, regardless of the type of
production, will always be a part of the culture of the Philippines. Signifying the development of the country in terms of the advancement
in technology and the reflection of the current situation during the time when each film was created. In this study lies the significance of
how sustainability shall be incorporated in an archive and restoration facility design to retain their relevance and show their potential to
be more responsive to the dynamics of modern society and urban change.
The result of this study can benefit and contribute to the following sectors whether directly or partially related to the
proposal.
Philippine Film Industry, as the study aims to gain back public interest in locally produced films, providing a place to help in the
recovery of the weakening local movies overshadowed by International films.
Filmmakers. The study shall also benefit the Filipino Filmmakers as this aims to help in paving a way to the creation of high quality
Filipino films.
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Arts and Culture. The study shall foster awareness and appreciation on what has been a large contribution to the arts and culture of
the Philippines.
Young Generations. This research shall also mainly benefit the younger and future generations as they will have access to the film
heritage of our country contributing to their education and enrichment.
Future Researchers. The study offers an essential guide for future researchers who intend to advocate and promote the culture of the
Philippines through architectural interventions.
f. Assumptions:
At the end of this study, the research assumes that the following are true:
That plenty of Filipino classic films are facing the threat of deterioration due to lack of a suitable controlled
environment.
That suitable conservation of the past Philippine cinema will raise awareness of historical value of Filipino films.
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That the availability and access of the public, specifically the youth, to the restored copies of classic Filipino films will
impact their interest in history and culture.

Upon the founding of the national film restoration facility and archive, it is expected that various archiving institutions
shall contribute the remaining original and duplicated copies of classic film-related materials such as films.
In this case, it is expected that this shall be a major development, record tapes and disks, books, manuscripts etc. of
the different cultural agencies in the Philippines. To be funded NCCA, CCP, Film Development Council of the
Philippines and different concerned private sectors such as Cinemalaya.
g. Definition of Terms:
Access Access is the process through which film content is shared with the public.
Conservation - the absolute maximum amount of the original material, in as unaltered a condition as possible, is
preserved. Any repairs or additions must not remove, alter or permanently bond/cross-link to any original material.
Film- also called a movie, motion picture, moving image, theatrical film or photoplay, is a series of still images which,
when shown on a screen, creates the illusion of moving images.

Golden Age of Philippine Film- The 1950s, the decade when there is a frenzied activity in the film industry which
yielded what might be regarded as the first harvest of distinguished films by Filipinos.
Preservation - involves keeping an object from destruction and seeing to it that the object is not irredeemably altered
or changed.
Restoration - working to bring the film back to something like its original state.
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Sustainable Architecture - relation of buildings for which renewable resources are used throughout the process of
design, construction, and operation. Also, it creates architecture with positive effect on the human health.
B. Review of Related Literature
a. Philippine Film Industry
1. Overview
On January 1, 1897, the first four movies namely, Un Homme Au Chapeau (Man with a Hat), Une scene de danse
Japonaise (Scene from a Japanese Dance), Les Boxers (The Boxers), and La Place de L Opera(The Place L Opera), were shown via
60mm Gaumont Chrono-photograph projector in Escolta, Philippines.
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The 1930s was a time of discovering the film genre as a new medium of art. Scripts and characterizations in films came from
popular theatre and familiar local literature. Nationalistic films were also quite popular, although they were labeled as being
too subversive.
Movies containing war and heroism themes on the other hand was a huge hit among local audiences in the 1940s.
The 1950s was the highlight of the industry and it was named The Golden Age of Philippine Cinema. Films were made
annually and several local talents started to earn recognition abroad. The first award-giving body was also established in this period.
The Martial Law era brought in more serious topics in film as well as the development of sex films. These years also brought the
arrival of independent film making.
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In the 1990s, teen-oriented romantic comedies, slasher movies and sexually explicit adult films drew a large audience.
The year 2000s saw a dramatic decline of the Philippine movie industry as Hollywood films dominated mainstream cinema.
Many producers and production houses later stopped producing films after losing millions of pesos.
The 21st century saw the rebirth of independent filmmaking through the use of digital technology. This decade saw the
proliferation of digital films by independent filmmakers with international reach and caliber, and the introduction of locally produced
animated features. (The Philippine Daily Inquirer, 2009) Though there has been a steady decline of produced films, the country is
currently experiencing commercial renaissance through the presence of box-office films and is still trying to catch-up with the success of
International films in the country.
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2. Governments Recognition of Cinemas Relevance
The Philippine Commission recognized early the potential of cinema as a tool of communication and information, so that in 1909,
the Bureau of Science bought a complete filmmaking unit and laboratory from Pathe, and sent its chief photographer, the American,
Charles Martin, to France to train for a year. When Martin completed his training, he resolved to document, in motion pictures, the varied
aspects of the Philippines its folkways and dances, for instance, or its natural resources. He had many lucky breaks; his film crew was
at Taal Batangas, when the Taal Volcano erupted in 1911. His film of this visually exciting natural disaster was shown around the world.
Government filmmaking ranged from recording life among the cultural communities for the Department of Interior to making how-
to movies for the Bureau of Health and Education. By 1914, the U.S. colonial government was already using films as a vehicle for
information, education, propaganda and entertainment. The Bureau of Science tackled subjects designed to present an accurate picture of
the Philippines before the American public, particularly the U.S. Congress.
For example, the acclaimed films exhibited at the Panama Exposition in 1915 depicted several industries of the city and provinces,
among them hat-making, salt manufacture, nipa cultivation and manufacture in its many phases, rice cultivation, the many kinds of
weaving by Christians and non-Christians, native blacksmithing, the Chinese macaroni and chocolate making, and scores of others.
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The Manila publication, The Citizen credits cinema advertisements flashed in movie theaters for he success of the national
campaign to raise funds to buy one submarine for the American war effort during World War I.
The national government made plans to produce its own films as the most effective means of reaching the masses. At the same time,
it resolved to establish a national repository for films, as a treasure trove for future generations.
3. The Effect of Global Economic Trends on Cinema
The nascent shifting of industrial society to information society has resulted to a single economy in the world; and because of this
unprecedented period of accelerated change, the players and participants of the global economy has become individuals and small
entrepreneurs. The shift is an economic reality, and not an intellectual abstraction. The innovations in communications and computer
technology accelerated the pace of change by collapsing the information float. New information technologies give birth to new activities,
processes, and products. Huge business companies are forced to downsize in order to survive in this global economic trends.
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Big movie studios in Hollywood, such as 20th Century Fox, MGM, Paramount, Columbia, Universal; and in the Philippines- the
famous Big-Four- Premiere Production, Sampaguita Pictures, LVN Studio, Lebran Production, are all virtually closed down due to the
proliferation of individual and collective modes of film production. Nevertheless, the film industry remains steadfast. (Nocon, 2011)
b. Preservation, Archiving and Restoration

