{"id":2750,"date":"2022-08-30T21:46:17","date_gmt":"2022-08-31T00:46:17","guid":{"rendered":"https:\/\/abpa.annaerbetta.com\/index.php\/repositorio-de-referencias\/"},"modified":"2022-08-30T21:46:51","modified_gmt":"2022-08-31T00:46:51","slug":"repositorio-de-referencias","status":"publish","type":"page","link":"https:\/\/abpa.annaerbetta.com\/index.php\/repositorio-de-referencias\/","title":{"rendered":"Reposit\u00f3rio de Refer\u00eancias"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"2750\" class=\"elementor elementor-2750\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-383de400 elementor-section-height-min-height elementor-section-boxed elementor-section-height-default elementor-section-items-middle\" data-id=\"383de400\" data-element_type=\"section\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t\t\t<div class=\"elementor-background-overlay\"><\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-39ed8eca\" data-id=\"39ed8eca\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4335e12b elementor-section-full_width elementor-section-height-default elementor-section-height-default\" data-id=\"4335e12b\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-75c2a65f\" data-id=\"75c2a65f\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-2a9d3813 elementor-widget elementor-widget-heading\" data-id=\"2a9d3813\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.5 - 27-04-2022 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h2 class=\"elementor-heading-title elementor-size-default\">Introdu\u00e7\u00e3o ao\nAudiovisual<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-328e5fb0 elementor-widget elementor-widget-toggle\" data-id=\"328e5fb0\" data-element_type=\"widget\" data-widget_type=\"toggle.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.5 - 27-04-2022 *\/\n.elementor-toggle{text-align:left}.elementor-toggle .elementor-tab-title{font-weight:700;line-height:1;margin:0;padding:15px;border-bottom:1px solid #d4d4d4;cursor:pointer;outline:none}.elementor-toggle .elementor-tab-title .elementor-toggle-icon{display:inline-block;width:1em}.elementor-toggle .elementor-tab-title .elementor-toggle-icon svg{-webkit-margin-start:-5px;margin-inline-start:-5px;width:1em;height:1em}.elementor-toggle .elementor-tab-title .elementor-toggle-icon.elementor-toggle-icon-right{float:right;text-align:right}.elementor-toggle .elementor-tab-title .elementor-toggle-icon.elementor-toggle-icon-left{float:left;text-align:left}.elementor-toggle .elementor-tab-title .elementor-toggle-icon .elementor-toggle-icon-closed{display:block}.elementor-toggle .elementor-tab-title .elementor-toggle-icon .elementor-toggle-icon-opened{display:none}.elementor-toggle .elementor-tab-title.elementor-active{border-bottom:none}.elementor-toggle .elementor-tab-title.elementor-active .elementor-toggle-icon-closed{display:none}.elementor-toggle .elementor-tab-title.elementor-active .elementor-toggle-icon-opened{display:block}.elementor-toggle .elementor-tab-content{padding:15px;border-bottom:1px solid #d4d4d4;display:none}@media (max-width:767px){.elementor-toggle .elementor-tab-title{padding:12px}.elementor-toggle .elementor-tab-content{padding:12px 10px}}<\/style>\t\t<div class=\"elementor-toggle\" role=\"tablist\">\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-8481\" class=\"elementor-tab-title\" data-tab=\"1\" role=\"tab\" aria-controls=\"elementor-tab-content-8481\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria das tecnologias de imagem animada at\u00e9 o cinema<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-8481\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-8481\"><p>\u25b8 Friedrich Kittler. M\u00eddias \u00f3pticas &#8211; curso em Berlin, 1999. Contraponto, 2016.<\/p><p>\u25b8 Leo Enticknap.<br \/>Moving image technology &#8211; from zoetrope to digital. Wallflower Press, 2005.<\/p><p>\u25b8 Stephen Hebert.<br \/>A History of Pre-Cinema. 2 vol. Routledge, 2000.<\/p><p>\u25b8 Hermann Hecht, Ann Hecht. Pre-cinema history &#8211; an encyclopaedia and annotated<br \/>bibliography of the moving image before 1896. Bowker-Saur, 1993.<\/p><p>\u25b8 Film Reference. Pre-Cinema. Dispon\u00edvel <a href=\"http:\/\/www.filmreference.com\/encyclopedia\/Independent-Film-Road-Movies\/Pre-Cinema.html\">aqui<\/a>.<\/p><p>\u25b8 The Richard Balzer Collection. <a href=\"http:\/\/www.dickbalzer.com\">www.dickbalzer.com<\/a>.<\/p><p>\u25b8 The History of the Discovery of Cinematography. Dispon\u00edvel em: <a href=\"http:\/\/www.precinemahistory.net\">www.precinemahistory.net<\/a>.<\/p><p>\u25b8Wikipedia. Precursors of film. Dispon\u00edvel <a href=\"https:\/\/en.wikipedia.org\/wiki\/Precursors_of_film\">aqui<\/a>.<\/p><p>\u25b8 Raymond Fielding. A Technological History Of Motion Pictures And Television &#8211; An<br \/>Anthology From The Pages Of The Journal Of The Society Of Motion Picture And Television<br \/>Engineers. University of California Press, 1967.<\/p><p>\u25b8 Stephen Herbert. The Complete Muybridge. Dispon\u00edvel <a href=\"http:\/\/www.stephenherbert.co.uk\/muybCOMPLEAT.htm\">aqui<\/a>.<\/p><p>\u25b8 \u00c9tienne-Jules Marey. Obra resgatada. Dispon\u00edvel <a href=\"https:\/\/www.biusante.parisdescartes.fr\/histoire\/medica\/presentations\/marey\/index.php\">aqui<\/a>.<\/p><p>\u25b8 Who&#8217;s Who of Victorian Cinema. <a href=\"http:\/\/www.victorian-cinema.net\">http:\/\/www.victorian-cinema.net<\/a>.<\/p><p>\u25b8 Laurent Mannoni. La machine cin\u00e9ma. Lienart, 2016.<\/p><p>\u25b8 Jean Vivi\u00e9. Pr\u00e9lude au Cin\u00e9ma &#8211; de la pr\u00e9histoire \u00e0 l&#8217;invention. L&#8217;Harmattan, 2006.<\/p><p>\u25b8 Laurent Mannoni, Donata Pesanti Campagnoni. Lanterne magique et film peint: 400 ans de<br \/>cin\u00e9ma. Martini\u00e8re.<\/p><p>\u25b8 Laurent Mannoni, Donato Pesenti Campagnoni, David Robinson. Light and Movement:<br \/>Incunabula of the Motion Picture, 1420-1896. British Film Institute, 1996.<\/p><p>\u25b8 Laurent Mannoni. A Grande Arte da Sombra e da Luz &#8211; arqueologia do cinema. Unesp, 2003.<\/p><p>\u25b8 D.B. Thomas. Origins of the Motion Picture &#8211; Science Museum Introductory Booklet on<br \/>Pre-history of the Cinema. 1964.<\/p><p>\u25b8 Tom Gunning. The Play between Still and Moving Images: Nineteenth-Century \u201cPhilosophical<br \/>Toys\u201d and Their Discourse. Em: Eivind R\u00f8ssaak. Between Stillness and Motion &#8211; Film,<br \/>photography and algorithms. Amsterdam University Press, 2011.<\/p><p>\u25b8 Tom Gunning. Early Cinema and the Variety of Moving Images. American Art, v. 22, n. 2,<br \/>2008.<\/p><p>\u25b8 CrashCourse. Movies are Magic: Crash Course Film History #1. Dispon\u00edvel <a href=\"https:\/\/www.youtube.com\/watch?v=vsnB4iBb78o\">aqui<\/a>.