6 The beginnings of cinema as a museum exhibit: the cases of the Smithsonian institution and the science museum in London

Chapters in this book

1. Frontmatter 1
2. TABLE OF CONTENTS 5
3. List of illustrations 9
4. Foreword 13
5. 1 Introduction. Collecting cinema, rewriting history: between the visible and the invisible 17
6. 2 Out from the shadows: Lotte Eisner’s significance as a collector 35
7. 3 Repatriating the work of Georges Méliès: the collection of madeleine malthête-méliès 69
8. 4 Her eyes that saw—Maria Adriana prolo’s dream of a museum of cinema 87
9. 5 The personal is technical: strategies of remembrance in the Francis Doublier collection 107
10. 6 The beginnings of cinema as a museum exhibit: the cases of the Smithsonian institution and the science museum in London 129
11. 7 Robert Vrielynck—the microcosm of small changes, or: collecting details and not (only) principles 145
12. 8 Werner Nekes: the filmmaker as collector and model 163
13. 9 The pleasure of possession: Joseph Cornell 173
14. 10 Eclipses, ellipses, explosions: Joseph Cornell as filmmaker & collector. a conversation between André Habib and Bruce Posner 183
15. 11 Notes on William K. Everson 235
16. 12 Confessions of a filmmaker-collector 247
17. 13 Ernie Gehr’s THE COLLECTOR (2003) and Ernie Gehr the collector 257
18. 14 Collecting methodologies with the phonograph: the performance of “canned” vaudeville 271
19. 15 Film and media merchandising in the eye of the fan historian: practices, objects, media 289
20. 16 The memory of a suitcase: Margret Veit’s film souvenirs 309
21. 17 “Margaret’s world”: the creative geography of an amateur filmmaker 321
22. 18 The emergence of collecting and the effacement of archives 333
23. Indices 353