1. Film Preservation
Film preservation refers to physical storage of films in a climate-controlled environment and sometimes to the actual repair and
copying of the film element. The best storage for motion picture film should be in a relatively dry (30-50% relative humidity), cool (room
temperature or below), clean, and stable environment (avoid attics, basements, and other locations with high risk of leaks and
environmental extremes). These measures inhibit deterioration better than any other methods and is a cheaper solution than replicating
deteriorating films.
2. Digital Film Preservation
Digital Film Preservation highlights the use of digital technology for the transfer of films from 8mm to 70mm in size to
digital carriers, as well as all practices for ensuring the longevity and access to digitized or digitally born film materials. On purely
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technical and practical terms, digital film preservation stands for a domain specific subset of digital curation practices. Extensive
technical literature on the subject can be found at the online library of the Presto Centre Project. (Trock, 2014)
The new magical software has sometimes led to over-restoration. Grain has too often been polished out, creating a plastic sheen.
(Thompson, 2012)
Currently, there is a debate on digital film preservation, arguing that it is ethically unacceptable and that the medium of film is an
essential ontological precondition for the existence of cinema (Usai, N,D,). More recently, the senior curator of EYE Film Institute
Netherlands Giovanna Fossati has discussed the use of digital technologies for the restoration and preservation of film in a more
optimistic way as a form of remediation of the cinematic medium, and has positively reflected on digital technologies' ability to broaden
restoration possibilities, improve quality, and reduce costs.
3. Film Archiving
Archives consist of records that have been selected for permanent or long-term preservation on grounds of their enduring cultural,
historical, or evidentiary value. ("A Glossary of Archival and Records Terminology," 2012).
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According to Republic Act 9167 Sec. 3.10, the Film Development Council of the Philippines (FDCP) shall ensure the
establishment of a film archive in order to conserve and protect film negative and/or prints as part of a nations cultural, historical and
artistic heritage.
Sadly, because of the films material which easily decomposes, it is difficult, expensive and time consuming to preserve it. This is
why there is a need to also promote the existence and importance of preserving our moving image heritage, but with no political will and
stable financial assistance, preserving our own works of art will be as difficult as eliminating poverty.
Film preservationists would prefer that the film images, whether restored through photochemical or digital processes, be
eventually transferred to other film stock, because no digital media exists that has proven truly archival because of rapidly evolving and
shifting data formats, while a well-developed and stored, modern film print can last upwards of 100 years. (Gorber, 2012)
4. Film Restoration
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Film restoration involves working to bring the film back to something like its original state. There are three points as to the
importance of restoration more than simply preservation. First, restoration improves the subjective quality of the film and video
sequences (and it thereby increases the commercial value of the film and video documents). Second, restoration generally leads to more
efficient compression, i.e., to better quality at identical bitrates, or, conversely, to identical quality at lower bitrates. The latter is
especially important in digital broadcasting and storage environments for which the price of broadcasting/storage is directly related to the
number of bits being broadcast/stored. (Roosmalen, N.D.)
c. Understanding Film and How It Decays
Early motion pictures were assumed to have little value after their initial commercial release. Film was intended as an
exhibition medium. While base and emulsion are both prone to chemical decay, some film stocks or batches may be more vulnerable than
others. Poor storage and handling take a further toll.
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The growth initially appears in the form of matte-white spots and eventually grows into a lacy, web-like pattern. The invasion can
be stopped by cleaning the film and then moving it to a cold and dry environment. Once the organisms have eaten into the emulsion;
however, the image loss is irreversible. The following are common types of film decay and damage found in library, museum, and
archive collections.
1. Mechanical Damage
When film is mishandled, inevitably there is physical damage. Films unspooled on a dirty worktable or passed through worn
rollers can pick up dust, dirt, scratches, and abrasions. Tears can occur if the film is stressed during winding or projection. When the film
is incorrectly threaded in the projector, perforations can be stretched, ripped, or torn apart. Improper shipping procedures are another
major cause of damage. The physical evidence of past abuse remains with the film print. Preservationists can repair tears, damaged
splices, and broken sprocket holes. But scratches are permanent, though they sometimes can be minimized in the laboratory during
duplication.
2. Mold, Mildew, and Fungus
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A film stored under humid conditions can become a host for mold, mildew, and fungus. Generally, the organisms start the attack
from the outside edge and make their way into the film roll. These biological agents can cause significant damage to the emulsion.
3. Acetate Decay (Vinegar Syndrome)
Water, high humidity, and heat can destroy the plastic base of acetate film. In the early stage of decay the plastic releases acetic
acid, which is chemically identical to vinegar, hence the name vinegar syndrome. As the decomposition advances, the chemical
reaction accelerates.
Typically, the decay process follows this pattern:
1. The film begins to smell like vinegar.
2. The film base begins to shrink. As the base shrinks irregularly, the film resists being laid flat. It curls and warps along both
length and width.
3. The film loses flexibility.
4. The emulsion may crack and eventually flake off.
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5. White powder may appear along the edges and surface of the film. The acetic acid vapor released by films with vinegar
syndrome can infect other acetate base materials stored nearby, particularly in a poorly ventilated storage area. The Image
Permanence Institute (IPI) at the Rochester Institute of Technology advises freezing films in advanced acetate decay.
As acetate film decays, it shrinks, loses flexibility, curls, and warps.
4. Shrinkage
Although shrinkage is a major symptom of acetate decay, it also affects nitrate and can be aggravated by overly dry storage
conditions. If the relative humidity falls below 15% for extended periods, the film loses moisture, contracts, and may become brittle.
Using a shrinkage gauge. Shrinkage is a particular problem for small gauge films because of the smaller size of the film frame and the
mechanical precision required of the equipment.
Once a 16mm or 8mm film has shrunk beyond 0.8% (1% for 35mm), it may be damaged in projection. Beyond 2%,
Even skilled laboratories can have trouble copying the film. At this point the film generally exhibits additional decay
Problems beyond shrinkage.
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5. Color Fading
While varying in stability, all types and brands of color motion picture film will fade over time. The three dye layers lose their
original color at differentiates. In some film stocks, yellow is the first to go; in others it is cyan. As dyes break down, the color balance
changes. Contrast is lost, and the film to acquire a pinkish brown cast. Eventually the film takes on a washed-out monochromatic look.
Prints and negatives can experience fading at different rate.
6. Nitrate Decay
The best-known form of film deterioration is nitrate decay. Nitrate degradation is a chemical process that occurs because of two
factors: the nature of cellulose nitrate plastic itself and the way that the film is stored. Nitrate decay follows a pattern. The International
Federation of Film Archives (FIAF) defines the telltale criteria that distinguish the five-stage process.
Generally, once nitrate film reaches the third stage, it cannot be duplicated. Severely deteriorated nitrate film is a hazardous waste
and should be transferred to an authorized facility for disposal. Like other forms of chemical film decay, nitrate deterioration cannot be
reversed but can be retarded by improving storage (see chapter 6). Nitrate film should be copied before degradation affects the image.
Nitrate blooms on a film in stage two

