3815487

Film Museums: A Bibliography
Author(s): Stephen Bottomore

Source: Film History, Vol. 18, No. 3, Film Museums (2006), pp. 327-349
Published by: Indiana University Press
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Film History, Volume 18, pp. 327-349, 2006. Copyright c John Libbey Publishing
ISSN: 0892-2160. Printed in United States of America
Film museums:
a bibliography
Stephen Bottomore
It is not altogether surprising that proposals to before the First World War, was collecting
who, from
preserve actual films preceded calls to apparatus
preservefor his own collection and for an eventual
museum. But he was a lone voice for many years,
the technology and artifacts of the film industry.
As early as 1898, only a couple of years remained
afteroutside official channels, and didn't man-
cinema arrived on the world stage, the Pole
ageBoleslaw
to sell his collection to a museum in his lifetime.
This
Matuszewski was calling for the preservation of long period of indifference by museums
his-
and
torically important films.1 But it was to be a collectors
few more towards film-related artifacts is re-
years before people were suggesting thatflected
non 'end-
in the bibliography. One finds that articles
product' items related to the film industry - such
calling for as
preservation of film-related items are rare
cameras, projectors or posters - should also
until thebe1930s (contrast this with the numerous
preserved. suggestions to preserve film, several of which were
In this sense, attitudes toward the film industry published in the first two decades of cinema). But by
are no different from attitudes toward other indus-
the 1930s the discussion was developing fast, as
tries. It is always the end-product which matters proposals for the creation of film museums were
most, and it is this product which is considered being made; tentatively at first, then little by little,
worthy of preservation, rather than the machinery actual museums were established.
which made it, or the ephemera which promoted it. The history of film museums since then has
Libraries and private individuals collect books, not been a complicated one, occurring in many coun-
(usually) printing presses; enthusiasts collect vin- tries around the world and with as many failures as
tage automobiles, and only more rarely bother with successes. If anything, the controversies surround-
bits of car factories or forecourt displays. Only a few ing film museums have been more intense than
real enthusiasts come along later and decide that it those about film archives as such, and one only has
is worth collecting the 'machinery of production', and to think of the plans of the Hollywood Museum
only then do we establish museums of printing and through the 1950s and 1960s, or the establishment
industrial production. and then closure of the Museum of the Moving Image
Thus, in most places, film archives preceded in London, to see that this has been an eventful and
film museums. It is true that some cinema artifacts not altogether happy story.
were preserved from the earliest years: early cam- But a story it has been, with a colourful cast of
eras and projectors from pre-film pioneers like Henrycharacters and an enthralling succession of events.
Heyl or E.J. Marey were preserved at the institutions One idea for a film museum has often sparked off
where they had worked, or by other scientific and another, a failure has been succeeded by a success,
archival bodies. Inventors deposited their creations and the style and approach of one museum project
in patent collections as legal precedent, and early has influenced a later one (the Cin6matheque
film companies sent in scripts for copyright protec- frangaise museum has probably been the most in-
tion.2 But these items were not deposited for displayfluential of all, and its founder, Henri Langlois, one of
or posterity, but for legal and scientific reasons. the more vivid personalities in the saga). This 'narra-
Probably the first individual to take seriously the idea tive' of events is one reason why we have decided to
of acquiring film 'memorabilia' (as it was later called) present this bibliography as one continuous chrono-
for reasons of posterity and for display was Will Day logical 'run', rather than trying to break it down into
328 Stephen Bottomore
subjects. (Another reason for our simplistic chrono- my own article about R.W. Paul's attempts in 1896 to
logical presentation is that the entries did not seem persuade the British Museum to accept his films
to fall readily into separate 'themes'.) But if the de- makes an interesting point about the attitude of
velopment of film museums is a narrative, it is one established museums to the film medium in general,
which has not yet reached a conclusion. Indeed, the and after all, Paul later offered his apparatus to a
story continues in a more exciting fashion today than British museum (see below my article of 1995 and
ever before - particularly with the new Cin6matheque Simon Popple's of 1998).
frangaise museum in Paris opening in 2005, and a Some of the distinctions which we make today
museum planned by the Academy of Motion Picture between different types of film bodies were more
Arts and Sciences in Los Angeles for the near future. indistinct and woolly in earlier years, but they are
The literature on film archives is vast, while that worth rehearsing in order to establish some ground
on film museums is more modest. Nevertheless, rules before we begin. There are perhaps four sepa-
when we started work on this bibliography we did not rate kinds of institution intended to preserve the
expect that there would be so many entries. As it has panoply of 'film-related things': the film archive, li-
transpired we have ended up with nearly 300. The brary, institute and museum proper. The archive
bibliography was created partly by selecting entries preserves films; the library preserves books and
from the work of FIAF and of the BFI's Information periodicals and some other forms of mainly written
Department (to both of which we must pay full trib- materials about film; the museum both preserves
ute) as well as from other bibliographical and privateand displays a wide range of film-related materials;
sources. the film institute combines several or all of the pre-
There are several limitations which we have vious functions and often adds a few more.
imposed. The bibliography doesn't include writings
Acknowledgements. Thanks to Stephen Herbert and
about museums/exhibits which are mainly about Richard Koszarski for their contributions to this listing.
television or broadcasting if they do not cover film
Notes
too, and generally it misses references to museums
which are only partially devoted to film (we generally
1. Boleslaw Matuszewski, 'A New Source of Histo
ignore non-film museums which happen to include the Creation of a Depository for Historical Cinem
a few film items in their collections, such as the Lake tography', Cultures 2, no. 1 (1974): 219-222. Tra
County Discovery Museum in Illinois, which holds lation of the famous 1898 article from Le Figaro
items about movie pioneer Edward Amet). Though which the author proposed the establishment o
waxwork museums almost unavoidably include film cinematographic museum or depository in Par
Other English translations of Matuszewski's pa
stars in their exhibits, these organisations have been
phlet have appeared, including Film History, VII,
excluded from the bibliography. There are inevitably (1995), pp. 322-324.
some entries which are not purely about 'film artifact
museums'. Some items cover film archives which are2. Patent models of film machinery from the 18
museums too; and we have also included some found their way into the American national collecti
at the Smithsonian, while film scripts were deposit
selected items about non-permanent exhibitions of
for copyright from 1904 or so. Both of these activit
film items - our excuse is that these are of interest
are less well known than the depositing of act
for the relevant 'museological' points that they make. films for copyright protection (the Library of Congr
Some anomalies are included for similar reasons: 'paper prints' are the best known examples of th
Film museums: a bibliography 329
Biibliography
'The Museum Section', The Kinematograph The author (spelled Olmstead elsewhere), custodian of
Daily, no.2 (25 March 1913). the Section of Photography at the U.S. National Museum
(the Smithsonian) briefly describes some of the impor-
Description of exhibits relating to the history of cinema-
tant items in the collection. These include zoetropes,
tography being displayed at the Kinematograph Exhibi-
some of Muybridge's apparatus, and a mutoscope,
tion, lent by pioneers such as R.W. Paul, Friese-Greene,
though it seems that 'the major part of the exhibit' was
Williamson, and the Donisthorpe family. The Kinema-
composed of the C. Francis Jenkins collection of 'ex-
tograph Daily was a temporary exhibition publication.
perimental apparatus', including his film perforating,
developing and printing devices, and multi lens cameras
International Kinematograph Exhibition and and projectors, later developed as high-speed cameras.
Conference. Official Guide (London: The There is a small photograph of one of the exhibit cases,
Oldfield Advertising Co., 1913). illustrating the 'evolution of cinematography'.
The 'Museum Section' of this catalogue, pp. 65-69, lists
several interesting exhibits from the pioneers of cinema,Peters, T. K., 'A Museum of Motion Picture
History', Transactions SMPE, no.22 (May
including a telephoto cinematograph camera of 1897,
lent by J. Salter, and Friese-Greene's 1890 camera1925): 54-62.
model lent by John Sharp Higham of Lancashire.
Peters suggests what equipment might be displayed in
this proposed museum. He has checked, he says, every
International Kinematograph Exhibition and patent for cinema and related devices from 1860. The
Conference, 1914: Official Guide (1914). article includes information about his own experiences
in the film industry and as a travelling cameraman. Notes
Sargent, Epes Winthrop, 'Wanted - a Museum, that he filmed for R.W. Paul.
Moving Picture World (9 September 1916):

1704. Nelson, Otto, 'Early History and Growth of the
This article concerns a proposal by Vachel Lindsay thatMotion Picture Industry', Transactions SMPE,
Columbia University be 'the home of the first museumno.26 (November 1926): 28-33.
of photoplay writing and production'. In fact what wasA general history of the origins of the cinema, and not
actually being proposed was less what we would nowespecially accurate (claiming, for example, that the first
think of as a 'museum' - housing items for display to store show opened in New Orleans in 1896). Includes
some details of the material held at the 'U.S. National
the public - and more a 'film institute' or 'study centre'.
Columbia was already collecting film-related items, Museum motion picture exhibit', most of which is C.
though not on a large scale: at the time of writing thereFrancis Jenkins' apparatus, acquired by the museum in
was as yet only a single bookcase, containing 'a couple1898. Includes a photograph p.30 of a case at the motion
of hundred still pictures, a card catalogue of manufac-picture exhibit, which displays examples of Muybridge's
turers... a few scripts', along with some film books andsequence photographs and machinery deposited by
journals. By this time the university was running well-at-Jenkins in 1896. [i.e. dates are inconsistent] Also gives
tended courses in photoplay writing, thereby pioneering some info about the SMPE.
the academic appreciation of the motion picture.
Day, Wilfred E.L., Illustrated Catalogue of the
'Central Park: Moving Picture Film Museum Will Day Historical Collection of
Proposed', in Twenty-Second Annual Report of Cinematograph & Moving Picture Equipment
the American Scenic and Historic Preservation
(London: St. Clement's Press; Harris & Gillow,
Society (1917). 1930).
Sale catalogue. Much of the Day collection of pre-cin-
Olmsted, A.J., 'Film Evolution Shown in
ema and early film equipment was for many years on
Smithsonian Collection', American display in the Science Museum, London, and sub-
Cinematographer (October 1922): 16, 24. sequently at the Henri Langlois Musee du Cin6ma, Paris.
330
330 Stephen Bottomore... il AM
Stephen Bottomore
M.41 1.
Includes discussion of the necessity of maintaining

museum exhibit on both coasts, and that available spac
at the Smithsonian is already full.
'Report of the Museum Committee' Journal of

the SMPE 19 no. 2 (August 1932): 203-206.
The Los Angeles (County) Museum has been selecte
as the initial location of the Museum exhibit. Article
features two photos of the gallery. Collections include
apparatus, film stock samples, costumes, posters, and
personal and business records.
'Museum Committee', Journal of the SMPE 19,

no. 4 (October 1932): 396.
Diorama models are being constructed illustrating 'the
making of an early motion picture, the making of an
animated picture, and an up to date sound set in opera-
tion with its sound equipment and lighting apparatus'.
'Eastern Motion Picture Exhibit', Journal of the

