In Pennsylvania in late April the trees are leafless and stand stark and grey against the
horizon. Bird nests are visible in the forks of branches. At night, possum and deer scamper across the roads and it is very very dark and very very still. Somewhere, tucked away in this landscape with a beaver dam out back, is the Celeste Bartos Film Preservation Center (MoMA).
Opened in 1996, the Center is the repository for MoMA’s moving image collection and supplemental documentation including posters and still images. This was probably the only time in my life when I will ever hold an Oscar, and typically I did not think to ask for photographic evidence. Oscars are surprisingly heavy.
Currently the motion picture component is almost wholly analogue, with a focus on 16mm and 35mm film. The audiovisual output of major studios (Warner Brothers, Selznick) and directors (Ford, Hitchcock) are well-represented in addition to that of international artists (Man Ray, Warhol).