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Film preservation, or film restoration, describes a series of ongoing efforts among film historians, archivists, museums, cinematheques, and non-profit organizations to rescue decaying film stock and preserve the images which they contain. In the widest sense, preservation nowadays assures that a movie will continue to exist in as close to its original form as possible. For many years the term 'preservation' was synonymous with 'duplication' of film. The goal of a preservationist was to create a durable copy without any significant loss of quality. In more modern terms, film preservation now includes the concepts of handling, duplication, storage, and access. The archivist seeks to protect the film and share the content with the public. Film preservation is not to be confused with film revisionism, in which long-completed films are subjected to outtakes never previously seen being inserted, newly inserted music scores or sound effects being added, black-and-white film being colorized or converted to Dolby stereo, or minor edits and other cosmetic changes being made. By the 1980s, it was becoming apparent that the collections of motion picture heritage were at risk of becoming lost. Not only was the preservation of nitrate film an ongoing problem, but the discovery that safety film, used as a replacement for the more volatile nitrate stock, was beginning to be affected by a unique form of decay known as "vinegar syndrome", and color film manufactured, in particular, by Eastman Kodak, was found to be at risk of fading. At that time, the best known solution was to duplicate the original film onto a more secure medium. 90 percent of all American silent films made before 1929 and 50 percent of American sound films made before 1950 are lost films. Although institutional practices of film preservation date back to the 1930s,〔Houston, P. (1994). Keepers of the frame: the film archives. British Film Institute.〕 the field received an official status only in 1980, when UNESCO recognized 'moving images' as an integral part of the world's cultural heritage.〔(UNESCO, Recommendation for the Safeguarding and Preservation of Moving Images ) at UNESCO.org, 27 October 1980. Accessed 23 July 2015〕 ==Film decay== The great majority of films made in the silent era are now considered lost forever. Movies of the first half of the 20th century were filmed on an unstable, highly flammable cellulose nitrate film base, which required careful storage to slow its inevitable process of decomposition over time. Most films made on nitrate stock were not preserved; over the years, their negatives and prints crumbled into powder or dust. Many of them were recycled for their silver content, or destroyed in studio or vault fires. The largest cause, however, was intentional destruction. As film preservationist Robert A. Harris explains, "Most of the early films did not survive because of wholesale junking by the studios. There was no thought of ever saving these films. They simply needed vault space and the materials were expensive to house." Silent films had little or no commercial value after the advent of sound films in the 1930s, and as such, they were not kept. As a result, preserving the now rare silent films has been a high priority amongst film historians. Because of the fragility of film stock, proper preservation of film usually involves storing the original negatives (if they have survived) and prints in climate-controlled facilities. The vast majority of films were not stored in this manner, which resulted in the widespread decay of film stocks. The problem of film decay is not limited to films made on cellulose nitrate. Film industry researchers and specialists have found that color films (those made in the processes which replaced Technicolor) are also decaying at an increasingly rapid rate. A number of well-known films only exist as copies of original film productions or exhibition elements because the originals have decomposed beyond use. Cellulose acetate film, which was the initial replacement for nitrate, has been found to suffer from 'vinegar syndrome'. The ongoing preservation of color films is now presented with an issue, as low temperatures, which inhibit color fading, actually increase the effects of vinegar syndrome, while higher (normal room) temperatures cause color fading. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「film preservation」の詳細全文を読む スポンサード リンク
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