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nitrate decay.
Five stages of nitrate decay:
1. Image fading. Brownish discoloration of emulsion. Faint noxious odor.
2. Sticky emulsion. Faint noxious odor.
3. Emulsion softens and blisters with gas bubbles. More pungent odor.
4. Film congeals into a solid mass. Strong noxious odor.
5. Film disintegrates into brownish powder.
7. Magnetic Track Deterioration
Preservationists have observed that acetate films with magnetic sound tracks are especially vulnerable to vinegar syndrome,
leading scientists to speculate that the iron oxide in the magnetic track may act as a catalyst in acetate decay.
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As the film base shrinks and becomes brittle, it compromises support of the magnetic sound strip. The magnetic coating can shed
oxide, become sticky, or separate from the base. As with the other chemical decay problems, improved storage slows the process. To
prevent sound loss, it is important to copy the sound as soon as decay is detected.
d. Influence on History, Culture, and Heritage in the Philippines
1. Cinema and Nation Building

Susan Hayward stated: The modern nation is built on shared memories of some past or pasts that can mobilize and unite
its members.
As an instrument of cultural development, the cinema industry is acknowledged to be most effective in the propagation of
a nations language, customs, traditions, rituals, and beliefs. It therefore contributes to better understanding and communication
among a people of diverse cultures and languages. The industry also records events and takes custody of historic records, and, as
such, serves as a potent preserver of cultural heritage.
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2. Cultural Preservation
Heritage has a fairly large domain, for it encompasses the natural and cultural, the tangible and intangible, and the moveable and
immovable that the individual, community, province or state, region, nation, and the world assign significance for the very reason such
heritage is more or less valued. As the word implies, heritage is whatever you want to preserve or restore in order to promote or
perpetuate for the next generations.
National Government Cultural Agencies
First among the list at the level of the Philippine national government is the National Commission for Culture and the Arts
(NCCA), the precursor of the Presidential Commission for Culture and the Arts (PCCA) created in 1987 by President Corazon C. Aquino
by virtue of Executive Order No. 118. The PCCA became the NCCA in 1992 by an act of the Philippine Congress through Republic Act
No. 7356. Tangential to our interest are two of its six mandates, namely: the development and promotion of Filipino national culture and
arts, and the preservation of Filipino cultural heritage.
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The National Historical Institute (NHI) is tasked to promote Philippine history and cultural heritage. It was created by virtue of
Presidential Decree No. 1, which President Ferdinand Marcos signed into law on September 24, 1972, two days after he declared Martial
Law. It would interest us to know that the NHIs predecessor was the Philippine Historical Research and Marker Committee, created in
1933 through Executive Order No. 451, signed by the American Governor-General Frank Murphy.
The National Museum of the Philippines had an earlier beginning, in 1901, during the time when Howard Taft was Americas first
Civil-Governor of the Islands. It was initially instituted as an ethnography and natural-history museum. It is presently housed in a
building constructed in 1918, designed by the American architect Daniel Burnham.
The other national cultural agencies worth mentioning here are the Cultural Center of the Philippines, the National Library, the
National Archives, the Institute for the Filipino Language, to an extent the Department of Tourism, and certainly the Department of
Education.
C. Theoretical Framework
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D. Methodology of Research
30
TARGET PERSON/ INSTRUMEN TIME EXPECTED