SMPE 19, no. 5 (November 1932): 493.
Arrangements have been made to open an exhibit of
Fig. 1. Exhibit Rotha, Paul, 'A
historical motion picture equipment Mu
in the Museum of
case in the Collecting of
Science and Industry in New York Film
(previously the Mu-
photographic 347, seum of Peaceful 1930):
July Arts), which would be similar to that 3
section of the
Smithsonian
Proposal in for
Los Angeles. a mus
technological develo
Institution, early 'Museum Committee', Journal of the SMPE 20,
1920s, featuring
Gregory,no. 3 (March
Carl 1933): 276-277. L., a
motion picture
Recent acquisitions
Historical Commit include 'a series of miniatures'
apparatus
no. 1 made by Willis O'Brien and 'manuscripts' [film scripts?]
(January 19
donated by C.
dating from 1902 written by DW Griffith, Mack Sennett,
Francis Jenkins Report of the SMPE
Florence Lawrence, King Baggott and about fifty others.
as early as 1897. York City, Fall 1930,
From finding a suitable rep
'Report of the Museum Committee', Journal of
Transactions of about cinema could
the Society of
the SMPE
committee 20, no. 6 (June 1933): 531-535.
comes dow
Motion Picture the Museum Inventory of new items of added to the Los
PeacAngeles col-
Engineers #26 York City.lection, and discussion
This of association with New York
site
(November location - Museum
thereforeof Science and Industry. Relative advantages it
1926), p. 30. say, the of historical artifacts and working models. A report that
Smithsonian
this museum'The Will Day exhibits ... areis housed in mahogany
bein and
for exampleglass cases, and by turning
some a handle on the outside of ex
operated the by case, the exhibits the
can be made to work'. spe
to accept film items.
'Report of the Historical and Museum
'Report Committee', Journal
of the of the SMPE 17,Hist
no. 3
the (September 1931):
SMPE 18, 13-16. no.
448-450. Information on animation and studio lighting exhibits.
'Mr.
Historical data and records are being collected Louis
for a Lumiere has sent a Cinematographe dating
before
projected museum display. An exhibit of early films 1900, which has arrived but at present is going
and
through the United States customs routine.'
apparatus was arranged for the Hollywood convention
(May 1931).
'Report of the Historical and Museum
Committee,
'Report of the Historical Committee', Journal of Journal of the SMPE 17, no. 6
the SMPE18, no. 6 (December 1931): (December 1931): 31-34.
1060-1063. Accessions include pre-cinema apparatus, papers of
_ tFilm-f.t. .. {.L ... . . . . . . I . .. mu mil: .o...gh.y3 - 1
Jean Le Roy and complete

Kinetoscope.
Olmstead, A. J., 'The Motion Picture Collection

at the National Museum' Journal of the SMPE
26, no.3 (March 1936): 265-269.
Concerns cinema items in the Smithsonian's 'Section of
Photography'. Contrary to an earlier decision, the SMPE
has sanctioned this site as its depository of motion
picture material. They already have material relating to:
Muybridge, Levison, Latham, Lauste, Jenkins, Amet,
Marvin, Casler, and Eberhardt Schneider.
Theisen, E., 'The Historical Motion Picture

Exhibit at the Los Angeles Museum' Journal of
ture film. Section S is about sound recording on film. Fig. 2. A portion
the SMPE 26, no.3 (March 1936): 259-264. The Introduction notes that the Kodak Museum has been of the SMPE's
Includes much information about the collections, espe-
in existence since 1927. Particular items of interest motion picture
cially re early cinema: including projectors, publicity
include some 1901 Kammatograph discs made by L. exhibit, as
material, photographs, etc. Kamm and Co; Demeny 60mm films from 1896; and a displayed in the
Vivontoscope of 1896, for 46mmfilm. Los Angeles
Theisen, E., et al., 'Report of the Western Natural History
Museum Committee', Journal of the SMPE 29, Schmidt, Georg, et. al., The Film: Its Economic, Museum in th
no.2 (1937): 151-153. Social and Artistic Problems (Basle: Holbein, early 1930s.
About progress in collecting cinema relics for the Los *~1948). ~From Journal of
Angeles Museum. A 'cinema gallery' is in place there
1948). the Society of
already. Notes items re Bray and Amet in particular. Photographic reproduction of the exhibit
Yesterday and Today', presented in Zuric
Amsterdam and other cities. The exhib
'Report of the Museum Committee, Journal of
mainly of photographic panels, although 'in t
the SMPE 35 (Dec 1940): 612-618.
photographic and projection equipment w
As the Society is now concentrating on augmenting the
motion picture exhibits in the National Museum (i.e.,
Smithsonian Institution), those members who have Catalogue du Musee, Section L,
opened small private exhibits are asked to consider Photographie/Cinematographie, Conse
National des Arts et Metiers (Paris: 19
consolidating these materials with the SMPE collection
at the Smithsonian. Includes a complete inventory of
Includes floor plan of museum. Pages 152
'Accessions Relating to the Invention of Motion Pictures'
the motion picture exhibits, including Cin
already at the Smithsonian, including many items related
eras and Chronophone sound-film appara
to Jenkins and Lauste. (Contact with the Los Angeles
Museum had apparently been broken off, although many
'The Museum of Cinematography', Th
of the items described in earlier reports today remain in
storage at what is now the Natural History Museum ofCzechoslovak Film 3, no. 11 (Novem
Los Angeles County.) 462.
About the foundation of a museum of cinematography

The Kodak Museum. A Permanent Exhibition,
in Prague, on the 5th anniversary of the nationalisation
Illustrating the History of Photography and of the Czech film industry. Includes photographs of
Some of Its Applications in Science, Art and exhibits in their cases.
Industry (Harrow: Kodak Ltd., 1947).
The catalogue is in sections, A-Z, of which motion
Brichta, Jindich, 'The Museum of
pictures make up section R (and S). The items include Cinematography in Prague', The Czechoslovak
some pre-cinema artifacts, a Kinetoscope and a loaned
Film 8, no. 10 (1955): 3-5.
Cin6matographe, and other early film apparatus includ-
ing an Aeroscope. There are substantial sections Article
on on this interesting cinema museum, one of the
sub-standard film devices. Exhibits include lengths first
of to be established. Includes photographs of the
museum's layout and exhibits in their cases. The mu-
film in different gauges, and in various wide-screen and
colour systems, including Kinemacolor and hand col- seum specialises, we are told, in models which recreate
oured frames, and notes on panchromatic motion pic- key moments in the history of film.
33 2 fIltlf.tl.III I . . _,. ....... Se phenil .AM.. B.ot
Film Daily 115, no.101 (27 May 1959): 1.

County Board of Supervisors votes for movie museum
in Hollywood.
Hollywood Reporter 155, no.27 (17 June

1959): 2.
Hollywood to be the location of the planned movie
museum.
Film Daily 116, no.73 (14 October 195

Article about the preparatory work on the new
museum.
'Plans for a Movie Museum in London', D

Cinema (30 March 1960): 1.
Herold, Ralph E., Report on the Establish

Fig. 3. Display 'All of a County of Los
Summer inAngeles Museum
a Dof M
of Gaumont
(Autumn Picture Arts
1955): and Sciences (Los
62. Angeles
a 1960).
Chronophone
Note on Paris exhibi
apparatus, as
cinema Re the proposal for such a museum. Report prepared
history.
illustrated in
for the Los Angeles County Board of Supervisors, July
Section L of the
1959.
Film Daily 108, no
Catalogue du
Musee (1949), An American film mu
Conservatoire
Hollywood Reporter 160, no.32 (15 June
National des Arts 1960): 3.
Cinematographie f
et Metiers, Paris, December of the
Organisation 1955):
new museum is announced. 1
p. 209. A museum devoted
France. Luft, Herbert G., 'Hollywood Has Come of Age',
Journal of the Screen Producers' Guild
Motion Picture Herald 204, no. 13 (29 (September 1960): 19-20.
September 1956): 25. Plans for the Hollywood Motion Picture and Television
Proposal for a movie museum in the USA. Museum.
Malkames, Don G., 'Early Projector Motion Picture Herald 224, no.9 (30 August
Mechanisms', Journal of the SMPTE 66 1961): 7.
(October 1957): 628-635. About the planned new museum.
Based on the author's private museum collection.
Film Daily 119, no.54 (19 September 1961): 7.
Muchmore, Westy, 'Recent Attempts to Preparatory work for the new museum.
Establish a Hollywood Cinema Museum, The
Cinema Collector: Journal of the Society of Luft, Herbert G., 'Hollywood's Museum', Films
Cinema Collectors and Historians (1958, No. 1). in Review 13, no.2 (February 1962): 65-70.
Afilm exhibition opened and closed on Hollywood Boule-As presently conceived, it will be more than a mere tourist
vard in 1953. The following year the Academy of Motionattraction. Planned to be near the Hollywood Bowl, it will
Picture Arts and Sciences announced plans for its 'Mo-be a $4 million 'Hollywood Motion Picture and Television
tion Picture Exposition and Hall of Fame', to be located Museum'. Article includes several artists' impressions.
at Sunset and Van Ness. While over half a million dollars
Knight, Arthur, 'Curator's Choice', Film
was collected for this purpose by August 1955, the
financial goal was not met and the funds were returned.Quarterly 15, no. 3 (Spring 1962): 35-39.
Arthur Knight, the curator of the planned Hollywood
Card, James, 'The Historical Motion-Picture Motion Picture and Television Museum, outlines his
Collections at George Eastman House', Journalprogramme for the new institution. Includes a photo-
of the SMPTE 68 (March 1959): 143-146. graph of a model of the museum.
FilmFil
museums:msu:
a bibliography a biligrph 333fflA- - ,l
333
Fig. 4. Sol
Lesser and Eric
Johnston pose
with a model of
their Hollywood
Museum. From
Film Quarterly
(Spring 1962), p.
35.
Mitchell, George J., 'The William S. Hart Francis, David, 'A New Film Museum ... And
Museum: Contains Mementoes of a Good Some Older Ones', Cinema Studies 2, no.5
(September 1967): 84-85.
Actor and a Great Period of Our Past', Films in
Review 13, no. 7 (August-September 1962): Re the new museum devoted to pre-cinema at the Palais
401-406. des Beaux Arts in Brussels, followed by (p. 85) some
briefer notes on the Turin and Paris museums.
Johnson, Albert, 'Prelude to a Palace', Sight &

Sound (Winter 1962-63): 14. Thomas, D.B., The Science Museum
Photography Collection (London,: Science
On the old site of Hollywood's Garden of Allah Hotel is
Museum/HMSO,
the Lytton Savings and Loan building with the Center of 1969).
Catalogue
the Visual Arts, devoted to the history of the movies. of the collection by its curator - includes a
number of cinematography items.
Mitchell, George, 'The Malkames Collection',
Films In Review 14, no.9 (November 1963):FilmKunst, no.53 (1969): 15-16.
529-540. Short article on the cinema museum of Austria.
Don Malkames' private museum of early cameras and

