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<\/a><\/p>\nEadweard Muybridge, Horse and Rider Galloping. 86, printed 1887. Collotype.1991.1135.9.69. Metropolitan Museum of Art. <\/a>.<\/p>\n These projections led the way for inventors of the late nineteenth and early twentieth centuries to refine and combine the photographic and projection functions needed to create the motion picture. Today, a variety of film formats may be present in library holdings, such as:<\/p>\n In examining the process of creating films, however, we should also consider and understand that what we are viewing has been mediated in one mode or another; while films are commonly understood to be objective forms because they captured events as they were unfolding, they do not document historical moments on their own. The events or scenes may or may not have been staged; the images pass through a camera; those images might have been trimmed and combined to create the final product we see.<\/p>\n Appreciating that film is a mediated source does not imply that it should be excluded from being utilized as historical evidence. Film sources and their components (dialogue, clothing, setting) can be analyzed for their depictions of social attitudes within a period. In order to fully analyze film sources, you will need to be sure to use other sources (e.g., reviews, letters, fan magazines, oral histories).<\/span><\/p>\n Consider this thought process for analyzing film sources: The thought process in analyzing film is similar to that for photographs:<\/span><\/p>\n adapted from Elisabeth Kaplan and Jeffrey Mifflin, \u201c \u2018Mind and Sight\u2019: Visual Literacy and the Archivist,\u201d in <\/span>American Archival Studies,<\/span><\/i> ed. Randall C. Jimerson (Chicago: Society of American Archivists, 2000), 73-97.<\/span><\/p>\n\n
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