<\/p><p>\u25b8 Who&#8217;s Who of Victorian Cinema. <a href=\"http:\/\/www.victorian-cinema.net\">http:\/\/www.victorian-cinema.net<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-8482\" class=\"elementor-tab-title\" data-tab=\"2\" role=\"tab\" aria-controls=\"elementor-tab-content-8482\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Princ\u00edpios e hist\u00f3ria de tecnologia da imagem<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-8482\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-8482\"><p>\u25b8 Ansel Adams. The Camera. Little, Brown and Company, 2009.<\/p><p>\u25b8 Ansel Adams. The Negative. Little, Brown and Company, 2010.<\/p><p>\u25b8 Josef Maria Eder. History of Photography. [1905]<\/p><p>\u25b8 William Crawford. The Keepers of Light: A History and Working Guide to Early Photographic<br \/>Processes. Morgan &amp; Morgan, 1979.<\/p><p>\u25b8 Blain Brown. Cinematography &#8211; Theory and Practice. Focal Press, 2002.<\/p><p>\u25b8 Harrison Barret, Kyle Myers. Foundations of Image Science. Wiley, 2003.<\/p><p>\u25b8 Graham Saxby. The Science of Imaging. Wiley, 2010.<\/p><p>\u25b8 Society for Imaging Science and Technology. <a href=\"http:\/\/www.imaging.org\">www.imaging.org<\/a>.<\/p><p>\u25b8 Tim Vitale. Brief History of Imaging Technology. 2003. Dispon\u00edvel <a href=\"https:\/\/cool.culturalheritage.org\/videopreservation\/library\/BHoIT.pdf\">aqui.<\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-72852a46 elementor-widget elementor-widget-heading\" data-id=\"72852a46\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Patrim\u00f4nio e\npreserva\u00e7\u00e3o\naudiovisual<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3e82265 elementor-widget elementor-widget-toggle\" data-id=\"3e82265\" data-element_type=\"widget\" data-widget_type=\"toggle.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-toggle\" role=\"tablist\">\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6551\" class=\"elementor-tab-title\" data-tab=\"1\" role=\"tab\" aria-controls=\"elementor-tab-content-6551\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria e conceito de patrim\u00f4nio<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6551\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6551\"><p>\u25b8 Thibault Le He\u0301garat. Un historique de la notion de patrimoine. 2015. &lt;halshs-01232019&gt;<br \/>Dispon\u00edvel em: <a href=\"https:\/\/halshs.archives-ouvertes.fr\/halshs-01232019\/document\">https:\/\/halshs.archives-ouvertes.fr\/halshs-01232019\/document<\/a>.<\/p><p>\u25b8 Patrice B\u00e9ghain. Le patrimoine &#8211; culture et lien social. Presses de Sciences Po, 1998.<\/p><p>\u25b8 Dominique Poulot. Une Histoire du Patrimoine en Occident &#8211; XVIIIe-XXIe si\u00e8cle. PUF, 2006.<\/p><p>\u25b8 Andr\u00e9 Chastel, Jean-Pierre Babelon. La Notion de Patrimoine. Liana Levi, 2008.<\/p><p>\u25b8 Christian Barr\u00e8re. Les Trois Temps du Patrimoine. 2013. Dispon\u00edvel em:<br \/><a href=\"http:\/\/www.asrdlf2013.org\/IMG\/pdf\/C_-_Barrere_-_Les_quatre_temps_du_patrimoine_c\">http:\/\/www.asrdlf2013.org\/IMG\/pdf\/C_-_Barrere_-_Les_quatre_temps_du_patrimoine_c<\/a><br \/>ulturel.pdf.<\/p><p>\u25b8 David C. Harvey. The History of Heritage. Ashgate Publishing, 2008. Dispon\u00edvel em:<br \/><a href=\"http:\/\/kodu.ut.ee\/~cect\/teoreetilised%20seminarid_2010\/etnoloogia_uurimisr\u00fchma_seminar\/Harvey-The_History_of_Heritage.pdf\">http:\/\/kodu.ut.ee\/~cect\/teoreetilised%20seminarid_2010\/etnoloogia_uurimisr\u00fchma_seminar\/Harvey-The_History_of_Heritage.pdf<\/a>.<\/p><p>\u25b8 Michel Duchein. The History of European Archives and the Development of the Archival<br \/>Profession in Europe. American Archivist vol. 55, 1992. Dispon\u00edvel em:<br \/><a href=\"http:\/\/americanarchivist.org\/doi\/pdf\/10.17723\/aarc.55.1.k17n44g856577888?code=SAME-site\">http:\/\/americanarchivist.org\/doi\/pdf\/10.17723\/aarc.55.1.k17n44g856577888?code=SAME-site<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6552\" class=\"elementor-tab-title\" data-tab=\"2\" role=\"tab\" aria-controls=\"elementor-tab-content-6552\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria dos arquivos e bibliotecas<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6552\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6552\"><p>\u25b8 Michel Duchein. The History of European Archives and the Development of the Archival Profession in Europe. American Archivist vol. 55, 1992. Dispon\u00edvel em:<br \/><a href=\"http:\/\/americanarchivist.org\/doi\/pdf\/10.17723\/aarc.55.1.k17n44g856577888?code=SAME-site\">http:\/\/americanarchivist.org\/doi\/pdf\/10.17723\/aarc.55.1.k17n44g856577888?code=SAME-site<\/a>.<\/p><p>\u25b8 Stuart Murray. The library &#8211; an illustrated history. Skyhorse Publishing, 2012.<\/p><p>\u25b8 Paul Delsalle, Margaret Procter (trad.). A History of Archival Practice. Routledge, 2018.<\/p><p>\u25b8 Markus Friedrich. The Birth of the Archive &#8211; a history of knowledge. University of Michigan Press, 2018.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6553\" class=\"elementor-tab-title\" data-tab=\"3\" role=\"tab\" aria-controls=\"elementor-tab-content-6553\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Institui\u00e7\u00f5es ligadas \u00e0 preserva\u00e7\u00e3o audiovisual<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6553\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6553\"><p>\u25b8 FIAF &#8211; International Federation of Film Archives. <a href=\"https:\/\/www.fiafnet.org\">https:\/\/www.fiafnet.org<\/a>.<\/p><p>\u25b8 Museum of Modern Art (MoMA). <a href=\"https:\/\/www.moma.org\">https:\/\/www.moma.org<\/a>.<\/p><p>\u25b8 British Film Institute (BFI)&#8217;s National Archive. <a href=\"https:\/\/www.bfi.org.uk\/archive-collections\">https:\/\/www.bfi.org.uk\/archive-collections<\/a>.<\/p><p>\u25b8 La Cin\u00e9math\u00e8que Fran\u00e7aise. <a href=\"http:\/\/www.cinematheque.fr\">http:\/\/www.cinematheque.fr<\/a>.<\/p><p>\u25b8 ABPA &#8211; Associa\u00e7\u00e3o Brasileira de Preserva\u00e7\u00e3o Audiovisual.<br \/><a href=\"http:\/\/www.abpreservacaoaudiovisual.org\/site\">http:\/\/www.abpreservacaoaudiovisual.org\/site<\/a>.<\/p><p>\u25b8 George Eastman Museum. <a href=\"https:\/\/www.eastman.org\/\">https:\/\/www.eastman.org\/<\/a>.<\/p><p>\u25b8 Cinemateca Brasileira. <a href=\"http:\/\/cinemateca.gov.br\">http:\/\/cinemateca.gov.br<\/a>.<\/p><p>\u25b8 Cinemateca do Museu de Arte Moderna do Rio de Janeiro (MAM-RJ).<br \/><a href=\"http:\/\/www.mamrio.org.br\">http:\/\/www.mamrio.org.br<\/a>.