Greater Amusements 94, no.3 (March 1969):
projectors.
24.
Lesser, Sol, 'Hollywood Museum' Film Daily Notes on a private museum devoted to the horror film
in Wisconsin, USA.
Year Book (1964): 702-703.
Description of facility now under construction. Kerns, Robert V., 'The Malkames Collection',
American Cinematographer (May 1969):
Kuper, Theodore F., 'The Los Angeles County 470-471.
Hollywood Museum, Journal of the University
Description of the significant camera and projector col-
Film Producers Association 16, no.1 (1964):
lection of cinematographer Don Malkames.
7+.
Description of its goals, its staff, and its proposed

Barnes, John. Catalogue of the Collection. Part
audience.
Two: Optical Projection and Projection
Illuminants. A History of the Magic Lantern
Barnes, John. Catalogue of the Collection. Part
from the 17th to the 20th Century (St Ives:
One: Precursors of the cinema.
Barnes Museum of Cinematography, 1970).
Shadowgraphy, Dioramas, Panoramas and
Text catalogue of the Barnes Museum of Cinematogra-
Peepshows considered in their relation to the phy, Cornwall. Two volumes of a proposed five were
history of cinema, (St Ives: Barnes Museum ofpublished. (Part One was published in 1967)
Cinematography, 1967).
Boklund, H.-G., 'Filmmuseum i Kristianstad',
Text catalogue of the Barnes Museum of Cinematogra-
phy, Cornwall. Filmrutan 15, no.3 (1972): 98.
Report on the opening of Kristianstad Museum, men- 'Museum Recalls Hepworth Days', British
tioning some early Swedish films. Kinematography Sound and Television 55,
no. 7 (July 1973): 237.
Lothwall, Lars-Olof, 'Jungstedt Och
This one-paragraph article notes that Hepworth's studio
Kristianstad', Chaplin 14, no.4 (115) (1972): at Walton was demolished long ago. The site is occupied
125-126.
by a residential road, 'Hepworth Way', but the Walton
andthe
Report on the opening of Kristianstad Museum and Weybridge Council is establishing a museum 're-
earliest Swedish films. calling the great days of Hepworth', including pictures,
models of studios and shows of early Hepworth films.
Rivista del Cinematografo, no. 1 (January The museum opened on 2 July at the Weybridge Library,
Church Street, Weybridge, Surrey.
1972): 62-64.
A report on the activities of the cinema museum, Turin, Gulliver, Neil, 'Barnes Museum of
on its 30th anniversary.
Cinematography', British Journal of
Photography 121, no.48 (30 November
Tyler, Parker, 'The Movies As a Fine Art',
1973):1108-1111.
Partisan Review 24, no. 3 (Summer 1972):
422-427. Extensive review of the museum (and its subject) a
decade after it opened. Expects 20,000 visitors that year.
Robinson, David, 'The Dream Museum', Sight

L' Evolution de I'Appareil Cinematografique =
and Sound 41, no.3 (Autumn 1972): 180-181.
the Evolution of the Cinematographical
A description of the Mus6e du Cin6ma, Paris. Apparatus (Provincial Museum Deurne -
Antwerpen Afdeling Foto en Film, 1974).
Nogueira, Rui, 'The Seventh Heaven', Sight and
A film exhibition was opened in Antwerp in 1974 and this
Sound 41, no.3 (Autumn 1972): 182-185. excellent catalogue describes the optical toys, magic
An interview with Henri Langlois, who expresses his cameras and projectors which were shown.
lanterns,
passion for the cinema, from his childhood through to
the establishment of the Cin6matheque frangaise and
Hollywood Reporter 230, no. 7 (12 February
now the Mus6e du Cin6ma.
1974): 1, 13.
Describes the fight against developing the site on which
Rosenbaum, Jonathan, 'Paris Journal', Film
the Hollywood Museum is planned.
Comment 8, no. 4 (November/December
1972): 2, 6, 70-72. Film und Fernsehen, no.5 (1975): 8-13.
The author reports the opening of the Mus6e du About the film museum in Potsdam.
Cin6ma,
Paris, but is unenthusiastic about this new museum with
Demeure,
its exhibits of costumes from famous films etc, and much Jacques, 'Du C6te de Chez
of the rest of his essay is a critique of the Cinemathbque's
Lumiere', Positif, no. 194 (June 1977): 70.
film programming policy. Account of an exhibition in Paris of pre-cinema history
and the beginnings of cinema, by the Musee du Cin6ma
Beaumont-Craggs, Ray, 'Sand, sea and de Lyon.
cinema', Amateur Photographer, (23 May
1973): 88-89. Prolo, Maria Adriana, and Luigi Carluccio, l
Museo Nazionale
A description of the Barnes Museum of Cinematography, del Cinema, Torino (Turin:
Cassa di risparmio di Torino, 1978).
St. Ives, England. '[l]t is surprising that no national
museum of cinematography has been set up Illustrated
in this catalogue of the items in the impressive col-
country ...'. lection of this museum, re cinema and pre-cinema.
Published by a bank, the catalogue is lavishly and
'Cinema Museum', Films and Filming 19, no. 10
beautifully illustrated (and at one time was available free
(July 1973): 10. of charge). Pictures of lanterns and slides, panoramas
About the Barnes Museum of Cinematography,and optical toys, posters, film cameras and other movie
which
apparatus.
opened 27 May 1963. Notes that the museum receives
no grant or funding, and to emphasise the museum's
Preus, L., "Hvordan Behage Og Overraske Ved
significance, adds that nearly half the illustrations for
Ceram's book Archaeology of the Cinema came at from
Noe Roterer'!' Film & Kino 46, no.2 (April
this collection. 1978): 48-53.
Film 335
1~~.museums: a bibliography
.X¢....;<;
An introduction to various Includes

pre-cinema apparatus.
cabinet-by-cabinet It is
description, including five
not clear where the early casesapparatus collection
devoted to pre-cinema came
devices and the develop-
from. Notes that the city of ment of the motion has
Stavanger picture collected
camera (includingfilm
newsreel
cameras of theit
of local interest since 1913 (making 1920s
oneand 30s),
ofand an extensive
the world's display
first film archives.) of narrow-gauge film equipment.
Films in Review 29, no. 9Dunphy,

(November 1978):
Robert J., 'Notes: Laurel and Hardy
526-528. Museum', The New York Times 130 (2
November
Description of the layout and contents of the Musee du 1980): section 10, p. 9.
Cinema, Paris.
Hollywood Heritage Newsletter, (1980s
Flynn, Edward A., 'Astoria Revival' Screen Actor
passim).
XXI, 2 (Spring 1979): 20-23.
Newsletter of Hollywood Heritage Inc., a non-profit or-
Rehabilitated landmark studio also includes a historical
ganisation dedicated to the preservation of the historic
and archival program.
built environment in Hollywood, and education about
the role of the early film industry and its pioneers. H.H.Inc.
Filme Cultura, no.33 (May 1979): 65-73. runs the Hollywood Heritage Museum in the former
Article on the 'Museu nacional do Cinema', which con-Lasky-DeMille Barn (c1895), at 2100 N. Highland Ave,
tains documents, objects and equipment from the earlyopposite the Hollywood Bowl, which contains historic
days of Brazilian cinema. memorabilia, documents and photographs etc. Silent
films regularly screened there.
Perry, T., et. al., 'The Museum of Moder Art
Department of Film', Quarterly Review of Film Kuznetsova, L., 'La Cinematheque
Studies 4, no. 1 (Winter 1979): 103-106. Quebecoise/Musee du Cinema', Copie Zero,
Describes the history, collections, and services ofno. 11 (1981): between 48 and 49 [8p].
MOMA's film archive, stills archive, and study centre.
Beckerman, Howard, 'A Gallery and a Prize
Film frangais, no. 1800 (22 February 1980): 8. Night for Animators', Filmmakers
Article on the Mus6e du Cinema Henri Langlois, which
Monthly/Newsletter 14, no.5 (March 1981):
has just been inaugurated for the third time. Discusses
47-49.
new aspects of the scope of the Mus6e revealed by this
third 'opening'. Reports on 'The animator's gallery', a museum of ani-
mation art in New York, and the 1981 ASIFA-East Ani-
mation Festival.
Cinema frangais, no.34 (April 1980): 46-48.
About the Mus6e du Cinema Henri Langlois.
Pym, John, 'Moving Images', Sight & Sound
Turk, Edward Baron, 'Film Treasures of the 51, no.1 (Winter 1981-82): 7.
Palais de Chaillot', American Film 5 (June On the Museum of the Moving Image, planned for the
1980): 18-20, 54-56. South Bank in London, which is intended to show the
An evocative account of the Mus6e du Cinema of the history of all forms of the moving image.
Cinemathbque francaise (formerly referred to as the
'Musee du Cinema Henri Langlois'), which had recentlyHollywood Reporter 270, no.32 (17 February
opened, and also outlines the bitter conflict which lay 1982): 1, 30.
behind the establishing of the museum. Partially based The Astoria Motion Picture and Television Foundation is
on fresh interviews by the author with some of the main
planning to establish the first American museum dedi-
personnel, such as Lotte Eisner, director Hubert Astier,
cated to the art of the motion picture, to be sited in New
and archivists Marianne de Fleury (still there in 2005)York.
and Sybille de Luze. The museum is organised 'more or
less chronologically', with much on pre cinema and early
Rosenbaum, Jonathan, 'Renaissance du Studio
cinema. The article is well illustrated with colour photo-
graphs of the exhibits, including one of Valentino'sAstoria: Entretien avec Richard Koszarski,
costumes from The Sheik. Cahiers du Cinema #334-335 (April 1982): Le
Journaldes #23, pp. ii, iv.
Harker, Margaret, 'The New Kodak Museum', 'Nous pr6parons I'ouverture d'un mus6e dans un autre
British Journal of Photography, (26 September batiment en 1985, qui sera consacre a I'art cin6ma-
1980): 946-949; 959-960. tographique.'
336 Stephen Bottomore... il AM M.41 1.
Fig. 5. Planning
meeting at the
American
Museum of the
Moving Image,
13 November
1983. Clockwise
from centre:
Rochelle Slovin,
Robert Sklar,
John O'Connor,
Bob Rosen,
Richard
Koszarski, Janet
Staiger, Edmund
Leites (on sofa),
William K.
Everson, Donald
Kuspit, Leo
Braudy, Annette
Insdorf, Morris
Dickstein,
Raymond Bewegte Bilder
Vajsfel'd, ll'ja, 'Ot Vystavki - Bilde
- K Muzeju
Fielding, Charles zueinem Projekt
Kinoiskusstva', Iskusstvo Kino, no.im 10 (October Fo
Wolfe, Charles von 1983): 119-122.
Agfa-Gevaert. (Le
Bernstein.
Catalogue ofNotes
anon the exhibition 'Majakovskij in cinema and
exhibition
tography, 19 March
theatre', to
and the possibility of a museum 22
for Soviet
cinema art.
Shields, Ronald, 'Home
the BritishWeiner, T., 'The Astoria Museum, a Coming
Federation
Journal, Attraction: New 108
no. Institution Celebrates New
(Sept
The York's Film History', The
Buckingham Film Journal 87
Movie M
(January 1984): 7+ [2p].
Pellatt, Julian, The Nat
Hollywood Reporter
Photography, Film280, no.36 (15 February
and
1984): 1, 12.
Communication with th
An M.A. On the Academy's
thesis plans to establish a museumthe
from to depict U
and explain the processes of making motion pictures.
Roud, Richard, A Passio
Langlois Hollywood Reporter
and the 281, no.47 (11 May 1984):
Cine
(Secker & 6, 24.
Warburg, 19
Includes A film museum
the is to open in Hollywood as part of a $5m
chapter 'Th
p. 175-186. entertainment complex.
Eyepiece: Journal of the Guild of British Hollywood Reporter 282, no. 1 (17 May 1984).
Camera Technicians 4, no.4 (July/August Article on the various Hollywood museums devoted to
1983): 140-144. the film industry which are due to open before the 1984
Olympic Games in Los Angeles.
Article about the new National Museum of Photography,
Film & Television in Bradford, UK. Followed by
(p.143-144) an interview with Colin Ford, the Keeper of 'English Museum Established, Classic Images,
the NMPFT. no. 107 (May 1984): Center p. 2.
A brief descriptive article about the Buckingham Home
Sight and Sound 52, no.3 (Summer 1983): 150. Movie Museum.
Account of how the NMFPT came into being, the IMAX

