Abstract

The restoration of audiovisual records is a relatively young set of practices, compared to those used to restore comparable cultural artefacts, notably archival written documents, works of fine art, sculptures, museological artefacts and buildings. Its proponents also claim that it is a fundamentally unique one. A ‘charter on film restoration’ endorsed by FIAF in 2011 claims that it is different from all restoration in other fields, where a tradition is already established. Whereas those traditions typically imply work on an original artefact, film restoration implies duplication and/or reconstruction.1

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