<\/p><p>\u25b8 L&#8217;Immagine Ritrovata. <a href=\"http:\/\/www.immagineritrovata.it\">http:\/\/www.immagineritrovata.it<\/a>.<\/p><p>\u25b8 The Film Foundation. <a href=\"http:\/\/www.film-foundation.org\">http:\/\/www.film-foundation.org<\/a>.<\/p><p>\u25b8 FIAT\/IFTA &#8211; International Federation of Television Archives. <a href=\"http:\/\/fiatifta.org\">http:\/\/fiatifta.org<\/a>.<\/p><p>\u25b8 AMIA &#8211; The Association of Moving Image Archivists. <a href=\"https:\/\/amianet.org\">https:\/\/amianet.org<\/a>.<\/p><p>\u25b8 FOCAL International. <a href=\"https:\/\/www.focalint.org\">https:\/\/www.focalint.org<\/a>.<\/p><p>\u25b8 IASA &#8211; Asociaci\u00f3n Internacional de Archivos Sonoros y Audiovisuales.<br \/><a href=\"https:\/\/www.iasa-web.org\">https:\/\/www.iasa-web.org<\/a>.<\/p><p>\u25b8 Presto Centre. <a href=\"https:\/\/www.prestocentre.org\">https:\/\/www.prestocentre.org<\/a>.<\/p><p>\u25b8 Liber. <a href=\"http:\/\/www.liber.ufpe.br\">http:\/\/www.liber.ufpe.br<\/a>.<\/p><p>\u25b8 Funda\u00e7\u00e3o Joaquim Nabuco. <a href=\"http:\/\/www.fundaj.gov.br\">http:\/\/www.fundaj.gov.br<\/a>.<\/p><p>\u25b8 Cinemateca Pernambucana. <a href=\"http:\/\/cinematecapernambucana.com.br\">http:\/\/cinematecapernambucana.com.br<\/a>.<\/p><p>\u25b8 Imperial War Museums. <a href=\"https:\/\/www.iwm.org.uk\/collections\/film\">https:\/\/www.iwm.org.uk\/collections\/film<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6554\" class=\"elementor-tab-title\" data-tab=\"4\" role=\"tab\" aria-controls=\"elementor-tab-content-6554\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria da preserva\u00e7\u00e3o audiovisual no Brasil<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6554\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"4\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6554\"><p>\u25b8 Rafael de Luna. Subs\u00eddios para uma hist\u00f3ria recente da Cinemateca do MAM. 2012.<br \/>Dispon\u00edvel em:<br \/><a href=\"http:\/\/preservacaoaudiovisual.blogspot.com\/2012\/06\/subsidios-para-uma-historia-recente-da.html\">http:\/\/preservacaoaudiovisual.blogspot.com\/2012\/06\/subsidios-para-uma-historia-recente-da.html<\/a>.<\/p><p>\u25b8 Ines Aisengart. Memorial Cr\u00edtico na \u00c1rea de Preserva\u00e7\u00e3o Audiovisual. Monografia &#8211; UFF, 2009.<\/p><p>\u25b8 Maria Fernanda Coelho. A experi\u00eancia brasileira na conserva\u00e7\u00e3o de acervos<br \/>audiovisuais: um estudo de caso. Dissertra\u00e7\u00e3o &#8211; ECA-USP, 2009.<\/p><p>\u25b8 Carlos Roberto Rodrigues de Souza. A Cinemateca Brasileira e a preserva\u00e7\u00e3o de filmes no Brasil. Tese &#8211; ECA-USP, 2009.<\/p><p>\u25b8 Maria Laura Bezerra Lidner. Pol\u00edticas para a preserva\u00e7\u00e3o audiovisual no Brasil<br \/>(1995-2010). Tese &#8211; UFBA, 2013.<\/p><p>\u25b8 Alice Pougy. A Cinemateca do MAM e os cineclubes do Rio de Janeiro: forma\u00e7\u00e3o de uma cultura cinematogr\u00e1fica na cidade. Disserta\u00e7\u00e3o &#8211; PUC-RJ, 1996.<\/p><p>\u25b8 Caio Julio Cesaro. Preserva\u00e7\u00e3o e restaura\u00e7\u00e3o cinematogr\u00e1ficas no Brasil: a restaura\u00e7\u00e3o do acervo de Hikoma Udhiara. Tese &#8211; Universidade Estadual de Campinas, 2007.<br \/>Dispon\u00edvel em: <a href=\"http:\/\/cutter.unicamp.br\/document\/?code=vtls000448683\">http:\/\/cutter.unicamp.br\/document\/?code=vtls000448683<\/a>.<\/p><p>\u25b8 Fausto Douglas Correa Junior. Cinematecas e cineclubes: cinema e pol\u00edtica no projeto da Cinemateca Brasileira (1952 \u2013 1973). Disserta\u00e7\u00e3o &#8211; Universidade Estadual Paulista, 2007.<br \/>Dispon\u00edvel em:<br \/><a href=\"http:\/\/polo3.assis.unesp.br\/posgraduacao\/teses\/historia\/faustodouglascorreajunior.pdf\">http:\/\/polo3.assis.unesp.br\/posgraduacao\/teses\/historia\/faustodouglascorreajunior.pdf<\/a>.<\/p><p>\u25b8 Simone Rolim Moura. Entre mem\u00f3ria e preserva\u00e7\u00e3o: uma etnografia sobre a implanta\u00e7\u00e3o da Cinemateca Capit\u00f3lio, em Porto Alegre \u2013 RS. Disserta\u00e7\u00e3o &#8211; UFRGS, 2008. Dispon\u00edvel em:<br \/><a href=\"http:\/\/www.lume.ufrgs.br\/bitstream\/handle\/10183\/13813\/000651578.pdf?sequence=1\">http:\/\/www.lume.ufrgs.br\/bitstream\/handle\/10183\/13813\/000651578.pdf?sequence=1<\/a><\/p><p>\u25b8 Jos\u00e9 Luiz de Ara\u00fajo Quental. A preserva\u00e7\u00e3o cinematogr\u00e1fica no Brasil e a constru\u00e7\u00e3o de uma cinemateca na Belacap: a Cinemateca do Museu de Arte Moderna do Rio de Janeiro<br \/>(1948 \u2013 1965). Disserta\u00e7\u00e3o &#8211; UFF, 2010.<\/p><p>\u25b8 Ang\u00e9lica Gasparotto de Oliveira. A preserva\u00e7\u00e3o de acervos f\u00edlmicos no Distrito Federal. Disserta\u00e7\u00e3o &#8211; UnB, 2013. Dispon\u00edvel em:<br \/><a href=\"http:\/\/repositorio.unb.br\/bitstream\/10482\/13540\/1\/2013_Ang%C3%A9licaGasparottodeOliveira.pdf\">http:\/\/repositorio.unb.br\/bitstream\/10482\/13540\/1\/2013_Ang%C3%A9licaGasparottodeOliveira.pdf<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6555\" class=\"elementor-tab-title\" data-tab=\"5\" role=\"tab\" aria-controls=\"elementor-tab-content-6555\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3rias mundiais da preserva\u00e7\u00e3o audiovisual e recomenda\u00e7\u00e3o da UNESCO<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6555\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"5\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6555\"><p>\u25b8 Penelope Houston. Keepers of the Frame: the film archives. BFI, 1994.<\/p>\n<p>\u25b8 Caroline Frick. Saving Cinema: the politics of preservation. Oxford University Press, 2011.<\/p>\n<p>\u25b8 Anthony Slide. Nitrate Won&#8217;t Wait: A History of Film Preservation in the United States. McFarland &amp; Company, 2000.<\/p>\n<p>\u25b8 Michael Binder. A Light Affliction: a History of Film Preservation and Restoration. Lulu.com, 2015.<\/p>\n<p>\u25b8 Leo Enticknap. Film Restoration: The Culture and Science of Audiovisual Heritage. Palgrave<br>Macmilan, 2013.<\/p>\n<p>\u25b8 Roger Smither (ed.). This Films is Dangerous: A Celebration of Nitrate Film. FIAF, 2002.<\/p>\n<p>\u25b8 Eric Le Roy. Cin\u00e9math\u00e8ques et archives du film. Armand Colin, 2013.<\/p>\n<p>\u25b8 UNESCO. Recomenda\u00e7\u00e3o para a prote\u00e7\u00e3o e preserva\u00e7\u00e3o de imagens em movimento. 1980. Texto oficial no portal da <a href=\"http:\/\/portal.unesco.org\/en\/\">UNESCO<\/a>. Tradu\u00e7\u00e3o por organiza\u00e7\u00e3o portuguesa dispon\u00edvel <a href=\"https:\/\/publicacoes.bad.pt\/revistas\/\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6556\" class=\"elementor-tab-title\" data-tab=\"6\" role=\"tab\" aria-controls=\"elementor-tab-content-6556\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Primeiras ideias e experi\u00eancias de preserva\u00e7\u00e3o de filmes (at\u00e9 1930)<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6556\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"6\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6556\"><p>\u25b8 Stephen Bottomore. &#8216;The collection of rubbish.