projection system installed there, and the screening ofPaech, Joachim. 'Die Ankunft des Zuges', Film,
To Fly for the opening of the Museum. no. 6 (June 1984): 16-23.
Film museums:
LtFi
a bibliography
msu : a bibliography 3.- iil3 .l .. . 1 . -.
337
Interesting article about the ear

of the cinema, published to c
of the Deutsches Filmmuseum
have a permanent exhibition o
suggests a link between the
cinema and similar surprise
arrived, and he quotes autho
Victor Hugo on their frighte
speed train journeys. Includes
event at the new museum, sh
round a large zoetrope.
Guild, Hazel, 'First Film M

Germany', Variety 315 (6 J
Based on the collection of the
Frankfurt film historian. Frankfurt's communal cinema
has moved into the museum, along with the German
Institute for Cinematography. Includes model of
Edison's Black Maria studio, sound-and-light show
about the cinema, and a Wurlitzer to accompany silent
films.
Belkin, Lisa, 'At Revived Astoria Studios, the

Birth of a Museum', The New York Times 133 Collier, Caroline, 'MMI i Jo l
(16 July 1984): B2.
Collier, Caroline, 'MOMI', Eyepiece: Journal
Fig. 6.of
This
With information from Glenn Ralston, Astoria Motion the Guild of British Camera Technicians incarnation of the
Picture and Television Foundation, and Rochelle Slovin, Hollywood
executive director of the Foundation. Christmas Supplement 6, no.7 (December Museum
1985): 276-277. operated from
Herbert, Stephen, 'Movie Men' Movie Maker Plans for the museum, then in construction, are outlined.1984-86 at the
(December 1984): 59-60. corner of
Article about the Barnes Museum in St. Ives. Pulleine, Tim, 'MOMI', Sight & Sound 55, no. 1 Hollywood and
(Winter 1985-86): 2. Sycamore. From
American
Pulleine, Tim, 'In the Picture: MOMI', Sight & Reports on the start of building work on the Museum of
Cinematographer
Sound 55, no. 1 (1985): 2. the Moving Image (London), and what it aims to achieve.
(January 1986),
p. 41.
'Cine on show' Movie Maker 19, (January 'Ava Gardner Museum', Hollywood Studio
1985): 36-37. Magazine 19, no.8 (1986): 22-23.
Article on the Buckingham Movie Museum, run by John
Burgoyne-Johnson. (Buckingham, Great Britain). Film frangais, no.2071 (10 January 1986):
34-35.
Buntrock, S., 'Exhibit of Exhibition', American Article about the collections of the Cin6math6que
Film 10, no.6 (April 1985): 10. frangaise.
Reports on the plans for the American Museum of the
Maginot, Mike, 'Hollywood's Past on Display'
Moving Image (AMMI), scheduled to open in early 1987
in Queens, New York. American Cinematographer 67, no. 1 (January
1986): 40-41.
Hollywood Reporter 287, no.36 (3 July 1985): 3.Notes on and photos of the collection of the Hollywood
Museum in Los Angeles.
Notes on the financial problems of the Hollywood Mu-
seum (opened May 1984).
Herbert, Stephen, 'A Passion for Films', Making
Rother, Hans-J6rg, 'Smolenskaja 10', Film und Better Movies: the Film and Video Monthly
Fernsehen 13, no.7 (July 1985): 19-22. (January 1986): 30-31.
Concerning Langlois and the Mus6e du Cin6ma, based
Describes avisit to the Ejzenshtejn (Eisenstein) museum
in Moscow. on Richard Roud's biography and a visit to the museum.
Vielmuth, Ulrich, 'Ein groBes Haus fOr die Annfalt, A., 'Kristianstad - Platsen for Sveriges
Kinematographie, Film & TV Kameramann 35 Forsta Spelfilmer Och Ett Unikt Filmmuseum',
(September 1986): 866. Filmrutan 31, no.4 (1988): 7-10.
On the film museum in Kristianstad.
Burgoyne-Johnson, John, A Brief Guide to the
Museum with a History of Home Movies. Head, Anne, A True Love for Cinema: Jacques
(Buckingham: n.d., c. 1986). Ledoux, Curator of the Royal Film Archive and
9-page duplicated typewritten guide to the small private Film Museum of Belgium, 1948-1988 (The
museum of amateur cinematography and home cinema Hague, Netherlands: Universitaire Pers
(200 projectors, 100 cameras) which opened June 1982.
Rotterdam, 1988).
3-page cabinet-by-cabinet description of the equipment
on display. A tribute to Jacques Ledoux and the Mus6e du cinema
and Cin6matheque royale de Belgique in Brussels, Bel-
Sande, Monique Van de, 'Een Filmmuseum in gium. 'This book was commissioned by the Praemium
Erasmianum Foundation on the occasion of the award-
Groningen', Skrien, no.151 (Winter-87 1986):
ing of the Erasmus Prize 1988 for Film Culture to Jacques
62.
Ledoux.'
Notes on the Filmhistorisch Museum in Groningen, es-
tablished in 1986.
Joyeux, D., 'Storsatsning Pa Engelskt
Filmmuseum', Chaplin 30, no.4 (217) (1988):
'The Barnes Museum of Cinematography', MLS
194-195.
Newsletter, no. 16 (January 1987).
Notice of Closure. Report on London's new film museum: MOMI.
Williams, Francis, 'Home movie memories',

Forbes, Jill, 'Vaut le Detour', Sight & Sound 56,
no.2 (Spring 1987): 81-82. Making Better Movies: the Film and Video
Monthly 4, (February1988): 11-13.
Description of the two new television galleries at the
National Museum of Photography, Film & Television at
Bradford. Taylor, John Russell, 'Image Building, Sight &
Sound 57, no.2 (Spring 1988): 88-91.
Heron, L., 'Magic Carpet Treatment Demystifies A study of London's Museum of the Moving Image.
Technology', Listener 117, no.3007 (16 April
1987): 22-23. Tsivian, Yuri, '1 Museo del Cinema di Riga',
On the work of the National Museum of Photography, Griffithiana, no.32/33 (September 1988):
Film & Television (Bradford). 154-159.
'National Film Museum Will Open in Moscow', Dudar, Helen, 'How a Museum Grew in Astoria'
Variety 327 (1 July 1987): 66. NY Times 4 (September 1988): II, 25.
How public-private partnership developed both studio
Heijs, J.L., 'Van Eisensteinarchief Naar and museum.
Museum', Skrien, no. 155 (September-October
1987): 36-37. 'Museum of Moving Image Opens Following An
Impression of a visit to the Ejzenshtejn (Eisenstein)
All-Out Media Blitz', Variety (14 September
museum in Moscow, and its curator Naum Klejman. 1988)
Coverage of opening events, AMMI.

Mindel, Stanley, 'The National Museum of
Photography, Film and Television', PSA Journal
Corliss, Richard, 'Twin Shrines to the Silver
53, no. 10 (October 1987): 30-31, 37.
Screen', Time (26 September 1988): 96-97.
About the new Museum at Bradford.
Discussion of newly opened moving image museums
in New York and London.
MOMI (London: British Film Institute / Museum
of the Moving Image, 1988).
Koszarski, Richard, 'Masterpieces of Moving
First guide to the Museum of the Moving Image, London.
Image Technology', (New York: American
Published before the museum's displays were installed,
but contains many colour illustrations of proposed ex- Museum of the Moving Image, 1988).
hibit artifacts. Catalog for AMMI's inaugural installation of 58 landmark
I... ..... :. B;, .- ....
Lichttraume und Schattenbilder.

cameras, Eine
projec
recorders
Ausstellung aus dem Filminstitut andder p
Landeshauptstadt Dusseldorf im Museum fur
Woolley, Benja
Geschichte der Stadt Leipzig (Dusseldorf:
120, no.3082 (
Dusseldorf Film Museum, 1989).
On the opportun
just Catalogue of an exhibition
see them on the precursors of cinema- -
(London). tography. One of several exhibition catalogues publish-
ed by the Dusseldorf Film Museum.
Joyeux, D., 'Un MOMI Pour le 7e Art', Cahiers
du Cinema, no.412 (October 1988): X-XI. Benton, Margaret, 'The National Museum of
On the creation and the objectives of the Museum of the Photography, Film and Television, Bradford',
Moving Image (London). Image Technology 71, no.1 (1989): 24-26.
Article by the NMPFT's then Deputy Keeper, about the
Meyer, Mark-Paul, 'Een Filmmuseum Tot Lering
Museum's early history.
en Vermaak', Skrien, no.162 (October 1988):
44-45.
Fell, Penny, and Colin Ford. The Book
Notes on the new Museum of the Moving Image (Lon-
(Bradford: National Museum of Photography,
don).
Film and Television, 1989).
'La Cinematheque et son Double: le Musee de Guide book to the Museum in Bradford, West Yorkshire.
I'image en Mouvement', Copie Zero, no.38
(December 1988): 29. Prolo, Maria Adriana, 'Cinema: storia e museo',
Details of the 'Mus6e de I'image en mouvement' exhibit Piemonte Vivo (Banca CRT), No. 1 (1989):
at the Cin6math6que quebecoise. 6-13.
An account of the Museo Nazionale del Cinema, Turin,

