The success of the film industry, and arguably its existence, depends on air conditions. The technologies of environmental and atmospheric control are responsible for ensuring that advances in the industry’s equipment and materials actually work and much progress is made thanks to the artificial climates produced by air conditioning systems. Ongoing development of air conditions facilitates desires to also continually improve the practices of film production and preserve its legacy. Cellulose-nitrate film never has to be subjected to natural conditions; it resides in a world of carefully manipulated and implemented containers. In fact, it could never survive in a real world of unpredictable natural forces. The long list of containers in this work (not to mention that there are potentially even a few scenarios missing or not fully elaborated and the circumstances of other film types like acetate-based safety have yet to be explored) are evidence of this claim. As concluded in a 1922 T.S.M.P.E. article, “Efficient testing and controls starts with the nitrating of the raw paper stock for the nitro-cellulose dope and ends only when the film is placed in the cans for shipping” (Hitchins, 151). In truth, this statement extends further to the cremating of nitrate-based film that is pronounced ‘dead’.

 

Herbert Volkmann, Director of the State Film Archive of the German Democratic Republic and Chairman of the Preservation Committee during the 1960s, wrote in regards to film preservation, “Steady low temperatures, a relative humidity varying only within narrow limits, and constant renewal of the air without endangering the levels of temperature and humidity, can only be fully achieved by a system of artificial air conditioning” (Volkmann, 23). Automatic air conditioning systems aided by accurate thermometers and hygrometers, among other devices and machinery, permeate all aspects of film, for which preservation practices actually begin well before arrival at an archival storage facility. Without such installations, the film would fail to serve its purpose both at the present time and into the future. Nitrate-based film may not be made anymore, but the dependence is also true of acetate-based film and colored images although they are safer to handle.

 

Throughout the film’s lifetime, air conditions are a driving force in the factory or warehouse, the theatre, and the archives. The first attempts to control environments were Process Air Conditioning systems, or those which had industrial applications in factories dealing with hygroscopic materials. Because film is hygroscopic in nature, the use of air conditioning in manufacturing is thus justified. In theatres, HVAC systems also cater to the properties of the cellulose-nitrate and various processes involved with projection, plus systems are installed for comfort cooling. Finally, archives have the task of extending the life of nitrate-based films for as long as possible using cold storage and ventilation strategies. Each of these places have a reasonable explanation for using air conditioning especially as relating to film, but some justifications are less tangible than others.At the start, film needs to be manufactured like any other commercialized good with consumer value. Increasing demands spurred on chemists to continually perfect the product and engineers calculated and designed the means to support greater output. Intertwined in the manufacturing processes are related costs, materials, machinery, and energies, all operating at a massive scale. Vast spaces must provide adequate air conditions and room to manage huge barrels and tanks, and miles of film. Mass production requires efficient and exact methods of control systems for machinery, air conditioning, lighting, etc. in order to achieve a quality product for distribution. According to a 1922 advertisement, the Eastman Kodak Company produced a monthly average of 65 million feet of film at its Rochester plant in that year. The same scale of production occurs during the development processes to create the movies that are shipped to theaters. These energy-demanding procedures were justified by the growing request for movies to entertain the public. Air conditioning has advantages of keeping the film pliable, cleaning the air of dust and pollutants, controlling the temperatures of solutions for developing negatives and positives all claim to reduce film losses and maximize production. Carrier persuaded that with the installation of its products, there would be enough savings in one year to cover the cost of the expensive air conditioning system. They cited notable film studios like M.G.M. or Paramount who were already profiting from such installments. Air conditioning and other equipment had to be very precise to achieve optimal results for film quality because of the film industry’s proliferation and success. Paying close attention to the physical properties of film, improved procedures helped contribute to the commercial competition of film studios seeking profits and subsequently, the satisfaction of audiences.

 

In theaters, there is a dual priority of accommodating the film behind the scenes to put on a good show and the patrons who pay to watch the show. As architectural spaces, theaters provide seating for hundreds of people and ample storage space for hundreds of films. The theater’s projection room is conditioned appropriately and fireproofed for performance and safety; it is isolated from the main theater space. The theater was one of the first programs to incorporate comfort cooling as opposed to process cooling. Patrons not only valued the thrill of being entertained by a quality motion picture, but also sought a refuge from summer heat and winter cold while engaging in a recreational pastime. This was the major selling point for companies like Carrier who were also trying to sell a product and make a profit. Just as they convinced the film manufacturer of the necessity of air conditioning instruments for manufacturing and developing film, they easily convinced them of the investment it could be for theater owners. A nice source of this is provided in the Link AC Pays for Itself in Theaters. While the scope of these systems and ramifications are not highlighted in this research, they are worth mentioning as a supplement to the film’s air conditions because after all, the theater is the place where the culture or art of film is expressed. Film as a medium of cultural heritage is one of the major reasons supporting its preservation.