\u2019 Animatographs, archives and arguments: London, 1896-97. Sobre a doa\u00e7\u00e3o de filmes por Robert Paul ao British Museum. Film History, Vol. 7,<br \/>No. 3, outono 1995. Dispon\u00edvel <a href=\"http:\/\/users.clas.ufl.edu\/burt\/%20%20%20%20%20%20Kiaorostami%20Shakespeare%20Amy%20Scott-Douglas\/cinephilia%20film%20preservation%20and%20archive%20pdfs\/Film%20theory%20preservation%EF%80%A8\/3815095.pdf\">aqui<\/a>.<\/p><p>\u25b8 Caroline Frick. Saving Cinema: the politics of preservation. Oxford University Press, 2011.<\/p><p>\u25b8 R. Smither, David Walsh. Unknown Pioneer: Edward Foxen Cooper and the Imperial War<br \/>Museum Film Archive, 1919-1934. Film History, 12(2). Dispon\u00edvel em <a href=\"https:\/\/www.jstor.org\/stable\/3815371\">JSTOR<\/a> (acesso restrito).<\/p><p>\u25b8 Stephen Badsey. The \u2018IWM series\u2019. A guide to the Imperial War Museum collection of<br \/>archive film of the First World War. Historical Journal of Film, Radio and Television, 13:2,<br \/>203-214, 1993, DOI: <a href=\"https:\/\/www.tandfonline.com\/doi\/abs\/10.1080\/01439689300260211\">10.1080\/01439689300260211<\/a>.<\/p><p>\u25b8 Boles\u0142aw Matuszewski. Uma nova fonte de hist\u00f3ria. 1898. Panfleto onde o autor prega a cria\u00e7\u00e3o de uma cinemateca. Dispon\u00edvel em <a href=\"https:\/\/archive.org\/details\/unenouvellesourc00matu\">Franc\u00eas (original)<\/a> e <a href=\"http:\/\/users.clas.ufl.edu\/burt\/%20%20%20%20%20%20Kiaorostami%20Shakespeare%20Amy%20Scott-Douglas\/cinephilia%20film%20preservation%20and%20archive%20pdfs\/Film%20theory%20preservation%EF%80%A8\/3815097.pdf\">Ingl\u00eas<\/a>.<\/p><p>\u25b8 Library of Congress. Motion Pictures in the Library of Congress. 1989. Dispon\u00edvel <a href=\"https:\/\/www.loc.gov\/rr\/mopic\/mpcoll.html\">aqui<\/a>.<\/p><p>\u25b8 Library of Congress. Early Motion Pictures Free of Copyright Restrictions in the Library of<br \/>Congress. 2016. Dispon\u00edvel <a href=\"https:\/\/www.loc.gov\/rr\/mopic\/earlymps.html\">aqui<\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6557\" class=\"elementor-tab-title\" data-tab=\"7\" role=\"tab\" aria-controls=\"elementor-tab-content-6557\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Museum of Modern Art, Iris Barry e Eileen Bowser<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6557\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"7\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6557\"><p>\u25b8 Christian Dimitriu. Eileen Bowser \u2013 A Life Between Film History, MoMA and FIAF. 2009. Dispon\u00edvel <a href=\"https:\/\/www.fiafnet.org\/images\/tinyUpload\/History\/FIAF-History\/Digitized-documents\/OHP%20Itw%20published%20in%20JFPs%20and%20Website\/Eileen%20Bowser%20interviewed%20by%20Christian%20Dimitriu%20-%20JFP%2081%20Nov.%202009.pdf\">aqui<\/a>.<\/p><p>\u25b8 Anne Morra e outros. Textos sobre Iris Barry e o departamento de filmes do MoMA.<br \/>Inside\/Out, blog do MoMA Dispon\u00edvel <a href=\"https:\/\/www.moma.org\/explore\/inside_out\/tag\/iris-barry\/\">aqui<\/a>.<\/p><p>\u25b8 Robert Sitton. Lady in the Dark: Iris Barry and the Art of Film. Columbia University Press,<br \/>2014.<\/p><p>\u25b8 Haidee Wasson. Museum Movies &#8211; The Museum of Modern Art and the Birth of Art.<br \/>University of California Press, 2005.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6558\" class=\"elementor-tab-title\" data-tab=\"8\" role=\"tab\" aria-controls=\"elementor-tab-content-6558\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">BFI National Archive, Ernst Lindgren e Harold Brown<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6558\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"8\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6558\"><p>\u25b8 Christophe Dupin. Lindgren, Ernst (1910-1973). Screenonline. Dispon\u00edvel <a href=\"http:\/\/www.screenonline.org.uk\/people\/id\/1408972\/index.html\">aqui<\/a>.<\/p><p>\u25b8 David Francis.<br \/>From Parchment to Pictures to Pixels, Balancing the Accounts: Ernest Lindgren and the National Film Archive, 70 Years On. Journal of Film Preservation n. 71, jul. 2006. Dispon\u00edvel <a href=\"https:\/\/archive.org\/details\/ErnestLindgren\">aqui<\/a>.<\/p><p>\u25b8 Christophe Dupin. The Origins and Early Development of the National Film Library:<br \/>1929-1936. Journal of Media Practice, vol. 7, n. 3,<\/p><p>\u25b8 Clyde Jeavons. Harold Brown &#8211; Inventor of the art and science of film preservation and restoration. The Guardian, 2008. Dispon\u00edvel <a href=\"https:\/\/www.theguardian.com\/film\/2008\/dec\/12\/harold-brown-obituary\">aqui<\/a>.<\/p><p>\u25b8 A History of the archive. British Film Institute. Dispon\u00edvel <a href=\"https:\/\/www2.bfi.org.uk\/archive-collections\/about-bfi-national-archive\/history-archive\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-6559\" class=\"elementor-tab-title\" data-tab=\"9\" role=\"tab\" aria-controls=\"elementor-tab-content-6559\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Cinemateca Francesa, Henri Langlois, Reichsfilmarchiv e Frank Hensel<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-6559\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"9\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-6559\"><p>\u25b8 Pierre Barbin. La Cin\u00e9math\u00e8que fran\u00e7aise, 1936-1986 : inventaire et l\u00e9gendes. Vuibert,<br \/>2005.<\/p><p>\u25b8 Laurent Mannoni. Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise : l&#8217;amour fou du cin\u00e9ma.<br \/>Gallimard, 2006.<\/p><p>\u25b8 Cin\u00e9math\u00e8que en libert\u00e9. Programa radiof\u00f4nico em cinco partes difundido pela France Culture em 1980. Dispon\u00edvel <a href=\"https:\/\/www.radiofrance.fr\/franceculture\/podcasts\/les-nuits-de-france-culture\/henri-langlois-la-collection-de-la-cinematheque-s-est-batie-sur-le-don-du-premier-appareil-de-georges-melies-7189386\">na \u00edntegra<\/a>, em Franc\u00eas.<\/p><p>\u25b8 Rolf Aurich. The German Reich Film Archive in an International Context. In: Malte Hagener (ed.). The Emergence of Film Culture. Berghan, 2017.