Gosser, H. Mark, 'The Armat-Jenkins Dispute
Italy, by the founder.
and the Museums', Film History 2, no. 1 (Winter
1988): 1-12.
Timm, M., 'Nostalgi, Skratt Och Brittisk Ironi',
Inventors C. Francis Jenkins and Thomas Armat worked
Chaplin 31, no.2 (221) (1989): 84-86.
together in designing and constructing a projecting
kinetoscope that they exploited commercially at theReport on Britain's new film museum, the Museum of
Cotton States Exposition in Atlanta, Georgia, duringthe Moving Image, London.
September-October 1895. The dispute between them
regarding credit for this invention was soon embroiledVosburgh, Beryl, 'The Kodak Museum at
in the ongoing rivalry between the nation's foremost
NMPFT, Bradford', Photographic Journal 129
science and technology museums, the Franklin Institute
(1989): 414.
and the Smithsonian Institution. This institutional rivalry
The collection (which includes some cinema-related
has long played a major role in the shifting reputations
of Armat and Jenkins among cinema historians. items) at the National Museum of Photography, Film &
Television.
Reynaud, Berenice, 'L'ami du Cinema', Cahiers
du Cinema, no.414 (December 1988): 28-32. Moore, F., 'The Television Nation Gets New
On three events in NewYork: the opening of theAmerican Monument in Borough of Queens', Channels of
Museum of the Moving Image, the re-opening of theCommunications 9, no.3 (February 1989): 18.
Anthology Film Archives, and the planning of cinemas
for Chinatown. Details of the collection of TV technological hardware
and memorabilia at the American Museum of the Moving
Rondou, P., 'MOMI', Film en Televisie, no.379 Image.
(December 1988): 30.
Brief description of London's Museum of the Moving
Harker, Margaret, 'Photography for All', British
Image. Journal of Photography (23 March 1989):
13-15.
'A MOMI for the Family', Sight & Sound 58, The history of the Kodak Museum, and news of its
no.1 (Winter 1988-89): 42. redisplay at the NMPFT. The collection includes motion
Review of the Museum's exhibits. picture items.
Rondou, P., 'American Museum of the Moving includes 'video, film and sound effects'. Displays de-
Image', Film en Televisie, no.383 (April 1989): signed by Walt Disney Imagineering.
42.
Report on New York's new film museum, AMMI. Ferreux, Huguette Marquand Musee du
Cinema Henri Langlois (Paris: Maeght, 1991).
Watson, David, and Denise Corrigan, 'MOMI's Catalogue of the Musee du cinema (Paris, France).
Little Helpers', Filmnews 19, no.4 (May 1989): Contents are: vol. 1. Des origines aux annees vingt
8,10. (describes salles 1-15 in the museum: roughly pre-cin-
Two Australians involved in the establishment of Lon- ema to 1920); vol. 2. De I'expressionnisme allemandaux
don's Museum of the Moving Image (D.W. and D.C.)annees cinquante (salles 16 to 19: 1920s through be-
reflect on its development and provide a detailed studyginnings of nouvelle vague etc); vol. 3. Catalogue
of the moving images, mise-en-scene and participatoryraisonn6 etc. (a detailed catalogue of the objects on
exhibits which have made it Britain's most celebrated display, plus indexes and a bibliography). A number of
attraction. the photographs scattered through these volumes, and
in a special section at the end of volume 2, give a good
Clement, James, 'Bradford Calling', British sense of how these many objects were laid out in the
Journal of Photography, no.6723 (22 June original Langlois museum, with the heavy curtains and
magical atmosphere - now no more.
1989): 22-24.
About the National Museum of Photography Film &
Television, and its curator Colin Ford. Corrigan, Denise, 'Dusting Off Some Old
Machines of the Silver Screen' Filmnews 21,
Cox, David, 'In England, Even Cinema Is no.2 (March 1991): 13.
Theatre', Filmnews 19, no.6 (July 1989): 2. Cinematographer D.C. reports on the Hans Wetzel col-
Report on selected exhibitions and participatory exhibits
lection of moving image artifacts from 1800-1970, cur-
at London's Museum of the Moving Image, and a visit rently held in storage for the planned National Museum
to the British Film Institute. of Australia.
Beeson, Paul, 'Buckingham Movie Museum', John, H., 'Zehn Jahre Potsdamer Filmmuseum',
Eyepiece: Journal of the Guild of British Film und Fernsehen 19, no.8-9
Camera Technicians (July /August 1989): 208.(August-September 1991): 66-67.
Includes notice of closure.
On the occasion of its ten years' existence, past exhibi-
Cherchi Usai, Paolo, 'Archeologia di Pac-Man', tions and work by the film museum in Potsdam is
reviewed and appreciated.
Segnocinema 9, no.39 (September 1989): 99.
Notes on the American Museum of the Moving Image,
situated in New York.
Platt, Richard, Cinema (Eyewitness Guide)
(London: Dorling Kindersley, 1992).
'An Indian Trail: Paris - Bombay - Momi', Produced in association with MOMI, London. Includes
Eyepiece: Journal of the Guild of British numerous colour illustrations from the Museum's dis-
Camera Technicians (November 1989): 13-15. plays. Published in several languages. Title in USA: Film.
The story of the Sarosh Collection of early motion picture
cameras, displayed at MOMI London, based on an MacKintosh, Helen (Produced by), MOMI
interview with Feroze Sarosh. Souvenir Guide (British Film Institute / Museum
of the Moving Image, 1992).
Bengtsson, Yngve, 'De Rorliga Bildernas
Colour illustrated guidebook, with photographs of actual
Museum', Filmrutan 33, no.3 (1990): 27-28.
exhibit areas, and plan. This was the second and final
Report on the exhibits at the Museum of the Moving MOMI guide.
Image (London).
Donath, Jackie R., 'The Gene Autry Western Nekes, Werner (ed.), Von der Camera Obscura
Heritage Museum: the Problem of an Authentic zum Film. (Exhibition, 11.4. to 11.10.1992 im
Broicher Wasserturm und im
Western Mystique', American Quarterly 43,
no. 1 (1991): 82-102. Ringlockschuppen in Mulheim an der Ruhr).
Los Angeles museum with art galleries, sets, artifacts. An exhibition on the technical inventions before cinema-
'One of the major caretakers of the Western Mystique', tography, with objects from Nekes' private collection.
Film
_I
museums:
_
a bibliography.t
tFilmTllf . . mu se2C.# ums:......L Ci .abiblior...a4.1 --
341
Lenk, Sabine, 'Die Autochrome-

Fig. 7. MoMI u
actor John Witts
Filmsammlung des Albert Kahn',
on the cover of
(1992): 120-122.
Midweek (27
Short presentation of the Albert Kahn
February 1992).
opening of the new museum in Bou
this collection.
Prolo, Maria Adriana, Henri Langlois, and

Sergio Toffetti. Le Dragon et I'alouette:
Correspondance, 1948-1979 [Una Passione
Per il Cinema] (Torino: Museo nazionale del
cinema, 1992).
The parallel lives and correspondence of Henri Langlois
and Maria Adriana Prolo. Reviewed in Griffithiana 44/5,
p. 244 by Paolo Cherchi-Usai.
Hendrykowska, Malgorzata, 'Muzeum

Ruchomych Obrazow', lluzjon, no. 1 (45)
(January-March 1992): 35-38.
Report on a visit to the Museum of the Moving Image
(London).
Gauthier, Alain, 'Sous le Ciel Gris de Londres,

Brille le MOMI', Revue de la Cinematheque,
no. 15 (February-April 1992): 7.
Report on the museum's contents.
Gainsborough, John, 'Cinerama City', Moving
Duffy, Andrew, 'Scratch an Actor?' Midweek; Pictures (10 June 1993).
(London: Employment Publications 27 February Article about NMPFT's Cinerama installation.
1992): Cover and 2 pages (no pagination).
A review of the work of the actors at MOMI (London). 'The Biggest Story Ever Told', New Scientist (12
June 1993).
Coleman, N., 'Pap Happy', Time Out, no.1144
Article about NMPFT's Cinerama installation.
(22 July 1992): 85.
Report on the 'Irn-Bru Pop Video Exhibition' held at the
Museum of the Moving Image. Varley, Rod, 'Cinerama opens at Bradford',
Cinema Technology, (July 1993):192-196.
'Le Musee Aujourd'hui', Cinema 72, no.492 Article by the NMPFT's Head of Film Development de-
(August 1992): 5. scribing the Cinerama installation in the Museum's Pic-
Brief guide to the content of the film museum at the tureville Cinema.
Cin6math6que frangaise.
Cherchi Usai, Paolo, 'La Cineteca di Babele',
Glaessner, Verina, 'Everything for Sale', Sight & Segnocinema, no. 62 (July-August 1993): 76.
Sound 2, no.7 (November 1992): 5.
Describes some of the activities of London's Cinema
On the sale of many of the Moscow Film Museum's
Museum, which is based on the collections of Ronald
treasures because of the break-up of the Film-Makers' Grant.
Union.
Blom, Ivo, 'La Collection Desmet, Nederlands Bettecken, Wilhelm, 'Filmmuseum rettete
Filmmuseum', Cinematheque, no.3 barocken Marstall', Film-dienst 46, no. 16 (3
(Spring-Summer 1993): 96-99. August 1993): 37.
Introduction to the collection held by the Nederlands On the re-opening of the reconstructed and restored
Filmmuseum named after Belgian distributor Jean Des- film museum which is to document the history of the film
met. studio in Potsdam-Babelsberg.
Nagel, Josef, 'Das Gedachtnis unseres Haller, Robert A., 'A Century of Cinema: an
Jahrhunderts', Film-dienst 46, no. 19 (14 Exhibition at the Museum of Modern Art, New
September 1993): 40-41. York', Journal of Film Preservation 23, no.48
On the inauguration of the new film museum in Dussel- (April 1994): 55-56.
dorf.
Report on the exhibition, focusing on samples of corre-
spondence from D.W. Griffith.
Monty, Ib, 'A New Film Museum in Dusseldorf',
Journal of Film Preservation 22, no.47 Mannoni, Laurent, "Whither Wilt Thou Lead
(October 1993): 52-53. Me?': en Suivant L'ombre de Will Day',
Introduction to the new institution. Cinematheque, no. 6 (Autumn 1994): 166-177.
Notes on the Will Day collection of film equipment at the
Case, Brian, 'Ronald Grant Cineaste Cin6matheque frangaise plus some biographical infor-
Extraordinaire', Time Out, no. 1214 (24 mation on the British collector himself.
November 1993): 9.
R.G. provides a tour of his collection of film equipment Case, Dominic, 'Movie Making Museum,
and memorabilia in South London's Cinema Museum. Cinema Papers, no. 102 (December 1994): 65.
Description of the Movie Making Museum operated by
Stiftung Deutsche Kinemathek, Deutsche Paul Bushby in Sydney.
Kinemathek: Das Filmmuseum (Berlin: 1994).
Myrent, Glenn, and Georges P. Langlois, Henri
Illustrated guide to the collections of 'Das Filmmuseum
Langlois, First Citizen of Cinema (Twayne,
in Der Mitte Berlins', featuring posters, scenic materials,
special collections, etc. 1995). (Originally published in French, 1986.)
Includes the chapter 'Henri Langlois' Museum of Cin-
Cinematheque Royale/Koninklijk Filmarchief,
ema', p. 285-297.
Catalogue de I'exposition Permanente du
Musee du Cinema (Bruxelles: 1994). Lefebvre, Thierry. Guide du Musee du Cinema
Catalogue published in the two national languagesHenri
of Langlois (Paris: Maeght Editeur, 1995).
Belgium. Cabinet by cabinet, the museum illustratesAthe
well-illustrated guide to the museum.
first attempts at creating moving images, from early
pre-cinema to the Lumi6res' Cin6matographe. Shadow Mannoni, Laurent, Trois Siecles de Cinema:
theatre; camera obscura; optical toys; photography;
de la Lanterne Magique au Cinematographe:
stereoscopy; chronophotography; and Edison's Kine-
toscope. Collections de la Cinematheque Frangaise
(Paris: Editions de la Reunion des musees
Harkness, John, 'The Museum of the Movingnationaux/Fondation Electricit6 de
France/Cinematheque frangaise, 1995).
Image in London', Museum International (184)
46 no.4, (1994): 21-25. Published as the cinema celebrated its centenary, the
Decribes the layout of the museum and notes theprovocative
ac- title indicates the author's suggestion that
projected and moving images of earlier periods are very
claim which has greeted it from public and press alike.
relevant to our understanding of later screen techniques.
Illustrated with items from the collection of the
Laberge, Yves, 'A Hundred Years of Cinema',
Museum International (184) 46 no. 4, (1994):Cin6math6que Frangaise.
5-7.
Pesenti Campagnoni, Donata, 'La Restauration
Introduction to a special issue focusing on film museums
des Collections de Pre-Cinema du Museo
and archives around the world, and why these are so
Nazionale del Cinema de Torino', Journal of
crucial in preserving film history, as the cinema cele-
brates its centenary. Film Preservation, no.50 (March 1995): 83-88.
Paini, Dominique, 'The 'House of Collective Veronneau, Pierre, 'Aspects Temporels D'Une
Dreams", Museum International (184) 46 no. 4,Museologie du Cin6ma', Canadian Journal of
(1994): 11-13. Film Studies 4, no. 1 (Spring 1995): 67-78.
Article re film museums in North America and Europe
Prior to the [proposed] opening of the film museum at
the Palais de Tokyo, considers why such an estab-and on museology; the author discusses the dimension
lishment, bringing together several French cinema col-
of time in the context of the making, viewing and exhi-
lections, has not existed previously in France. bition of films. Also he considers certain problems in-
volved in the presentation of cinema history in film