OBJECTIVE TACTICS
SOURCE OF DATA T LOCUS OUTPUT
1. Discuss the Read books and articles National Library of Deeper understanding
current issues about the previous film the Philippines, UP of the past of film
restoration here and

and problems restoration here and Film Institute Library,
abroad.
about abroad. BulSU CAFA Library.
restoration of
Filipino classic
films in the Case study the present and
Philippines. past film archive in the ABS-CBN

a conclusion on the
Philippines. MOWELFUND possible reasons for
Film Development the success and failure
31
Council of the of a film restoration
Philippines (FDCP) facility and archive.
2. To identify Read books and articles National Library of A clear idea of spaces
various concern on the predominant the Philippines, UP that needs to be
provided for archiving

on archiving diseases/defects of old Film Institute Library,
film related materials.
and film films. BulSU CAFA Library.
restoration with
a tropical
climate. Cinematographers,
Conduct an interview with Directors and

Knowledge of the
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experts about the process Professors from Asia basic spaces to be
of film restoration. Pacific Film Institute provided in designing
a restoration facility.
and UP Film Institute.
Conduct site visit on ABS-CBN film
existing Film archives. Archives in CCP
audiovisual archives.
3. Identify the Read books on sustainable BulSU CAFA Library. A clear idea of the
issues on design development, and approaches that would
be applied in
sustainability of climate responsive design.
designing the
film restoration
sustainable film
facility and Research on the required
restoration facility and
archives controlled environment
archives.
for film restoration and
archiving.
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34
E. Bibliography:
Ashley-Smith, J. 2012. Climate for collections: Standards and uncertainties. Burmenster.
Christofferson, L.D. 1995. Zephyr. Passive climate controlled repositories. Storage facilities for museum, archive and library
Purposes. Lund: Lund University.
Dayrit, M. A. (2010, August 20). Issues in film preservation.
Film Development Council of the Philippines. (2008). Draft of Film Archiving. Manila,
Philippines: Film Development Council of the Philippines
Gut, P. and D. Ackernecht. 1993. Climate responsve building. St. Gallen: SKAT
Jodidio, Philip. 2001. Architecture Now. Cologne, Germany: Taschen GMBH,
Ling, T. 1998. Solid, safe, secure: building archives repositories in Australia. Canberra: National Archives of Autsralia, 1998.
Lopes, s. 2012. Nitrate preservation facility. Library and Archives Canada
[Lumbera, B?] Philippine Film
National Film Preservation Foundation. 2004. Film preservation guide: The basics for archives, libraries, and museums.
Pescetelli, M. 2010. The art of not forgetting: Towards a practical hermeneutics of film Restoration
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Rhys-Lewsi, k. 1999. The role of conservation and preservation in the archives of developing countries: observations based on
missions to Kenya, Uganda and Vietnam. Archivum 44: 157-170
Resolutions: Volume 1 (pp. 153-161). Paris: Impremerie des Presses Universitaires deFrance.
Valera, Isolde. 2015. Perceived status of the Filipino Film Industry: Implications for Media Education,
Santiago, Myta. 2010. Saving Face: Issues in Film Preservation and Archiving, .
UNESCO. (1980). Recommendation for the safeguarding and preservation of moving images.
Ward, P. 1989. The Nature of Conservation: a race against time. Marina del Rey: Getty Conservation Institute.
Websites:
http://www.loc.gov/avconservation/packard/
http://www.nfai.gov.in/documentation.ph0
http://www.nfai.gov.in/department-film-library.php
http://www.mid-day.com
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CHAPTER II: Presentation of Data
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A. Data Management
1. Interview
Interviewee
Direk Edgardo Boy Vinarao Former director and Film Editor
Sir Fernando Manalo Creative Arts Specialist/Theater and Venue Manager of UP Film Institute
Mr. Lloyd Evangelista UP Film Masters Student
38
QUESTIONS Direk Edgardo Boy Sir Fernando Manalo Mr. Lloyd Evangelista
Vinarao
1. Bakit po nahinto Nilipat na namin sa PIA Yung mga archivist naming Ayon kasi bukod sa kulang na
Ginintuangung pagApre-
Telon: Sustainable Museumyung mga Films
for Tomorrow kasi di na dati is umalis na at nag-abroad, nga sa pondo at suporta ,
preserve ng mga kaya ng MOWELFUND alam niyo naman mas malaki karamihan talaga wala ng paki
Films? na ipreserve, sa madaling and pasuweldo doon kumpara alam kung mare restore o maipre
salita kulang ang aming dito. preserve pa yung mga films.
pondo.
2. Sa tinigin niyo po Oo naman, alam mo kasi Yes. Kaya nga may mga Oo naman, yun naman talaga
ba, worth it pa nai- mahalaga yan sa kultura at organization na nag aalaga ng ang dapat gawin. Yun nga lang
restore ang Classic history ng pag gawa ng mga films, ang problema lang wala masyadong suporta mula sa
Filipino Films films pelikula noon dati, kaya talaga ay medyo magastos ang gobyerno.
ngayon? dapat lang talaga na proseso.
maalagaan pa.
3. Ano po sa tingin Para sa inyong mga Eh syempre para sa mga Para sakin kasi mahalaga yun.
ninyo ang kabataan, though quality kabataan ngayon, para maging Kasi kasama na yun sa history
significance ng naman na yung mga napro aware sila diba. Kung ano ba ng bansa diba. Ngayon kasi,
pagre restore ng produce na mga indie films yung mga pelikula dati, kung puro sa production nakatuon,
Classic Filipino ngayon, iba pa rin talaga paano baa ng proseso ng pag wala naming gusto magrestore.
films sa panahon yung dati, maniwala ka gawa ng pelikula dati, ganon.