<\/p><p>\u25b8 Rolf Aurich. Cin\u00e9aste, Collector, National Socialist Frank Hensel and the<br \/>Reichsfilmarchiv. Journal of Film Preservation, abr. 2002. Dispon\u00edvel <a href=\"http:\/\/users.clas.ufl.edu\/burt\/CiNOma\/FIFAScorceseUsai.pdf\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-65510\" class=\"elementor-tab-title\" data-tab=\"10\" role=\"tab\" aria-controls=\"elementor-tab-content-65510\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria da FIAF<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-65510\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"10\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-65510\"><p>\u25b8 FIAF. 50 Years of Film Archives 1938-1988. 1988.<\/p><p>\u25b8 FIAF Timeline. 2015. Dispon\u00edvel em: <a href=\"https:\/\/www.fiafnet.org\/pages\/History\/FIAF-Timeline.html\">https:\/\/www.fiafnet.org\/pages\/History\/FIAF-Timeline.html<\/a>.<\/p><p>\u25b8 FIAF Oral History Interviews. Dispon\u00edvel <a href=\"https:\/\/www.fiafnet.org\/pages\/History\/Interviews-Oral-History-Project.html\">aqui.<\/a><\/p><p>\u25b8 FIAF&#8217;s Historical Archive Catalogue. Dispon\u00edvel <a href=\"https:\/\/www.fiafnet.org\/pages\/History\/Catalogue-FIAF-Archives.html\">aqui<\/a>.<\/p><p>\u25b8 The Origins of FIAF, 1936-1938. Dispon\u00edvel <a href=\"https:\/\/www.fiafnet.org\/pages\/History\/Origins-of-FIAF.html\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-76d91874 elementor-widget elementor-widget-heading\" data-id=\"76d91874\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Pel\u00edcula<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-346df2d2 elementor-widget elementor-widget-toggle\" data-id=\"346df2d2\" data-element_type=\"widget\" data-widget_type=\"toggle.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-toggle\" role=\"tablist\">\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-8791\" class=\"elementor-tab-title\" data-tab=\"1\" role=\"tab\" aria-controls=\"elementor-tab-content-8791\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria da pel\u00edcula<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-8791\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-8791\"><p>\u25b8 Raymond Fielding. A Technological History Of Motion Pictures And Television &#8211; An&nbsp;<span style=\"background-color: var( --e-global-color-e06b23e ); color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;\">Anthology From The Pages Of The Journal Of The Society Of Motion Picture And Television&nbsp;<\/span><span style=\"background-color: var( --e-global-color-e06b23e ); color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;\">Engineers. University of California Press, 1967.<\/span><\/p>\n<p>\u25b8 Roger Smither (ed.). This Films is Dangerous: A Celebration of Nitrate Film. FIAF, 2002.<\/p>\n<p>\u25b8 Barry Salt. Film Style and Technology: History and Analysis. Starword, 2009.<\/p>\n<p>\u25b8 Barbara Flueckiger. Timeline of Historical Film Colors. <a href=\"http:\/\/zauberklang.ch\/filmcolors\/\">http:\/\/zauberklang.ch\/filmcolors\/<\/a>.<\/p>\n<p>\u25b8 FilmCare.org\/Image Permanence Institute. Motion Picture Film Technology Timeline.&nbsp;<span style=\"background-color: var( --e-global-color-e06b23e ); color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;\">Dispon\u00edvel <a href=\"https:\/\/www.filmcare.org\/timeline\">aqui<\/a>.<\/span><\/p>\n<p>\u25b8 Spare Time Labs. Film History. Dispon\u00edvel <a href=\"http:\/\/www.sparetimelabs.com\/animato\/animato\/filmhist\/filmhist.html\">aqui<\/a>.<\/p>\n<p>\u25b8 Paul Read, Mark-Paul Meyer. Restoration of Motion Picture Film. Elsevier, 2000.<\/p>\n<p>\u25b8 Kodak. Chronology of Motion Picture Films. Dispon\u00edvel <a href=\"https:\/\/www.kodak.com\/motion\/About\/Chronology_Of_Film\/index.htm\">aqui<\/a>.<\/p>\n<p>\u25b8 Karl Malkames. The 35-mm Motion Picture Camera from the Begnnings to the 1920s.&nbsp;<span style=\"background-color: var( --e-global-color-e06b23e ); color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); font-size: 1rem;\">SPMTE Journal, june\/1981. Dispon\u00edvel <a href=\"https:\/\/ieeexplore.ieee.org\/stamp\/stamp.jsp?arnumber=7241938\">aqui<\/a>.<\/span><\/p>\n<p>\u25b8 Annette Roulier. A Short History and Concepts of Color Photography. Dispon\u00edvel <a href=\"https:\/\/dhlab.philhist.unibas.ch\/en\/\">aqui<\/a>.<\/p>\n<p>\u25b8 Friedrich Kittler. M\u00eddias \u00f3pticas &#8211; curso em Berlin, 1999. Contraponto, 2016.<\/p>\n<p>\u25b8 Leo Enticknap.<br>Moving image technology &#8211; from zoetrope to digital. Wallflower Press, 2005.<\/p>\n<p>\u25b8 The History of the<br>Discovery of Cinematography. Dispon\u00edvel em: <a href=\"http:\/\/www.precinemahistory.net\">www.precinemahistory.net<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-8792\" class=\"elementor-tab-title\" data-tab=\"2\" role=\"tab\" aria-controls=\"elementor-tab-content-8792\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Tecnologia da pel\u00edcula<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-8792\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-8792\"><p>\u25b8 Leo Enticknap. Moving image technology &#8211; from zoetrope to digital. Wallflower Press, 2005.<\/p>\n<p>\u25b8 Raymond Fielding. A Technological History Of Motion Pictures And Television &#8211; An Anthology<br>From The Pages Of The Journal Of The Society Of Motion Picture And Television Engineers.<br>University of California Press, 1967.<\/p>\n<p>\u25b8 Roger Smither (ed.). This Films is Dangerous: A Celebration of Nitrate Film. FIAF, 2002.<\/p>\n<p>\u25b8 Scott Williams. Photographic Chemistry for Preservation. AIC. Dispon\u00edvel <a href=\"https:\/\/learning.conservation-us.org\/photo-chemistry\">aqui<\/a>.<\/p>\n<p>\u25b8 Kodak. H-24 Processing Modules for Motion Picture Films. Dispon\u00edvel <a href=\"https:\/\/www.kodak.com\/lk\/en\/motion\/support\/technical_information\/processing_manuals\/h24_modules_online\/index.htm\">aqui<\/a>.<\/p>\n<p>\u25b8 Gawain Weaver, Zach Long. Chromogenic Characterization: a study of Kodak color prints, 1942-2008. Dispon\u00edvel <a href=\"https:\/\/gawainweaver.com\/images\/uploads\/Weaver_and_Long_Chromogenic_prepublication_edition.pdf\">aqui<\/a>.<\/p>\n<p>\u25b8 Ilford. Reversal Processing &#8211; Application Sheet. 2003. Dispon\u00edvel <a href=\"https:\/\/web.archive.org\/web\/20090320053207\/http:\/\/www.ilfordphoto.com\/Webfiles\/20061291034093.pdf\">aqui<\/a>.<\/p>\n<p>\u25b8 Harold Brown. Physical Characteristics of Early Films as Aids to Identification. 1990, FIAF.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-8793\" class=\"elementor-tab-title\" data-tab=\"3\" role=\"tab\" aria-controls=\"elementor-tab-content-8793\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Preserva\u00e7\u00e3o de pel\u00edcula<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-8793\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-8793\"><p>\u25b8 Image Permanence Institute. FilmCare.org. <a href=\"https:\/\/www.filmcare.org\">https:\/\/www.filmcare.org<\/a>.