O'Brien, Margaret, with Barry Ecuyer and Allen
museums.
Eyles, Picturegoer: 100 years of cinema-going
at the Museum of the Moving Image. (London:
Bottomore, Stephen, "The Collection of
Museum of the Moving Image, 1996).
Rubbish'. Animatographs, Archives An
and
illustrated handbook for teachers, based on the
Arguments: London, 1896-97', Film museum's
History displays.
7,
no.3 (Autumn 1995): 291-297.
Pesenti Campagnoni, Donata, Paolo Bertetto,
On the attempts by Robert Paul to deposit
and his films
Leonor in
Carvalhosa, eds. A Magia Da
the British Museum for posterity, and the reasons for the
Imagem : A Arquelogia do Cinema Atraves das
failure of his plan, which were partly due to a confusion
Colecgoes do Museu do Cinema de Turim.
about how to categorise 'film' and partly to a disdain
about the new medium among the Museum's (Lisbon: Fundagao
staff. This das Descobertas, Centro
Cultural dethough
may be the world's first effort at film archiving, Belem, 1996).
the Museum actually accepted only one Splendidly
film. designed and lavishly illustrated exhibition
catalogue of the important pre-cinema collections in
Pelletier, Esther, 'Convergences et Turin, including recent acquisitions from the Barnes
Collection, covering magic lanterns, peep shows,
Divergences Structurelles Entre le Processus
shadow plays, chronophotography and early cinema.
de Production et de Realisation D'un Film et
With essays by Pesenti Campagnoni, Guy Fihman, Al-
Celui D'une Exposition Museale', Cinemas 6, berto Milano, David Francis, David Robinson, Laurent
no. 1 (Fall 1995): 151-168. Mannoni, John Barnes and Roberta Basano.
Notes the increasing interest by museums in the cinema

Crangle, Richard, 'What Does a University Want
and its processes of production.
with This Stuff?!', Viewfinder: the magazine of
the British Universities Film & Video Council,
Bottomore, Stephen, 'Quel Dommage! La 26 (February 1996): Cover, 8-9.
Vente de la Collection Will Day, 1929-1959',
Assistant Director of the Bill Douglas Centre for the
Cinematheque, no. 8 (Autumn 1995): 106-111.
History of Cinema and Popular Culture discusses the
The vicissitudes faced by Day and his sons in tryingpurposes
to of the Bill Douglas and Peter Jewell Collection
at the University of Exeter, Devon. 'A condition of [the
sell their cinema historical collection, starting in the
collection's] donation is that it should be on public
1920s and up to the 1950s, when it was eventually
purchased by the Cin6math6que francaise. display free of charge'. A 'permanent' museum display,
curated by Richard Crangle and Stephen Herbert, was
opened in 1997.
Piasio, William, 'II 'Cinecollection' a Bienne',
Immagine, no.n.s. 31 (Estate 1995): 26-29. Lang, Mark, 'Premiere showing of a premiere
collection', [Exeter] Express & Echo, (18 April
About the collection assembled by William Piasio in part
of the Museo Neuhaus at Bienne in Berne canton, 1996):13
Switzerland. Includes approximately 1500 items, some Centre Director Duncan Petrie: 'No-one who has seen
very rare: lanterns, thaumatropes, and Ernemann, Am- collection has failed to be fascinated by it and this
the
brosio, Pathe and Williamson cameras. Also includes provides an ideal basis for a museum on the history of
an original Lumiere Cin6matographe (no.20). There is acinema'.
camera obscura in the museum grounds outside.
Comer, Brooke, 'Going Behind the Scenes,
Mannoni, Laurent, Le Mouvement Continue: and the Screens, of Moving Image History',
Catalogue Illustre de la Collection des American Cinematographer 77, no.5 (May
Appareils de la Cinematheque Frangaise 1996): 107-108.
Report on 'Behind the screen', an exhibition mounted
[Librairie Premier Siecle Du Cinema]
by New York's AMMI.
(Milan/Paris: Gabriele Mazzotta : Cinematheque
frangaise-Musee du Cinema, 1996). Everschor, Franz, 'Warner-Museum',
Comprehensive and authoritative catalogue, with all Film-dienst 49, no. 15 (July 1996): 41.
items described and illustrated. 'Appareils' includes Brief note on the opening of a Warner Bros. museum in
pre-cinema 'software' (phenakistiscope discs, etc) as Hollywood dealing with the studio's film history and
well as hardware. equipped with authentic exhibits.
344
Stephen Bottomore
Kothenschulte, Daniel, 'Murnau-Ausstellung', Aubert, Michelle, Laurent Mannoni, and David

Film-dienst 40, no. 16 (30 July 1996): 42. Robinson, ed. 'The Will Day Historical
The Dusseldorf Filmmuseum held an exhibition on the Collection of Cinematograph and Moving
stylistic development of the German director, Friedrich Picture Equipment', Issue of 1895, no. hors
Wilhelm Murnau.
serie (October 1997).
A major issue of the journal of the French film historical
Fisher, Jeremy, 'Visit to Turin, The Mole', The
association about the Will Day collection.
Magic Lantern Society Newsletter, no. 46
(September 1996): 1-3. Bottomore, Stephen, 'De la Bicyclette au
Visit to the old cinema museum, and a tour of the emptyCinema - Une Biographie de Will Day [from
'Mole Antonelliana' building which was about to become Cycling to Cinematography - a Life of Will
the new Museo Nazionale del Cinema.
Day]', 1895, no. hors-serie (October 1997):
7-30.
Grenon, Charley, 'Rene Charles et Son Musee
The story of the life of Day, the first historian/collector of
du Cinema Forain, L'oeuvre de Toute une Vie',
the cinema, whose collection now resides at the
Aguiaine 28, no. 3 (1996): 3-15. Cin6matheque francaise.
Based in Chaudurie, Charente, the museum is con-
cerned with the traveling exhibitors of the 1940s, and The Barnes Collection at Hove Museum & Art
holds early film prints which were rediscovered by the Gallery (Arrival in Hove version). Hove Museum
proprietors.
and Art Gallery in association with South East
'The Museum of Iranian Cinema', Film Film & Video Archive (11 November 1997).
Distributed listing of the film equipment and associated
International 5, no. 1 (1997): 34-35.
material relating to the Brighton/Hove area's early film-
On the museum and its collections.
makers, previously in the Barnes Collection, transferred
to Hove Museum (Sussex, UK) in 1997.
Pesenti Campagnoni, Donata, and Paolo
Bertetto, La Magia Dell'immagine: Macchine e Dalichow, Barbel, 'Leben uns,ere Leichen
Spettacoli Prima Dei Lumiere Nelle Collezioni noch?' Film und Fernsehen 26, no. 1 (1998):
del Museo Nazionale del Cinema (Milano: 48-53.
Electa, 1997). The director of the Filmmuseum, Potsdam, discusses
the work of the museum.
Pesenti Campagnoni, Donata, and Carla
Ceresa, eds, Nero Su Bianco: i Fondi Harvey, Michael, 'The Cinematography
Archivistici del Museo Nazionale del Cinema. Collection of the National Museum of
(Torino: Museo Nazionale del Cinema-Regione
Photography, Film & Television', in Celebrating
Piemonte-Lindau, 1997). 1895: the Centenary of Cinema, edited by John
Fullerton (Sydney: John Libbey, 1998): 3-12.
Bettecken, Wilhelm, 'Filmmuseum bald Paper by the NMPFT's Curator of Cinematography de-
eingemottet?' Film-dienst 50, no. 1 (7 Januaryscribing the Cinematography collection and its history.
1997): 42.
Popple, Simon, 'Cinema Wasn't Invented, It
On the decision at that time to close the Dusseldorf film
museum. Growed': Technological Film Historiography
before 1913', in Celebrating 1895: the
Block, M., 'Ein Verlust fOr die Filmkultur',
Centenary of Cinema, edited by John Fullerton
Film-dienst 50, no. 14 (8 July 1997): (Sydney:
12. John Libbey, 1998): 19-26.
Criticizes local government policies in Dusseldorf
Discusses the re-
Science Museum (London) acquiring
Robert
garding film culture and the work of the film Paul's apparatus collection.
museum.
'Erudition and Fun', Extra: the University Hill, Paul,

of and Stephen Herbert, 'Eadweard
Exeter's Quarterly Newsletter, (Autumn 1997):
Muybridge and the Kingston Museum bequest',
3. Film History 10, no. 1 (1998): 98-107
Peter Jewell: 'Bill [Douglas] was particularly pleased A preliminary overview of the important Muybridge col-
when items were displayable. Which is why I was insistent lection, including moving image discs, following the
that we should have a museum at Exeter.' return of material that had been in store for 50 years.
Film museums:
F~~ilm
a bibliography ~ museums:a ibllgil .35 . ... -.
345
Fig. 8.
Informational
brochure issued
by the
Filmmuseum
Potsdam in 1999.
Selected items now displayed in Muybridge Gallery, and discussion of the future role of Sydney's
Kingston Museum. Cinematheque.
Humphries, Martin, 'From a Crumbling Ruin to Dalichow, Barbel, 'Ja Vozlagaju Nadezhdy Na
the Workhouse: How the Cinema Museum Novye Talanty' Iskusstvo Kino, no.9
Came to Be Established', KINtop, no.7 (1998):(September 1998): 103-105.
177-182. The director of the Potsdam filmmuseum talks about
newtrends in museum activities and about aforthcoming
Quinn, Karl, 'How Do You Hang a Moving exhibition devoted to Leni Riefenstahl.
Picture?' Cinemedia, no. 1 (January 1998):

