
Contents
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The Film Industry as Good Cultural Citizen The Film Industry as Good Cultural Citizen
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The Moving Image Artifact and Historical Truth The Moving Image Artifact and Historical Truth
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Copyright and Collecting Copyright and Collecting
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The Moving Image Artifact as Film History The Moving Image Artifact as Film History
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One Must Play the Historian Oneself, and Precociously One Must Play the Historian Oneself, and Precociously
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Conclusion Conclusion
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Cite
Abstract
During the 1920s through the 1940s, leaders in the film industry and some of the country's most powerful cultural institutions recognized cinema's potential as a nationalistic tool for boosting the United States' cultural and political identity. This chapter argues that the origins of the film archive were guided by historicism's impulses. During this time, film archiving was primarily defined by the institutional attempts of the Library of Congress, the National Archives and the Museum of Modern Art to build national film collections for the purpose of enhancing the reputation of the United States to both its own citizens and to the rest of the world. The various attempts at creating national film collections during the first wave of the archive were not entirely successful but they did create both the public awareness and a new rhetoric to help save the country's early cinema. While the nationalistic undercurrent of the archive's first generation eventually faded, the first wave's collecting and rhetorical contributions helped to build the foundation for the contemporary United States film archive.
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