<\/p><p>\u25b8 Hebert Volkmann. Preservation (chapter 3). In: Eileen Bowser, John Kuiper (eds.) A Handbook for Film Archives. FIAF, 1980. Dispon\u00edvel <a href=\"https:\/\/www.fiafnet.org\/images\/tinyUpload\/Publications\/FIAF-Bookshop\/A-Handbook-for-Film-Archives-LR.pdf\">aqui<\/a>.<\/p><p>\u25b8 Library of Congress. Care, Handling, and Storage of Motion Picture Film. Dispon\u00edvel <a href=\"https:\/\/www.loc.gov\/preservation\/care\/film.html\">aqui<\/a>.<\/p><p>\u25b8 National Film and Sound Archive of Australia. Technical Preservation Handbook. Dispon\u00edvel<br \/><a href=\"https:\/\/www.nfsa.gov.au\/preservation\/guide\/handbook\">aqui<\/a>.<\/p><p>\u25b8 National Film Preservation Foundation. The Film Preservation Guide &#8211; The Basics for<br \/>Archives, Libraries, and Museums. 2003. Dispon\u00edvel <a href=\"https:\/\/www.filmpreservation.org\/preservation-basics\/the-film-preservation-guide-download\">aqui<\/a>.<\/p><p>\u25b8 FIAF. Film Deterioration Guide. 2002. Dispon\u00edvel <a href=\"https:\/\/cna.public.lu\/fr\/actualites\/mediatheque\/2014\/10\/CD-restaurer\/3_3_Tools_FIAFTC_FilmDeteriorationGuide_2002.html\">aqui<\/a>.<\/p><p>\u25b8 Library and Archives of Canada. Instructions: a visual glossary of six stages of acetate film base. 2018. Dispon\u00edvel <a href=\"https:\/\/www.bac-lac.gc.ca\/eng\/about-us\/publications\/electronic-books\/Pages\/visual-glossary-acetate.aspx\">aqui<\/a>.<\/p><p>\u25b8 Image Permanence Institute. IPI Storage Guide for Acetate Film. Dispon\u00edvel <a href=\"https:\/\/www.imagepermanenceinstitute.org\/webfm_send\/299\">aqui<\/a>.<\/p><p>\u25b8 Image Permanence Institute. IPI Media guide. Dispon\u00edvel <a href=\"https:\/\/www.imagepermanenceinstitute.org\/webfm_send\/301\">aqui<\/a>.<\/p><p>\u25b8 Paul Read, Mark-Paul Meyer. Restoration of Motion Picture Film. Elsevier, 2000.<\/p><p>\u25b8 Leo Enticknap. Film Restoration: The Culture and Science of Audiovisual Heritage. Palgrave Macmilan, 2013.<\/p><p>\u25b8 Fernanda Coelho. Manual de Manuseio de Pel\u00edculas Cinematogr\u00e1ficas: procedimentos<br \/>utilizados na Cinemateca Basileira. Cinemateca Brasileira, 2006.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b329001 elementor-widget elementor-widget-heading\" data-id=\"b329001\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">V\u00eddeo Anal\u00f3gico<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-748add6b elementor-widget elementor-widget-toggle\" data-id=\"748add6b\" data-element_type=\"widget\" data-widget_type=\"toggle.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-toggle\" role=\"tablist\">\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1951\" class=\"elementor-tab-title\" data-tab=\"1\" role=\"tab\" aria-controls=\"elementor-tab-content-1951\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria do v\u00eddeo, da televis\u00e3o e da grava\u00e7\u00e3o magn\u00e9tica<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-1951\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1951\"><p>\u25b8 Technology Connections. Television. S\u00e9rie de v\u00eddeos sobre hist\u00f3ria da t\u00e9cnica da televis\u00e3o.<br \/>Dispon\u00edvel <a href=\"https:\/\/www.youtube.com\/playlist?list=PLv0jwu7G_DFUGEfwEl0uWduXGcRbT7Ran\">aqui<\/a>.<\/p><p>\u25b8 Eyes of a Generation. <a href=\"https:\/\/eyesofageneration.com\">https:\/\/eyesofageneration.com<\/a>.<\/p><p>\u25b8 Thomas Fine. The 35mm Album Master Fad. Sobre o uso do magn\u00e9tico para trilhas sonoras de<br \/>cinema nos anos 60 e 70. 2013. Dispon\u00edvel <a href=\"http:\/\/aes-media.org\/historical\/pdf\/fine_35mm-fad.pdf\">aqui<\/a>.<\/p><p>\u25b8 Early Television Foundation and Museum. <a href=\"http:\/\/www.earlytelevision.org\/index.html\">http:\/\/www.earlytelevision.org\/index.html<\/a>.<\/p><p>\u25b8 Friedrich Engel, Peter Hammar, Richard L. Hess. A Selected History of Magnetic Recording.<br \/>2006. Dispon\u00edvel <a href=\"https:\/\/www.richardhess.com\/tape\/history\/Engel_Hammar--Magnetic_Tape_History.pdf\">aqui<\/a>.<\/p><p>\u25b8 Steven Schoenherr. Recording Technology History. 2005. Dispon\u00edvel <a href=\"http:\/\/history.sandiego.edu\/GEN\/recording\/notes.html\">aqui<\/a>.<\/p><p>\u25b8 The History of Magnetic Recording. 2011. Dispon\u00edvel <a href=\"https:\/\/h2g2.com\/edited_entry\/A3224936\">aqui<\/a>.<\/p><p>\u25b8 Jay McKnight, Jeffrey McKnight. Some Popular Misconceptions About Magnetic Recording<br \/>History and Theory. 2012. Dispon\u00edvel <a href=\"https:\/\/www.aes.org\/aeshc\/pdf\/mcknight_some-popular-misconceptions.pdf\">aqui<\/a>.<\/p><p>\u25b8 National Film and Sound Archive of Australia. Magnetic Recording Timeline. Dispon\u00edvel <a href=\"https:\/\/www.nfsa.gov.au\/preservation\/preservation-glossary\/magnetic-recording-timeline\">aqui<\/a>.<\/p><p>\u25b8 Dana M Lee. Television Technical Theory Unplugged. 2004. Dispon\u00edvel <a href=\"https:\/\/www.keysight.com\/us\/en\/assets\/7018-09178\/data-sheets-archived\/5962-0166.pdf\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1952\" class=\"elementor-tab-title\" data-tab=\"2\" role=\"tab\" aria-controls=\"elementor-tab-content-1952\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Tecnologia do v\u00eddeo anal\u00f3gico e da televis\u00e3o<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-1952\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1952\"><p>\u25b8 National Film and Sound Archive of Australia. Technical Preservation Handbook.Dispon\u00edvel <a href=\"https:\/\/www.nfsa.gov.au\/preservation\/guide\/handbook\">aqui<\/a>.<\/p><p>\u25b8 Early Television Foundation and Museum. <a href=\"http:\/\/www.earlytelevision.org\/index.html\">http:\/\/www.earlytelevision.org\/index.html<\/a>.<\/p><p>\u25b8 K. Blair Benson. A Brief History of Television Camera Tubes. Dispon\u00edvel <a href=\"https:\/\/ieeexplore.ieee.org\/document\/7242617\">aqui<\/a> (acesso restrito).<\/p><p>\u25b8 Morrell, Law, Ramberg, Herold. Color Television Picture Tubes. 1974, Academic Press.<\/p><p>\u25b8 Philips. El Tubo de Camara de Televisi\u00f3n. Sobre o tubo Vidicon. Dispon\u00edvel <a href=\"https:\/\/www.youtube.com\/watch?v=WJ-XpNqFLJ4\">aqui<\/a>.<\/p><p>\u25b8 Samuel M. Goldwasser. TV and Monitor CRT (Picture Tube) Information. 1999. Dispon\u00edvel <a href=\"http:\/\/arcadecontrols.com\/files\/Miscellaneous\/crtfaq.htm#crtpre\">aqui<\/a>.<\/p><p>\u25b8 Rank Bush Murphy Limited. The Shadow Mask Tube. c. 1960. Dispon\u00edvel <a href=\"https:\/\/www.youtube.com\/watch?v=68PZmMsf07k\">aqui<\/a>.