14-16. Schuller, Edgar A., 'Historical Equipment
Collections: A Report of the SMPTE Archival
Interview in which Rochelle Slovin talks about founding
the American Museum of the Moving Image, and howPapers and Historical Committee' SMPTE
she sees such museums developing in the future. Journal 107 (December 1998): 1110-1132.
Information on 40 worldwide collections of historical
Martin, Andrew, 'Dracula's fangs are heritage: motion picture / television technology artifacts.
official', Daily Telegraph [London] (24 March
1998). Hiller, John, 'Eugene Augustin Lauste:
Article about the NMPFT's acquisition of the archive of Apparatus in the Smithsonian Institution,
Hammer Films' special effects make-up artists, Phil National Museum of American History,
Leakey and Roy Ashton, with support from the Heritage Photographic History Collection', Film History
Lottery Fund.
11, no.1 (1999): 39-44.
Lists and describes equipment designed and built dur-
Carre, Patrice, 'Un Musee du Cinema en
ing 1900-14 by motion picture and sound-on-film pio-
Charente', Film frangais, no.2713 (3 April neer and inventor Eugene Augustin Lauste, and now
1998): 12. displayed in the Smithsonian Institution's National Mu-
seum of American History in Washington, D.C.
Multimedia Information and Technology 24,
no.3 (August 1998): 189-193. Hiller, John, 'Film History for the Public: the
A review of the present state of archives and collections First National Movie Machine Collection', Film
at the BFI and NFTVA.
History 11, no.3 (1999): 371-386.
In 1870 Thomas W. Smillie, the Smithsonian's first pro-
Smith, Barrie, 'MOMI No More' Cinema
fessional photographer, began collecting cameras. The
Papers, no.126 (August 1998): 52, 54. institution's Section on Photography was established in
1898. By the late 1990's the collection included 922
Examination of the 'changing role' of MOMI in London
catalogued objects, among them an 1895 Eidoloscope Bjorkin, Mats, 'Vem Vill Ha Ett Filmmuseum?:
projector, an 1897 Mutagraph camera, and a 1916 Tre Fr&gor Till en Museichef, Om Vi Hade
Technicolor camera. This article reports on the catalogu-
Ndgon', Filmhaftet 28, no. 110 (2000): 62-63.
ing of the Smithsonian Institution's motion picture ap-
paratus collection, especially the early film equipment. Comments on the plans to create a film museum in
Stockholm.
The catalog will be included in a planned National
Database of Moving Image Apparatus.
Jacobsen, Wolfgang, Hans Helmut Prinzler and
Photography, Film & Television: Think Again Werner Sudendorf, Filmmuseum Berlin (Berlin:
(London: Science Museum, 1999). Nicolai, 2000).
Guide book containing articles related to the NMPFT's 'This catalogue supplements the permanent exhibition
galleries and collection, including contributions on ani- on German and international film history in the Film-
mation and film awards. museum Berlin', (book jacket text). Includes articles on
German cinema. (Note: there is also a smaller publica-
Sweeney, Tony, 'A Museum for the Digital Age', tion, a guide to the permanent exhibition).
Heritage Development 1, no. 99 (1999): 18-23.
Mannoni, Laurent, 'Description Typologique du
Article by the NMPFT's Deputy Head of Museum about
the National Museum of Photography, Film & Television. Fonds des Appareils Collect6s par Day et
Langlois', CinemAction, no.4 (2000): 85-88.
Bottomore, Stephen, 'Will Day: the Story of [a] Brief guide to the collections of the Cin6matheque
Rediscovery' Film Studies, no. 1 (Spring 1999): frangaise.
81-91.
Guide to the National Museum of Cinema
Traces the career of the first film collector, Will Day, from
early film showman, through equipment dealer and (Turin: The Museum, 2000).
producer. His simultaneous career as historian and A brief, well-illustrated history of cinema, using the fa-
collector is what he is now remembered for, and his huge
mous Turin cinema museum's own objects and some
collection of films, documents and equipment resides other items as illustration.
in the Cinemathbque frangaise.
Hiller, John, 'The Movie-Machine Collection -
Lochen, Kalle, ' Hver Lille Krok', Film & Kino, National Museum of American History', History
no.2 (April-May 1999): 2-3. of Photography 24, no. 1 (Spring 2000): 61-63.
On Norway's newly opened film museum.
Hughes, Patrick, 'New Media in the New
Heard, Mo, The Death of MOMI', The Magic Museums: Much Technology, Little History',
Lantern Society Newsletter, no.58 (September Media International Australia, no.95 (May
1999): 3. 2000): 183-190.
The author, who set up the MOMI actors' company,
laments the closure and (accurately) predicts that the Pattison, Barrie, 'Europe on [Sic] 25 Frames a
new 'bigger better' museum, promised in 1999, would Second', Cinema Papers, no. 132 (May 2000):
not in fact materialise.
36-38.
On museums and theme parks in Europe which cele-