39
ngayon? sakin
4. Sa opinion niyo po, Yon dapat nga sana ang Oo naman, kasi katulad ditto, Ay maganda yon. Sana talaga
maganda ba na mag ipagawa ng presidente kulang ang pondo, hindi rin pagtuonan ng pansin ng mga
2. Survey
The researchers conducted an online and physical survey with a total of 100 target respondents.
Almost half of the respondents said that they frequently watch movies. 11.5% of the respondents on the other hand said that they rarely watch
movies while no one answered that they have never watched a movie. This shows that Filipinos, even once in their life have watched a movie and
that it can be a bridge in conveying ideas to people.
40
A large percentage of the respondents said that they watch International Films while only 11.5% have watched Classic Filipino Films .
80% of the respondents said that they would like to watch Filipino Classic Films while only a small percentage said
that they are not interested
61.5% of the respondents said that they would watch Filipino Classic Films if given an opportunity but 38.5%
41
answered that they are not sure if they will watch or not.
A large percentage of the respondents have an idea of film archive, museum and libraries.
Half of the respondents said that accessibility, environment and activities in a film museum, archive and library are
42
important to them.
B. Case Studies
1. Scope
The following case studies are divided into two: Local and Foreign. These are essential in identifying similarities and
differences in film preservation and restoration in and out of the country. Both of which help in identifying points on what
aspects of the facility should be added or improved on.
2. Local Case Studies:

a. University of the Philippines-Diliman Film Institute
The facility is organizationally under the College of Mass Communications but is virtually independent of this
college. A major portion of the operational budget of the Center then came from the film screenings in its 1,000-seat
43
theater and its equipment acquisition was sponsored by foreign
sources like the UNESCO. The Institute currently holds a
collection of films by
Ishmael Bernal, master negatives of films produced by
Bancom Audiovision and an assorted collection of 35mm,
16mm local films and super-8mm films by independent
filmmakers. The institute also has a collection of local and foreign films on video tapes, vhs and laser disc formats.
The Institute currently holds its collections in a storage room that is in no satisfactory condition to preserve or even
take care of the films. Many of these already caught the vinegar syndrome and are starting to deteriorate. They have
recently constructed a small archive with exhaust fans and air conditioning unit to house the films. The problem is, they do
not have an Archivist to do the work of cleaning the films first before transferring it to the new archive. According to Prof.
Ferdinand, the Institute used to have two Archivists more than 5 years ago but have left due to financial reasons.
44
Film reel stored in a rusting tin can. Outside the temporary archive space at UP-Diliman.
b.
Part of the movie collection at UP Film Center. Inside the newly renovated archive facility inside the UP Film Center.
Old film equipment on display at the lobby of UP Film Center.
MOWELFUND Film Institute

Mowelfund is a private institution dedicated in helping the Filipino Workers in the Movie Industry. The facility has
an audiovisual archive, Dr. Guillermo C. De Vega Memorial Library and Pambansang Museo ng Pelikula. The Institute
45
used to hold the largest collection of short films and
videos. The collection includes super-8 and 16mm films
and videos in various formats that were produced by
independent filmmakers since the 80s. Mowelfund Film
Institute is currently transferring its collection to the PIA.
The Mowelfund Audiovisual Archive (MAVA) specializes in collecting and
preserving audiovisual materials such as Film (35mm, 16mm and super-8);
Video/Audio tapes (U-matic, VHS, Betamax, Video-8, Mini-DV, Betacam,
Cassette tapes, etc.); and Optical Discs (CD, VCD and DVD). It used to have the
largest collection of short films and several film classics as well as works of students and independent filmmakers. Among its top
priorities is the restoration of Filipino film classics.
46
The Dr. Guillermo C. De Vega Memorial Library keeps a wealth of data on
the Philippine movie industry and its alternative forms. Through the years, the
literary print collections in the library have provided a massive source of data for
researchers, young and old alike, Filipinos and foreigners, media groups, students
and professionals, etc.
The realization that our local cinema has such interesting and valuable heritage motivated Mowelfund to exert more efforts to
research, collect, document and preserve such legacy.
In the same manner, the Research Division is constantly monitoring current realities involving the industry toward the local print
and broadcast, and/or foreign media that may be relative to the growth or impairment of our local cinema. This move proved very
important to the progressive trend of our local print and broadcast media. Only the Mowelfund library carries a comprehensive collection
of relevant data.
47
The Pambansang Museo ng Pelikula (PMP) is the Philippines first-ever
national film museum encompassing 100 years of cinema. It exhibits a
wide array of film and film-related artifacts. Educational and
entertaining, the Museum is set up for the enrichment and cultural
appreciation of students, teachers, and the general public of the countrys
moving image heritage.
3. Foreign Case Studies

