Abstract
This paper addresses some of the practical and aesthetic decisions made during the restoration of a number of Danish silent films, including whether or not to retain the authenticity of a specific film print (in the case of multiple copies with individual variances), electronic distribution priorities, access, and colour duplication technique (Desmet, colour stock, etc). The restoration of the 1913 Danish feature Atlantis, which was restored in colour in high definition for DVD, and in black and white for 35mm prints, provides a case study for understanding how curatorial interpretation and laboratory intervention impact the restoration process.
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