Horling, Elsa, 'Bedre Enn Sitt Rykte, Filmrutan
brate film.
42, no.3 (Autumn 1999): 3-8.
A visit to the Norwegian Film Institute and Filmens Hus, Nicolas, Marc, 'Des Archives du Film a la
which houses, among other things, a film museum. The
Maison du Cinema', CinemAction, no.97
article also contains a brief historical survey of Norwe-
gian film.
(October 2000): 269-273.
Describes the mission of the Maison du cin6ma in Paris.
Wesemann, Eva, Film Museum Berlin: the
exhibition (Berlin: Filmmuseum Berlin, 2000). Worschech, Rudolf, 'Das ratselhafte Lacheln
einer Diva: Das Filmmuseum Berlin', EPD Film
'The Youngest Art in the Oldest House of the 17, no. 11 (November 2000): 13-15.
City', Kino, no. 71 (2000): 34-35. On the contents and design of the exhibits in the Berlin
On the work of the film museum, Potsdam. film museum.
Cammarata, Concetta, '11 Museo Nazionale del Myrent, Glenn, 'Le Nouveau Musee National du
Cinema Alla Mole Antonelliana : i Livelli Cinema a Turin', Cinematheque, no. 19 (Spring
Interpretativi di Un Percorso. Corso di laurea in 2001): 138-151.
discipline artistiche, musicali e dello Mario Ricciardi (president of the National Cinema Mu-
spettacolo' (Universita degli studi, 2001). seum in Turin) and designer Francois Confino discuss
About the Turin museum's collections. the new building of the Museo di Torino. French and
English version of the text.
Pesenti Campagnoni, Donata, Veduto del
Trope, Alison, 'Le Cinema Pour le Cinema:
'Mondo Novo': Vues D'optique Settecentesche
Nella Collezione del Museo Nazionale del Making a Museum of the Moving Image', The
Moving Image 1, no. 1 (Spring 2001): 29-67.
Cinema di Torino (Torino: U. Allemandi per il
History of the collection and display of film artifacts in
Museo nazionale del cinema, 2001). cinema museums and how these museums have
Reproduces 'vues d'optique' and other images broadly
changed over time.
classed as 'pre-cinema'.
Baer, Volker, 'Quer durch Zeit und Welt: 20
llgner, Christian, Dietmar Linke, and
Jahre Filmmuseum Potsdam, Film-dienst 54,
Filmmuseum Potsdam. Unsichtbare Schatze
no. 10 (May 2001): 18-19.
der Kinotechnik: Kinematographische
Celebrates the Filmmuseum Potsdam, which was
Apparate aus 100 Jahren im Depot des
founded 20 years ago.
Filmmuseums Potsdam = [100 Years of
Cinematographic Equipment: A Look at the Nagel, Josef, 'Zwei linke FiBe Und das Herz
Technology Collection of the Potsdam Film am rechten Fleck', Film-dienst 54, no. 17
Museum (Berlin: Parthas Verlag, 2001). (August 2001): 44-45.
A catalogue of the Filmmuseum, Potsdam. German and Describes the work and the collection of the Chaplin
English in parallel. Museum in Frankfurt-Eschersheim and introduces the
founder, Wilhelm Staudinger.
Robinson, David, Richard Crangle, Stephen
Herbert (eds.), The Encyclopaedia of the Costa, Antonio, 'Cinema e Arti Visive: Lo Spazio
Magic Lantern (Ripon: Magic Lantern Society, del Museo', Bianco e Nero 62, no.5
2001). (September-October 2001): 4-17.
Relevant articles include: 'Day, Wilfred Ernest Lytton'; On cinema and museums. Includes remarks about H.
'Barnes, John and William'; 'Museum of the Moving Langlois at the Cinemathbque Francaise, and about an
Image (MOMI)'; 'Minici Zotti, Laura'; 'Magic Lantern exhibition on Hitchcock and the visual arts.
Castle Museum'; 'Judson, Jack'; 'Cinematheque fran-
caise'. Pons, Jordi, El cinema, historia d'una fascinaci
(Girona: Museu del Cinema, 2002).
Worschech, Rudolf, 'Film Archives and Film
Finely illustrated history and catalogue of the Museu del
Museums', Kino: Filme der Bundesrepublik Cinema, Girona, Spain by its curator.
Deutschland, no. 2 (2001): 8-15.
A very useful and well-illustrated article summarising Hiller,
the John, 'Muybridge's Cyanotypes, Glass
work and collections of the film archives and museums
Plates and Apparatus in the Smithsonian
of Germany, with information about film artifacts held in
Institution', in Arret Sur Image, Fragmentation
the Potsdam, Frankfurt and D0sseldorf museums.
du Temps: Aux Sources de la Culture Visuelle
Zotti Minici, Carlo Alberto, and Laura Minici Moderne / Stop Motion, Fragmentation of
Zotti, eds, Magiche Visioni Prima del Cinema: Time: Exploring the Roots of Modern Visual
la Collezione Minici Zotti = Magic Visions Culture, edited by Albera, Frangois, Marta
before the Advent of the Cinema: Minici Zotti Braun and Andr6 Gaudreault (Lausanne: Payot
Collection. (Padova: II poligrafo, 2001). Lausanne, 2002): 171-188.
Sumptuously illustrated catalogue of the Minici Zotti
Fisher, Jeremy, 'Viva Mallol!', The Magic
Collection of pre cinema held by the Palazzo Angeli-
Prato dellaValle, Padua, Italy, containing previously-un-Lantern Society Newsletter No.69 (September
seen images of prints and artifacts. Text in Italian, though2002): 1-5.
some articles have English translations. Visit to the new Museum of Cinema, Girona, Spain, which
includes pre-cinema and motion picture exhibits. sion 12, Ev 21, 'Memorandum' [the subject of the Mu-
Founded on the collection of Tomas Mallol, who was seum of the Moving Image]; Anthony Smith, CBE, sub-
present at the meeting. mission 24, Ev 51, 'Memorandum' [future of the BFI and
the Museum of the Moving Image].
'That's All Folks' Museums Journal (December
2002): 19-21. Mannoni, Laurent, 'Musees du Cinema et
Illustrated article by Neal Potter, designer of the original Expositions Temporaires, Valorisation des
Collections d'appareils: une Histoire Deja
London MOMI, with design suggestions for a new mu-
seum.
Ancienne / Pour une Cinematheque Frangaise
Ideale', 1895, no. 41 (October 2003): 12-35.
Pesenti Campagnoni, Donata, Maria Adriana
Outlines the historical development of collections of film
Prolo (Torino: Museo Nazionale del Cinema,
equipment, focusing on the famous Will Day collection
Fondazione Maria Adriana Prolo, 2002).
held at the Cin6matheque frangaise. This is followed by
a reprinted manuscript from 1941 in which Henri Langlois
Filmblatt, no.22 (2003). and his collaborators give their views on the 'ideal'
Two books on German cinema reviewedCinemathbque
by Martinfrangaise.
Loiperdinger: Assenka Oksiloff's 2001 title, Picturing the
Herbert,
Primitive: Visual Culture, Ethnography, and Early Stephen
German (ed.), Eadweard Muybridge
and museum.
Cinema; and a catalogue of the Potsdam film the Kingston Museum Bequest (The
Projection Box and Kingston Museum, 2004).
Zone, Ray, 'Vintage Instruments' American
Includes the first publication of images from all of Muy-
Cinematographer 84, no. 1 (January 2003):
bridge's motion picture Zoopraxiscope discs, a number
100-108. of which are displayed in Kingston Museum's Muybridge
A profile of cinematographer Steve Gainer, curator Gallery.
of
the ASC Museum, which contains scores of early and
De Baecque, Antoine, 'Musee du Cinema: la
classic film cameras, lenses and other film artifacts.
These are being restored by Gainer for display inGuerre
the des Toiles', Liberation (27 January
Museum. Equipment includes an Amet sound camera 2004): 36.
from 1911 and an original Kinetoscope; several earlyAbout the controversy stirred up by Cin6math6que
cameras including a 1905 Path6, a 1908 Debrie Parvo,frangaise president Claude Berri, who wanted to devote
a 1910 Moy and Bastie, and a later Technicolor camera.
some of the space in the Cin6matheque's planned new
Over 50 vintage cameras are on show. The collection is (in rue de Bercy, Paris XII) to contemporary
museum
based on the previous collecting and expertise of indus-
painting, unconnected with cinema.
try veterans such as Charles G. Clarke and Arthur Miller.
Mannoni, Laurent, 'La Musee de la Lanterne
'Ein Museum for Dick und Doof' Film Echo /
Magique de Padoue (Italie), Bulletin de la
Film Woche, no. 15 (12 April 2003): 16.
Semia, no.4 (January 2004): 17.
Details of the Laurel and Hardy museum based in
A description of the Minici Zotti collection, Padua, Italy.
Solingen, Germany.
'Chroniques', 1895, no. 43 (June 2004): 86-106.
Nagel, Josef, 'Schattenbilder aus dem Reich
Includes two separate contributions about a proposed
der Fantasie', Film-dienst 56, no. 17 (August
new cinema museum in Paris: 1. 'P6tition pour un Musee
2003): 42-43. du cin6ma en France!', a petition organised by AFRHC;
On the 10th anniversary of the Filmmuseum Dusseldorf.
2. 'Esprit es-tu la ?' by Frangois Albera, on some of the
history and the various proposals for such a museum.
The British Film Industry, Sixth Report of A final section, 'Projet d'une Histoire du cinema en
Session 2002-03, Volume III, Written Evidence,
France', is a proposal that a multi-volume history of
French cinema be commissioned.
House of Commons Culture, Media and Sport
Committee (18 September 2003): (London: The
Worschech, Rudolf, 'Gesichter einer Filmstadt:
Stationery Office Limited.)
das Filmmuseum Potsdam hat eine neue
Includes: Mo Heard, submission 2, Ev 6, 'Letter from Mo
Heard: Closure of MOMI'; Mo Heard, submission 3, Ev Dauerausstellung', EPD Film 21, no.6 (June
6, 'Supp. memorandum submitted by Mo Heard: The 2004): 12.
Museum of the Moving Image'; Stephen Herbert, Discusses
sub- the new permanent exhibition at the Film-
mission 11, Ev 19, 'Memorandum' [relates to Museum museum Potsdam, called 'Babelsberg - faces of a film
of the Moving Image] ; Leslie Hardcastle, OBE, submis-
city'.
Film museums' a bibliography 349
Pes, Javier, 'Cinema Paradiso: museo A quite detailed description of proposals for the new
nazionale del cinema, Turin, Museum Practice Cinematheque museum in rue de Bercy, Paris, where,
we are told, the permanent exhibition will be organised
(Summer 2004): 22-27.
around the work and interests of three 'grand collection-
neurs': Will Day, Henri Langlois and Jean Vivie. Includes
Archival News, Cinema Journal 44/1 (Fall
plans of the layout.
2004): 148.
In June 2004, Heather Cochran was appointed to coor-
Drien, Katrin, and Sabine Lenk. Mach' Dir ein
dinate planning for the Academy of Motion Picture Arts
and Sciences' proposed museum of motion picture Paar Schone Stunden ...: ein Streifzug Durch
history. She reported to Bruce Davis, executive director das Filmmuseum Landeshauptstadt
of the Academy, and to its Museum Committee, that the Dusseldorf (DOsseldorf: Filmmuseum
museum 'will take at least five years, and maybe as long Landeshauptstadt Dusseldorf: Ed. XIM Virgines,
as ten'. Their ambition is to create 'the most impressive
2005).
possible tribute to our art form and its history'.
As its title suggests, this charming, well-illustrated cata-
Butterworth, Mark, 'Surprises from Down logue is organised as a 'stroll' through the exhibits on
the four floors of the museum. The first floor is devoted
Under', Magic Lantern Society Newsletter,
to some of the larger items, such as costumes and
no. 78 (December 2004): 7. models of cinemas; on the second floor the principles
Brief review, and notice of closure after 14 years, of Kev
of cinema are illustrated, along with displays about
Franzi's Movie Museum, Queensland, Australia.
pre-cinema (including lantern apparatus and slides) and
the early years of film. The next level is about production
1895 44 (December 2004). and economics, and the top floor is about film technol-
This issue includes two contributions about cinema ogy.
museums: 'Pour un mus6e du cinema en France!' by
Francois Albera and "Deux expositions a Bienne sur
I'archeologie du cin6ma' by Kate Blockley. 'University Leads Field in e-Learning with New
Museum Website', Extra (Summer 2005): 9.
Albera, Frangois, 'Pour un musee du cinema en An account of what is called 'Everyone's Virtual Exhibi-
France !' 1895, no.44 (December 2004): 87- tion', a feature of the website of the Bill Douglas Centre
at the University of Exeter in which users can browse
Blockley, Kate, 'Deux expositions a Bienne sur images of items in the collections and, 'with the aid of
I'archeologie du cinema', 1895, no.44 a simple template, arrange selected items in their own
(December 2004): 91-. exhibition and add comments.
Mach' Dir ein paar schone Stunden. Fuhrer

Bryan Reesman, 'In Search of a Home for
durch das Filmmuseum Landeshauptstadt
Scarlet and Kong', New York Times (16 June
Dusseldorf (Edition Virgines, Dusseldorf, 2005) 2006): AR 23.
Catalogue of the museum.
Rising prices for movie memorabilia affect the ability of
Garson, Charlotte, 'Le Grand Accrochage', motion picture museums to develop collections, espe-
Cahiers du Cinema (May 2005): 61-63. cially of newer materials.
i
Abstract: Film museums: a bibliography, by Stephen Bottomore
A chronologically organized international bibliography dealing with the collection and exhibition of film
technology and related artifacts, either as part of existing museum structures or as stand-alone motion
picture museums. The bibliography emphasizes permanent installations over temporary shows, and does
not include television-related collections or film libraries/archives.

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What is the purpose of the bibliography?

What is the purpose of the bibliography?

What is discussed in the first few pages?

What is discussed in the first few pages?

Film Museums: A Bibliography

Author(s): Stephen Bottomore

Moving Picture World (9 September 1916):

Includes discussion of the necessity of maintaining

'Report of the Museum Committee' Journal of

'Museum Committee', Journal of the SMPE 19,

'Eastern Motion Picture Exhibit', Journal of the

Jean Le Roy and complete

Olmstead, A. J., 'The Motion Picture Collection

Theisen, E., 'The Historical Motion Picture

About the foundation of a museum of cinematography

Film Daily 115, no.101 (27 May 1959): 1.

Hollywood Reporter 155, no.27 (17 June

Film Daily 116, no.73 (14 October 195

'Plans for a Movie Museum in London', D

Herold, Ralph E., Report on the Establish

Johnson, Albert, 'Prelude to a Palace', Sight &

Don Malkames' private museum of early cameras and

Description of its goals, its staff, and its proposed

Robinson, David, 'The Dream Museum', Sight

An introduction to various Includes

Films in Review 29, no. 9Dunphy,

Account of how the NMFPT came into being, the IMAX

Interesting article about the ear

Guild, Hazel, 'First Film M

Belkin, Lisa, 'At Revived Astoria Studios, the

Williams, Francis, 'Home movie memories',

Coverage of opening events, AMMI.

Lichttraume und Schattenbilder.

An account of the Museo Nazionale del Cinema, Turin,

Lenk, Sabine, 'Die Autochrome-

Prolo, Maria Adriana, Henri Langlois, and

Hendrykowska, Malgorzata, 'Muzeum

Gauthier, Alain, 'Sous le Ciel Gris de Londres,

volved in the presentation of cinema history in film

Notes the increasing interest by museums in the cinema

Kothenschulte, Daniel, 'Murnau-Ausstellung', Aubert, Michelle, Laurent Mannoni, and David

'Erudition and Fun', Extra: the University Hill, Paul,

Picture?' Cinemedia, no. 1 (January 1998):

On museums and theme parks in Europe which cele-

Mach' Dir ein paar schone Stunden. Fuhrer

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