a. Packard Campus of the National Audio-Visual Conservation in Culpeper, Virginia
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Set on a 45-acre campus with superb architectural design and
landscaping, the Packard Campus of the National Audio-Visual
Conservation Center is a hi-tech facility where the Library of
Congress acquires, preserves, and provides access to the worlds
largest and most comprehensive collection of films, television
programs, radio broadcasts, and sound recordings. Located at the feet
of the Blue Ridge Mountains in Culpeper, Virginia, the Library provides underground storage for the entire collection, together with
extensive modern facilities. A 35 climate controlled vaults for sound recording safety film, and videotape, 124 individual vaults for more
flammable nitrate film but it will also be a workshop for acquisitions, preservation, access, and partnerships cataloging and preservation
of all audio-visual formats.
While beginning in late 2007, the audio-visual center is to also host a regular series of film and television programming in its 206
seat theater. The advanced projection booth can show everything from nitrate film to modern digital cinema. A similar listening
auditorium for playback of all sound formats will also host many events, all programs at the Campus will be free and open to the public.
49
Campus Features
Below are some highlights about the facility and its features:
Primarily underground with sod roofs blending into the existing contour lines; great
care was taken to minimize the visual impact on the landscape
Only the Conservation Laboratory building appears from the hill in a semi-circular
terraced arcade to allow natural light into the administrative and work areas
http://www.loc.gov/avconservation/packard/
6.3 million collection items (1.2 million moving image, 3 million recorded sound, 2.1 supporting scripts, posters, photos, etc.)
Advanced storage environment, including below-freezing for film masters
Nearly 90 miles of shelving for sound and moving image collections
124 nitrate film vaults the largest in the western hemisphere

50
Fully equipped to play back and preserve all antique film, video and sound formats
200 seat theater capable of projecting both nitrate film and modern digital cinema, and featuring an organ rising from under the
stage to accompany silent film screenings
High-speed fiber-optic connectivity between the Packard Campus and the Moving Image and Recorded Sound reading rooms on
Capitol Hill
Digital access copies made during preservation process provide researchers with playback on demand in the reading rooms
The entire campus includes 415,000 square feet of useable space in four campus buildings:
Collections Storage Building for all recorded sound, safety film and video tape collections (135,000 sq.ft.)
Conservation Building for all staff and the sound, video and film reformatting laboratories (175,000 sq.ft.)
Nitrate Vaults built to exacting fire codes for the storage of pre-1951 films surviving on nitrate stock (55,000 sq.ft.)
Central Plant for mechanical, electrical and HVAC systems (50,000 sq.ft.)
51
b. National Film Archive of India
52
In 1964, the Indian government established the National Film
Archive of India, a media unit of the Ministry of Information and
Broadcasting of the Government of India. NFAI, along with the Film
Institute of India in Pune, developed to become the national resource
center for film and film related material. Since then, its staff has had
the difficult task of tracking down and acquiring any film and related
material, which has a particular focus on the history and heritage of
Indian cinema. All major funding comes from the Indian http://www.mid-day.com government and through services
provide. Over the years, NFAIs mission has developed into the following:
To trace, acquire and preserve for the future heritage of national cinema and a representative collection of world cinema
To classify and document data related to film and undertake and encourage research on cinema
To act as a center for the dissemination of film culture in the country, and to promote Indian cinema abroad
53
The National Film Archives of Indias national headquarters are currently in Pune, India. It is a relatively smaller city near Mumbai
(Bombay), the largest city in India and the center of Indias film industry. It is near NFAIs former home, the Film Institute of India. Its
location in this less densely populated city and more moderate weather conditions has allowed for better conditions under which to store
such materials as film. However, it is still within close proximity of Mumbai, where NFAI can maintain close relationships with
filmmakers, scholars, researchers and other interested parties that are concentrated in that city.
Access and Public Services
The NFAI provides various services to facilitate historic and scholarly research and appreciation of film. In the national
headquarters building in Pune there are two theaters on-site, which are used for Archive screenings and for individuals or organizations to
rent. For a fee, both the main theater (330-seat) and the preview theater (30-seat) provide patrons the use of their rooms and projection
facilities to provide a more enjoyable experience in viewing film.
Within the library there is also viewing equipment for scholars, researchers and individuals who wish to view a particular film or
video. Viewing facilities come in VHS and 16mm film with which individuals are allowed to watch a particular title from the collection.
54
Film Preservation
NFAI, Pune houses 19 State-of-the-Art
film preservation facilities/vaults as per
international standards and specifications. These
vaults have the thousand) film reels. There are 3
vaults in the Main building, 16 vaults at Phase-II
facility and 8 small vaults/cubicles (Nitrate base film). http://www.nfai.gov.in/documentation.ph0

Initially, the film collection by NFAI was stored in improvised film
vaults in the premises of the Film & Television Institute of India. Since the inauguration of its new building in 1994, NFAI has its
own film vaults designed according to international film preservation standards. The films are stored in a controlled environment
with temperature of about 15C and relative humidity of 50 % which is ideally suited to preserve black and white films. In future,
the archive would construct additional vaults for storage of colour films which require cooler and drier conditions.
55
The small but invaluable nitrate collection has been
transferred to safety base. Printing and duplication work is done in
different laboratories in Pune, Mumbai and other centers. But in the
long run, NFAI is planning to have its own restoration laboratory for
specialized work on shrunk and decomposed material and to ensure
superior quality.
Type of films Temperatures Relative Humidity