<\/p><p>\u25b8 Jerry C. Whitaker, K. Blair Benson (eds.). Standard Handbook of Video and Television Engineering. 2000, McGraw-Hill.<\/p><p>\u25b8 Tektronix. NTSC Video Measurements. Dispon\u00edvel <a href=\"https:\/\/www.tek.com\/en\/documents\/primer\/ntsc-video-measurements-primer\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1953\" class=\"elementor-tab-title\" data-tab=\"3\" role=\"tab\" aria-controls=\"elementor-tab-content-1953\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Tecnologias da fita magn\u00e9tica e formatos magn\u00e9ticos de v\u00eddeo<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-1953\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1953\"><p>\u25b8 How Products Are Made. Videotape. Dispon\u00edvel <a href=\"http:\/\/www.madehow.com\/Volume-7\/Videotape.html\">aqui<\/a>.<\/p><p>\u25b8 Jerry C. Whitaker, K. Blair Benson (eds.). Standard Handbook of Video and Television Engineering. 2000, McGraw-Hill.<\/p><p>\u25b8 University of Birmingham. Magnetic Materials Background Information. Dispon\u00edvel <a href=\"https:\/\/www.birmingham.ac.uk\/research\/activity\/metallurgy-materials\/magnets\/Magnetic-Materials-Background-Information.aspx\">aqui<\/a>.<\/p><p>\u25b8 Sony Asia Pacific. Sony&#8217;s Technical Excellence. Dispon\u00edvel <a href=\"https:\/\/www.sony-asia.com\/\">aqui<\/a>.<\/p><p>\u25b8 H. Neal Bertram. Theory of Magnetic Recording. 1994, Cambridge University Press.<\/p><p>\u25b8 Tim Stoffel. Videotape Systems Theory. 2004. Dispon\u00edvel <a href=\"http:\/\/www.lionlamb.us\/quad\/theory.html\">aqui<\/a>.<\/p><p>\u25b8 How Products Are Made. How Videotape Is Made. 2004. Dispon\u00edvel <a href=\"http:\/\/www.madehow.com\/Volume-7\/Videotape.html\">aqui<\/a>.<\/p><p>\u25b8 Leo Backman\/DigiOmmel &amp; Co. Fast Detection and Dehumidification of U-matic Video Tapes suffering from Sticky-Shed Syndrome. Dispon\u00edvel <a href=\"http:\/\/www.digiommel.fi\/Fast%20Treatment%20of%20sticky%20U-matic%20tapes.pdf\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1954\" class=\"elementor-tab-title\" data-tab=\"4\" role=\"tab\" aria-controls=\"elementor-tab-content-1954\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Preserva\u00e7\u00e3o de v\u00eddeo anal\u00f3gico e de v\u00eddeo em suporte magn\u00e9tico<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-1954\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"4\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1954\"><p>\u25b8 EBU subgroup G2. Handling and storage of recorded videotape. European Broadcast Union, 1992. Dispon\u00edvel <a href=\"https:\/\/tech.ebu.ch\/docs\/techreview\/trev_254-tutorial.pdf\">aqui<\/a>.<\/p><p>\u25b8 John W. C. Van Bogart. Armazenamento e manuseio de fitas magne\u0301ticas: um guia para bibliotecas e arquivos. 2001, Arquivo Nacional. Dispon\u00edvel <a href=\"https:\/\/www.arqsp.org.br\/wp-content\/uploads\/2017\/07\/42.pdf\">aqui<\/a>.<\/p><p>\u25b8 Texas Commission on the Arts. Videotape Identification and Assessment Guide. 2004. Dispon\u00edvel <a href=\"http:\/\/www.arts.texas.gov\/wp-content\/uploads\/2012\/04\/video.pdf\">aqui<\/a>.<\/p><p>\u25b8 IASA Technical Committee. Handling and Storage of Audio and Video Carriers &#8211; IASA-TC 05. 2004. Dispon\u00edvel <a href=\"https:\/\/www.iasa-web.org\/tc05\/handling-storage-audio-video-carriers\">aqui<\/a>.<\/p><p>\u25b8 Jim Wheeler. Videotape Preservation Handbook . 2002. Dispon\u00edvel <a href=\"https:\/\/amianet.org\/wp-content\/uploads\/Resources-Guide-Video-Handbook-Wheeler-2002.pdf\">aqui<\/a>.<\/p><p>\u25b8 Susan P. Etheridge. The Imminent Crisis in Videotape Preservation. [Sem data definida, entre 2013 e 2018]. Dispon\u00edvel <a href=\"http:\/\/susanetheridge.com\/crisis-in-videotape-preservation\/\">aqui<\/a>.<\/p><p>\u25b8 University of Illinois at Urbana-Champaign. Preservation Self-Assessment Program. Dispon\u00edvel <a href=\"https:\/\/psap.library.illinois.edu\/collection-id-guide\">aqui<\/a>.<\/p><p>\u25b8 Bay Area Video Coalition. AV Artifact Atlas. Dispon\u00edvel <a href=\"https:\/\/bavc.org\/programs\/preservation\/\">aqui<\/a>.<\/p><p>\u25b8 Norma ISO 18933:2012. Imaging materials &#8211; Magnetic tape &#8211; Care and handling practices for extended usage. 2012.<\/p><p>\u25b8 Jean-Louis Bigourdan, James M. Reilly, Karen Santoro, Gene Salesin. The Preservation Of Magnetic Tape Collections: A Perspective. 2006, Image Permanence Institute. Dispon\u00edvel <a href=\"https:\/\/www.imagepermanenceinstitute.org\/webfm_send\/303\">aqui<\/a>.<\/p><p>\u25b8 SMPTE &#8211; RP (Recommended Practice) 103:1995. Care, Storage, Operation, Handling and Shipping of Magnetic Recording Tape. 1995.<\/p><p>\u25b8 SMPTE &#8211; EG (Engineering Guideline) 103:1995. Care, Storage, Operation, Handling and Shipping of Magnetic Recording Tape. 1995.<\/p><p>\u25b8 Gregory Capelo, Robert C. Brenner. VCR Troubleshooting and Repair. 1998, Newnes.<\/p><p>\u25b8 Specs Bros. Basic Inspection Techniques to Sample the Condition of Magnetic Tape. 2008. Dispon\u00edvel <a href=\"http:\/\/www.specsbros.com\/uploads\/7\/1\/9\/0\/71903471\/white_pages-_basic_inspection_techniques9.pdf\">aqui<\/a>.<\/p><p>\u25b8 Richard Keatinge. Causes and Measurement of Videotape Decay. 2009, Broadway Video Digital Media. Dispon\u00edvel <a href=\"http:\/\/sportsvideo.org\/main\/files\/2010\/08\/video-tape-white-paper.pdf\">aqui<\/a>.<\/p><p>\u25b8 Jim Lindner. Confessions of a Videotape Restorer or How come these tapes all need to be cleaned differently?. 2008. Dispon\u00edvel <a href=\"https:\/\/cool.culturalheritage.org\/byauth\/lindner\/lindner1.html\">aqui<\/a>.<\/p><p>\u25b8 Adam Nickel. The Island of Misfit Tapes. 2018. Dispon\u00edvel <a href=\"https:\/\/cool.culturalheritage.org\/byauth\/lindner\/lindner1.html\">aqui<\/a>.<\/p><p>\u25b8 Jim Lidner. Magnetic Tape Deterioration: Tidal Wave at Our Shores. 1996. Dispon\u00edvel <a href=\"https:\/\/cool.culturalheritage.org\/byauth\/lindner\/tidal.html\">aqui<\/a>.<\/p><p>\u25b8 Jim Lidner. Videotape Restoration&#8211;Where Do I Start?. 2008. Dispon\u00edvel <a href=\"https:\/\/cool.culturalheritage.org\/byauth\/lindner\/lindner2.html\">aqui<\/a>.<\/p><p>\u25b8 Videotape Preservation Website. <a href=\"http:\/\/videopreservation.conservation-us.org\/\">http:\/\/videopreservation.conservation-us.org\/ <\/a><\/p><p>\u25b8 Jim Wheeler, Peter Brothers. Videotape Preservation Fact Sheets. 2002, AMIA. Dispon\u00edvel <a href=\"https:\/\/cool.culturalheritage.org\/byauth\/lindner\/lindner2.html\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6fd6c462 elementor-widget elementor-widget-heading\" data-id=\"6fd6c462\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">V\u00eddeo Digital<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3c0104df elementor-widget elementor-widget-toggle\" data-id=\"3c0104df\" data-element_type=\"widget\" data-widget_type=\"toggle.