UB Paderborn / Katalog / Suche / in CDI

JULES OR JIM: ALTERNATIVE CONFORMITY TO MINORITY LOGICS

Academy of Management journal, 2012-12, Vol.55 (6), p.1295-1315

2012

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Kodachrome and the Rise of 16mm Professional Film Production in America, 1938–1950

Film history (New York, N.Y.), 2016-01, Vol.28 (4), p.58-99

Pope, Norris

2016

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David Shepard: Excerpts from an Oral History

Moving image (Minneapolis, Minn.), 2017-04, Vol.17 (1), p.89-121

2017

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David Shepard (1940–2017)

Moving image (Minneapolis, Minn.), 2017-04, Vol.17 (1), p.85-88

Horak, Jan-Christopher

2017

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Orphan Jackie: The Unexpected Rediscovery ofKiss My Lips, Artchie

Moving image (Minneapolis, Minn.), 2014-10, Vol.14 (2), p.111-112

Eric Cheevers

2014

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3mm: The Smallest Gauge

Moving image (Minneapolis, Minn.), 2016-10, Vol.16 (2), p.1-20

2016

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Risen from the Ashes: The Complex Print History of Carl Dreyer's The Passion of Joan of Arc (1928)

Moving image (Minneapolis, Minn.), 2017-04, Vol.17 (1), p.52-84

Larson, Stephen

2017

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In situ formation of silver nanowire networks on paper

Current science (Bangalore), 2014-07, Vol.107 (2), p.262-269

2014

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Functional Colors: The Varied Applications of Complementary Hues

Film history (New York, N.Y.), 2017-06, Vol.29 (2), p.91-107

Weiberg, Birk

2017

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Preserved for Posterity? Present Bias and the Status of Grindhouse Films in the “Home Cinema” Era

Journal of film and video, 2018-04, Vol.70 (1), p.3-16

Jones, Steve

2018

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On the Restoration History of Colored Silent Films in Germany: An Interview with Martin Koerber

Moving image (Minneapolis, Minn.), 2015-04, Vol.15 (1), p.103-108

Lameris, Bregt

2015

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Movie Madness: Mostly Lost 4 Workshop

Film quarterly, 2015-12, Vol.69 (2), p.47-54

Tyree, J. M.

2015

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The Beginnings and the Ends of Film: Leader Standardization in the United States and Canada (1930–1999)

Moving image (Minneapolis, Minn.), 2016-10, Vol.16 (2), p.21-44

Soar, Matthew

2016

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Hand-Painted Abstractions: Experimental Color in the Creation and Restoration of Ballet mécanique

Moving image (Minneapolis, Minn.), 2015-04, Vol.15 (1), p.92-98

2015

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Ephemera as Medium: The Afterlife of Lost Films

Moving image (Minneapolis, Minn.), 2016-03, Vol.16 (1), p.134-139

Moore, Paul S

2016

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Insight and Axioms: Harold G. Brown and the Identification of Early Films

Moving image (Minneapolis, Minn.), 2016-03, Vol.16 (1), p.35-56

Lenk, Sabine

2016

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Orpheus of Nitrate: The Emergence of Bill Morrison

Framework, 2016-10, Vol.57 (2), p.116-137

MacDonald, Scott

2016

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WE'VE GOT BIGGER PROBLEMS: Preservation during Eastman Color's Innovation and Early Diffusion

Moving image (Minneapolis, Minn.), 2015-04, Vol.15 (1), p.44-61

Heckman, Heather

2015

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COLOR ANALYSIS FOR THE DIGITAL RESTORATION OF DAS CABINET DES DR. CALIGARI

Moving image (Minneapolis, Minn.), 2015-04, Vol.15 (1), p.22-43

Flueckiger, Barbara

2015

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Periplaneta americana midgut proteases differentially expressed against dietary components from different plant seeds

Physiological entomology, 2011-06, Vol.36 (2), p.180-186

2011

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Spectrum Analysis: Discussing the Films of Paul Sharits with Bill Brand, Chris Hughes, John Klacsmann, and Andrew Lampert

Moving image (Minneapolis, Minn.), 2015-04, Vol.15 (1), p.109-113

Windhausen, Federico

2015

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Reclaiming “Lost” Films: The Paper Print Fragment Collection and the American Film Company

Moving image (Minneapolis, Minn.), 2016-03, Vol.16 (1), p.125-134

2016

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The Duplicate File: New Insights into the FSA

Archives of American Art Journal, 2015-03, Vol.54 (1), p.4-27

Appel, Mary Jane

2015

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Vertical Integration during the Hollywood Studio Era

The Journal of law & economics, 2010-08, Vol.53 (3), p.519-543

Hanssen, F. Andrew

2010

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The Media Ecology Project: Library of Congress Paper Print Pilot

Moving image (Minneapolis, Minn.), 2016-03, Vol.16 (1), p.148-151

Williams, Mark

2016

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JULES OR JIM: ALTERNATIVE CONFORMITY TO MINORITY LOGICS

Kodachrome and the Rise of 16mm Professional Film Production in America, 1938–1950

David Shepard: Excerpts from an Oral History

David Shepard (1940–2017)

Orphan Jackie: The Unexpected Rediscovery ofKiss My Lips, Artchie

3mm: The Smallest Gauge

Risen from the Ashes: The Complex Print History of Carl Dreyer's The Passion of Joan of Arc (1928)

In situ formation of silver nanowire networks on paper

Functional Colors: The Varied Applications of Complementary Hues

Preserved for Posterity? Present Bias and the Status of Grindhouse Films in the “Home Cinema” Era

On the Restoration History of Colored Silent Films in Germany: An Interview with Martin Koerber

Movie Madness: Mostly Lost 4 Workshop

The Beginnings and the Ends of Film: Leader Standardization in the United States and Canada (1930–1999)

Hand-Painted Abstractions: Experimental Color in the Creation and Restoration of Ballet mécanique

Ephemera as Medium: The Afterlife of Lost Films

Insight and Axioms: Harold G. Brown and the Identification of Early Films

Orpheus of Nitrate: The Emergence of Bill Morrison

WE'VE GOT BIGGER PROBLEMS: Preservation during Eastman Color's Innovation and Early Diffusion

COLOR ANALYSIS FOR THE DIGITAL RESTORATION OF DAS CABINET DES DR. CALIGARI

Periplaneta americana midgut proteases differentially expressed against dietary components from different plant seeds

Spectrum Analysis: Discussing the Films of Paul Sharits with Bill Brand, Chris Hughes, John Klacsmann, and Andrew Lampert

Reclaiming “Lost” Films: The Paper Print Fragment Collection and the American Film Company

The Duplicate File: New Insights into the FSA

Vertical Integration during the Hollywood Studio Era

The Media Ecology Project: Library of Congress Paper Print Pilot

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