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many independent shorts and features. These original 16mm works deserve the principal preservation and access support, but an unknown number of titles created on 35mm survive only as 16mm reduction prints and also require attention.
Because original works or best surviving copies are sometimes buried within 16mm collections, the National Film Preservation Board urges those institutions that are shifting to video to consult with archives before disposing of their 16mm film.
The ARCfflVAL Role in the Information Age
Now that visual information can be transmitted through a combination of new communications and digital technologies, many roles are opening to film archives. But for all the hopes and promises, their exact future is not at all clear. Will archives become museums of film? Will they become nodes on the information highway? Will they try to offer a range of options? Proponents of new technologies predict that public archives will be able to deliver services to more users and to remote locations, although the costs associated with digitization of visual material suggest that private partners will be necessary. With such partnerships can come a blurring of the boundary between educational and commercial uses. The challenge is to craft new access technologies and entrepreneurial opportunities so as to respect the concerns of copyright holders while ftirthering the two historical missions of archives: to support scholarship and education at minimal cost to users, and to preserve film artifacts.
The next five recommendations seek to improve archival access, beginning with current issues.
Recommendation 4.6: Archival Pfaotoduplication Services
Urge individual archives to clarify their policies for photoduplication services, particularly for obtaining "frame enlargements" and copies of titles for which no copyright or donor restrictions exist. In testimony and submissions for Film Preservation 1993, two archival photoduplication policies were the subject of particular contention: those for "frame enlargements" and those for copies of public domain films.
Among scholars, frame enlargements-still photographs made directly from the motion picture film-have become important in publication and to a lesser degree in classroom teaching. They reproduce the exact on-screen image, unlike "production stills," which are crisper and more easily obtainable publicity images preferred for commercial illustrations.
Rethinking Access and Archives 15