Nitrate Films 12 to 14C 40%
Black & White Films 12 to 14C 40 to 50%
Colour Films 2 to 4C (+/- 1 C) 25 to 30 %
http://www.nfai.gov.in/department-film-library.php
c. Archiving in Tropics
56
Archives by their very nature are unique and is vital for the development of our cultural character, helping us to establish
communications between our past and future generations. Handed over to us by our ancestors, its our duty and our privilege to keep
them for our children and their childrens children. Lost archives are irreplaceable, and any loss is final and in most cases reconstruction
is impossible.
Our heritage is all that we know of ourselves, what we preserve of it, our only record. It contains the DNA of our cultural
development as Filipinos through time up until the present. Conservation is the means by which we preserve it. It is a commitment not
only to the past, but also to the future. (Ward, 1998). Securing our records for the future is not an easy task, archives all over the world
face serious preservation issues. Formulating a uniform standard for restoring and archiving is quite difficult, for preservation methods
varies in different place around the world. Cultural heritage of many types exists, each in different forms and each require different
preservation methods. Today conservation is an established profession, yet this development happens mainly in the developed countries
while other countries specifically those in the tropics faces more complex problems. This results to another complication for non-western
countries have considerations different from those of western countries.
1. Preservation and Conservation

57
Tropical Climatic Zones
Generally, the tropical zone is defined as the area of land and water between the Tropic of Cancer (latitude 2.5 degrees N) and the
Tropic of Capricorn (latitude 23.5-degree S). The area may be envisioned as a hot, moist band around the equator, typified by little
seasonal change of temperature. There are variations in climate within the tropics, however ninety percent of the tropical zones embody
hot and humid climatic regions, whether permanent or seasonal. (Baish, 1987a)
The climates prevailing around the globe are primarily influenced by the suns energy heating up the land and water masses. At
regional level the climate is influenced by altitude, topography, patterns of wind and ocean currents, the relation of land to water masses,
geomorphology, and the vegetation pattern. Accordingly, the tropical and subtropical regions can be divided into many different climatic
zones, usually three main climatic zones are considered:
The hot arid zone

The warm-humid zone
The temperate zone
58
As the features of each zone are different it is obvious that this will result in different problems and consequently different
preservation solutions.
2. Buildings
Climate and Building
The complexities of tropical climates with high temperature and soaring humidity present major problems for any building,
including archive buildings. Biodeterioration is very much a concern with mold growths resulting from flooding and bad air circulation
(Rhys-Lewis, 1999).
It is the large and frequent variation in temperature and relative humidity that causes so many problems in our efforts to safeguard
our cultural property (Davison, 1981).
New Building
In the planning and construction of an archive building both archivist and architect should take preservation as a starting point. It
has an important and decisive impact on the building of the stacks, the laboratories, the areas for the pubic and the offices.
59
Another main problem in developing countries is the absence of national standards for archive buildings or the insufficient
observance of such standards.
Sustainable Building
Over the past decade, sustainable development has emerged as the favored way of responding to the continuing degradation of the
global environment.
One particular aspect has to be pointed out in this context: the steadily increasing energy consumption, and building designs or
architecture, urban design and planning not adapted to local climatic circumstances.
Often climatic factors are neglected in construction because they are not of immediate interest and concern to the building
industry, builders, designers, developers and owners. With input of sufficient energy almost everything seems possible but present
construction trends in tropical and subtropical regions still show little awareness about energy conservation.
According to Gut the main points to take into consideration when designing a climate responsive building are (Gut et al., 1993):
60
Minimize heat gain during daytime and maximize heat loss at night in hot seasons, and reverse in cold seasons
Minimize internal heat gain in the hot seasons
Select the site according to microclimatic criteria
Optimize the building structure (especially regarding thermal storage and time lag);
Control solar radiation
Regulate air circulation
Passive Climate Control
The concept of passive climate control is completely in line with the notion of sustainable building. It is an alternative to a
mechanical air-conditioning system and as such is an essential part of sustainable building. Passive climate control implies that the
repository is built and arranged in such a way that the thermal and hygroscopic properties of the building and its content create a good
stable indoor climate. It concentrates on buildings physics and ensures that the temperature and relative humidity stay within acceptable
ranges. For most, passive climate control is a design principle where it is important for the engineer to be aware of how the building is
used. (Christoffersen, 1995)
Location of a Building
61
The choice of a site is crucial because a mistake cannot be corrected later and can jeopardize the whole future of an archive
service. (Duchein, 1998)
Amongst other things the site should not be located near areas subject to high levels of air pollution, a major and increasing
problem in most of the metropolitan areas in developing countries. Local climatic conditions of possible sites should be studied carefully
and preference should be given to ones that are on high climatic conditions of possible sites climate and are protected against sun and
storms. Locations that are subject to humid, salty or sandy winds, like coastal areas, are unsuitable. At the very least the openings should
not face directly into the direction of the prevailing winds. Some environmental protection can also be gained by careful positioning of
the structure to take advantage of any natural shade or protection against wind (Daniel et al., 2000; Ezenia, 1989; Ling, 1998; Thomas,
1987)
Construction
One of the requirements for archive buildings in the tropics is that the building materials should be able to withstand all possible
hazards and nuisances, from earthquakes to insect pests another, more recent, demand is that construction fabric should have a high
62
insulation value in order to help control the interior climate. Noise pollution, a serious problem in many libraries , is another factor that
can be reduced by choosing the right absorbent materials (Singh, 1982).
3. Storage
Internal Climate Control
The storage environment can have a dramatic effect on the long-term value of the records and the information they contain. Even
at the design and planning stage of an archive building may initiatives can be taken to influence the storage areas. The impact of
environmental conditions on records format has been studied by a number of archivist and conservators recently. Many criteria can be
grouped under the banner of environmental conditions; the most important are temperature, relative humidity, air quality and light.
Storage areas can be thermally insulated and should be placed in the center of the building.
To some extent the relative humidity can be controlled by using suitable cotton carpets of reasonable thickness on the floor of the
gallery, as these carpets absorb sufficient moisture from the air (Swarnakamal, 1975).
63
Another popular way to reduce the high moisture levels in the air is the use of portable dehumidifiers or moisture absorbing
crystals. Small low wattage heaters can also be used, though only in very small, confined areas. They are not expensive nor they consume
large amounts of electricity (Ling, 1998).
d. Sustainable Development
Big & Green: Toward Sustainable Architecture in the 21st Century
Explores five categories of issues that design and building professionals are addressing in order to
reduce the deleterious environmental impact of megastructures: Energy; Light and Air; Greenery, Water and
Waste; Construction; and Urbanism. The exhibition demonstrates that, through thoughtful design and careful
management of the construction process, even the largest structures can further the cause of a more
harmonious integration of the built and natural environments.
64
e. Climate Responsive Design
A study of Buildings in Moderate and Hot Humid Climates
This serves as an approach to the climate design, in moderate and hot humid type of climate to see the
difference of effects in every change of climate. And focuses on the building case that affects or found with
the design of large complex buildings and has led a number of issues lack of concern for building impact on
the site and poor microclimate conditions around the building that cause lack of comfort in the external
spaces, user control of the comfort conditions within and outside the building. And the planning strategies
that do not respect to the orientation of passive heating, cooling or energy efficiency which this are the
common issues that relate to the climate responsive design that gives solution to this approach. The study of
every type of buildings that apply the approach of the climate design, discuss about the sun shading, wind
effects, temperature inside and outside the structure. In design approach, it has been argued that the
climate responsive design results from selecting strategies appropriate for various climate types. There are a
65
number of first- order decisions that have taken with regard to the modification of the climate to
microclimate, and then the secondary decisions concerning building fabric, and finally plant equipment.
f. Sustainable Architecture
Sustainable Architecture: Principles, Paradigms, and Case Studies
Environmentally intelligent building design and urban planning will be crucial to the worlds future
James Steele
The book tackles about the different principles of sustainable architecture and its factors that have
relationship in designing a building or structure. The author defines the word development as a term that has
historic connotations related to the destruction of the natural, as well as the human-made environment, as in
the wide spread destruction wrought by urban development. With this development and because of its
implicit connection with a belief progress, which has become so questionable in view of undeniable legacy of
66
destruction left at the end of twentieth century. And for that case the development is being viewed with
considerable suspicion by many concerned with topping further ecological degradation.
67