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-toggle\" role=\"tablist\">\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1001\" class=\"elementor-tab-title\" data-tab=\"1\" role=\"tab\" aria-controls=\"elementor-tab-content-1001\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria dos computadores, da computa\u00e7\u00e3o e de suas tecnologias<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-1001\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1001\"><p>\u25b8 Creatures of Thought. Lost Generation: The Relay Computers. Dispon\u00edvel <a href=\"https:\/\/technicshistory.com\/2017\/05\/10\/lost-generation-the-relay-computers\/\">aqui<\/a>.<\/p><p>\u25b8 History of Computers: hardware, software and internet. <a href=\"https:\/\/history-computer.com\/\">https:\/\/history-computer.com\/<\/a>.<\/p><p>\u25b8 CrashCourse, Carrie Anne. CrashCourse Computer Science. 2017, PBS Digital Studios. Dispon\u00edvel <a href=\"https:\/\/www.youtube.com\/watch?v=tpIctyqH29Q&amp;list=PL8dPuuaLjXtNlUrzyH5r6jN9ulIgZBpdo\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1002\" class=\"elementor-tab-title\" data-tab=\"2\" role=\"tab\" aria-controls=\"elementor-tab-content-1002\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Hist\u00f3ria das tecnologias de imagem digital<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-1002\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1002\"><p>\u25b8 Jon Plutte. When a Bit Became a Pixel: The History of Computer Graphics. Filme. 2014, Computer History Museum. Dispon\u00edvel <a href=\"https:\/\/www.youtube.com\/watch?v=iw1o4ozvjEU\">aqui<\/a>.<\/p><p>\u25b8 Kazuo Kobayashi. Birth of a Digital Phototelegraph \u2014 the Bartlane System. 2002, The Journal of the Institute of Image Electronics Engineers of Japan. Dispon\u00edvel <a href=\"https:\/\/www.jstage.jst.go.jp\/article\/iieej\/31\/2\/31_2_244\/_article\">aqui<\/a> [em Japon\u00eas].<\/p><p>\u25b8 Marius Rensen. The Bartlane System. Dispon\u00edvel <a href=\"http:\/\/www.hffax.de\/history\/html\/bartlane.html\">aqui<\/a>.<\/p><p>\u25b8 Paul Cohen. The Incredible Machine. Filme. 1968, Bell Labs. Dispon\u00edvel <a href=\"https:\/\/www.youtube.com\/watch?v=iwVu2BWLZqA\">aqui<\/a>.<\/p><p>\u25b8 picsandportraits. A Brief History of Computer Animation. S\u00e9rie de v\u00eddeos. 2018. Dispon\u00edvel <a href=\"https:\/\/www.youtube.com\/watch?v=w1kRcfs1GNs&amp;list=PLQuprjzQRJPGRT1Zx8KDbKF_MC9TnWv1L\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-toggle-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1003\" class=\"elementor-tab-title\" data-tab=\"3\" role=\"tab\" aria-controls=\"elementor-tab-content-1003\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon elementor-toggle-icon-left\" aria-hidden=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-closed\"><i class=\"fas fa-chevron-right\"><\/i><\/span>\n\t\t\t\t\t\t\t\t<span class=\"elementor-toggle-icon-opened\"><i class=\"elementor-toggle-icon-opened fas fa-chevron-up\"><\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"\" class=\"elementor-toggle-title\">Patrim\u00f4nio e preserva\u00e7\u00e3o digital<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<div id=\"elementor-tab-content-1003\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1003\"><p>\u25b8 Digital Preservation Coalition. Digital Preservation Handbook. 2. ed. Digital Preservation Coalition, 2015. Dispon\u00edvel <a href=\"https:\/\/www.dpconline.org\/handbook\/\">aqui<\/a>.<\/p><p>\u25b8 The Science and Technology Council of the Academy of the Motion Pictures Arts and Sciences. O Dilema Digital. Cinemateca Brasileira, 2009. Dispon\u00edvel <a href=\"https:\/\/www.cinemateca.org.br\/sites\/default\/files\/Dilema_Digital_1_PTBR.pdf\">aqui<\/a>.<\/p><p>\u25b8 The Science and Technology Council of the Academy of the Motion Pictures Arts and Sciences. O Dilema Digital 2. Instituto Butantan, 2012. Dispon\u00edvel <a href=\"https:\/\/www.cinemateca.org.br\/sites\/default\/files\/Dilema_Digital_2_PTBR.pdf\">aqui<\/a>.<\/p><p>\u25b8 Jonas Palm. The Digital Black Hole. Dispon\u00edvel <a href=\"http:\/\/www.tape-online.net\/docs\/Palm_Black_Hole.pdf\">aqui<\/a>.<\/p><p>\u25b8 Terry Kuny. A Digital Dark Ages? Challenges in the Preservation of Electronic Information. 1997. Dispon\u00edvel <a href=\"https:\/\/archive.ifla.org\/IV\/ifla63\/63kuny1.pdf\">aqui<\/a>.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-2d0833e8\" data-id=\"2d0833e8\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-4bb65624 elementor-widget elementor-widget-template\" data-id=\"4bb65624\" data-element_type=\"widget\" data-widget_type=\"template.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-template\">\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1fc025fe elementor-widget elementor-widget-template\" data-id=\"1fc025fe\" data-element_type=\"widget\" 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class=\"elementor-item\" tabindex=\"-1\">Reposit\u00f3rio de Refer\u00eancias<\/a><\/li>\n<\/ul>\t\t\t<\/nav>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Introdu\u00e7\u00e3o ao Audiovisual Hist\u00f3ria das tecnologias de imagem animada at\u00e9 o cinema \u25b8 Friedrich Kittler. M\u00eddias \u00f3pticas &#8211; curso em Berlin, 1999. Contraponto, 2016. \u25b8 Leo Enticknap.Moving image technology &#8211; from zoetrope to digital. Wallflower Press, 2005. \u25b8 Stephen Hebert.A History of Pre-Cinema. 2 vol. Routledge, 2000. \u25b8 Hermann Hecht, Ann Hecht. Pre-cinema history &#8211; [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2750","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/abpa.annaerbetta.com\/index.php\/wp-json\/wp\/v2\/pages\/2750","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/abpa.annaerbetta.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/abpa.annaerbetta.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/abpa.annaerbetta.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/abpa.annaerbetta.com\/index.php\/wp-json\/wp\/v2\/comments?post=2750"}],"version-history":[{"count":3,"href":"https:\/\/abpa.annaerbetta.com\/index.php\/wp-json\/wp\/v2\/pages\/2750\/revisions"}],"predecessor-version":[{"id":2866,"href":"https:\/\/abpa.annaerbetta.com\/index.php\/wp-json\/wp\/v2\/pages\/2750\/revisions\/2866"}],"wp:attachment":[{"href":"https:\/\/abpa.annaerbetta.com\/index.php\/wp-json\/wp\/v2\/media?parent=2750"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}