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Ginintuang Telon: A Sustainable Museum for Tomorrow

Batac, Elaiza M. Cruz, Camille Rose M.| BSAR 4A

A. The Problem and its Setting

archiving and awareness of our cultural identity shall also be discussed.

b. Background of the Study

a source of entertainment, reflect a nations personality.

and cultural heritage.

(UNESCO, 1980, p.156)

c. Statement of the Problem

to make it available for future generations.

d. Architectural Thesis Goals, Objectives, and Strategies

restoration of classic Filipino films.

1. Gather data about previous restoration of Filipino classic films

1. Discuss the nature of predominant film diseases

Identify the issues on sustainability of film restoration facility and archives.

e. Scope and Limitation

growth and development.

of information that could possibly help in the study.

a. Significance of The Study

be more responsive to the dynamics of modern society and urban change.

recovery of the weakening local movies overshadowed by International films.

heritage of our country contributing to their education and enrichment.

Philippines through architectural interventions.

impact their interest in history and culture.

Philippines and different concerned private sectors such as Cinemalaya.

when shown on a screen, creates the illusion of moving images.

B. Review of Related Literature

a. Philippine Film Industry

60mm Gaumont Chrono-photograph projector in Escolta, Philippines.

arrival of independent film making.

International films in the country.

3. The Effect of Global Economic Trends on Cinema

b. Preservation, Archiving and Restoration

2. Digital Film Preservation

restoration possibilities, improve quality, and reduce costs.

number of bits being broadcast/stored. (Roosmalen, N.D.)

c. Understanding Film and How It Decays

others. Poor storage and handling take a further toll.

2. Mold, Mildew, and Fungus

3. Acetate Decay (Vinegar Syndrome)

Typically, the decay process follows this pattern:

1. The film begins to smell like vinegar.

length and width.

3. The film loses flexibility.

4. The emulsion may crack and eventually flake off.

As acetate film decays, it shrinks, loses flexibility, curls, and warps.

mechanical precision required of the equipment.

Problems beyond shrinkage.

Prints and negatives can experience fading at different rate.

Nitrate blooms on a film in stage two

Five stages of nitrate decay:

1. Image fading. Brownish discoloration of emulsion. Faint noxious odor.

2. Sticky emulsion. Faint noxious odor.

4. Film congeals into a solid mass. Strong noxious odor.

5. Film disintegrates into brownish powder.

7. Magnetic Track Deterioration

d. Influence on History, Culture, and Heritage in the Philippines

1. Cinema and Nation Building