 

Finally, air conditions are absolutely critical in preservation of films and this is where their impact comes into question. Air conditioning is installed to prolong the lifespan of films that will inevitably decay. A lot of energy is consumed for preservation despite the fact that films may be stored for decades without ever being played. Archival stores probably use the most resources because they must maintain such cold temperatures, but of all the phases in a film reels life, it is here where the least activity occurs. Even if nitrate-based films are copied onto acetate-based film, there is no guarantee that film will last forever either and the chances of any original version surviving are quite slim. Additionally, it should also be a requirement to preserve equipment for viewing the films as new technologies displace old ones.

 

All of this began with the fundamental inventions of celluloid film, motion picture cameras, and projectors. From that sprouted an entire industry and culture that has proliferated into a defining element of American life. For whatever ambition films were initially conceived for, they have come to contain important meaning as a part of America’s cultural heritage. Film’s worth in society leads to the production of new films and encourages the conservation of old films. Money, resources, and space are expended to support the production of new films and the maintenance of old films; however, new films become old films. There is a desire for exponential growth, and few ways to check film populations.

 

There are many arguments for propelling the film industry forward and preserving past films. At the very beginning of film history, Boleslas Matuszewski was already articulating reasons as to why film should be preserved in his 1898 article “A New Source of History”. At the time, films were for the most part short tidbits of entertainment, but he already realized film is a powerful historical resource in saying, “from simple pastime, animated photography will thus become an agreeable method for studying the past.” Unfortunately it took over half a century before people really began to see the importance of film preservation and put it into practice. Today film is labeled as a medium of America’s cultural heritage; it is an art form, entertainment venture, educational tool, and record of history. Watching the images being projected, for whatever of these purposes, brings to life a kind of virtual reality that can be greatly appreciated by the viewer.

 

However, with the ability to copy nitrate films onto safer, more durable mediums, why is it so important to preserve them in their original form? Up until 1949 when acetate-based safety film was introduced for professional use after nearly 40 years of experimentation and refinement, cellulose-nitrate was really the only suitable base material for cinematography (Slide, 1). This was because although safety film was available as 16mm in 1923 and 8mm in 1932 and fire companies lobbied for its use, it was still more expensive, less effective, and more prone to shrinkage and brittleness (therefore it was not fit to be run through projectors at the necessary levels to meet showing demands in theaters) than the nitrate-based film people had learned to tolerate (Slide, 4). Some original quality is lost with acetate film, but the quality of the original diminishes with decomposition anyways and it is also mandated that duplicated nitrate films be disposed of. With the advent of the digital age, all of this becomes even more uncertain. Digital technologies have the potential to replace current practices because there are many advantages regarding storage, longevity, and accessibility. Yet people still cling to the memories of the past.

 

Volkmann also makes another strong statement worth contemplating. He contends, “every government has the duty of preserving national works of cultural value for future generations” (Volkmann, 4) which of course film is a formidable example of. Particularly the preservation of film must be collaborative; it involves various people, boards and committees, organizations both international and national, and legislatures. The International Federation of Film Archives was established with “the purpose of collecting together all the known facts, and the results of all available experience, in the storing, preservation, and restoration of cinematograph film, and to publish recommendations which could be put into practical use” (Volkmann, 1). The United States government passed the National Film Preservation Act of 1988 which established a National Film Preservation Board within the Library of Congress that selects 25 films each year for inclusion in the National Film Registry based on criteria of age, and cultural, historical, and aesthetic significance. The United States Congress passed the 1992 National Film Preservation Act which reauthorized the 1988 act, recognizing the national interest in preserving motion pictures as cultural and historical artifacts. The 1994 proposal by the Librarian of Congress, Redefining Film Preservation: A National Plan, strives to bring a fresh approach to improving and coordinating film preservation that encourages collaboration on all fronts, covering topics of storage, accessibility to a better informed public, and funding. The National Board of Fire Underwriters sets regulations for vault design and construction (Kodak, Film Care, 44). Clearly film has its place in society, but it encompasses a lot more than film itself.

 

The scope of this research doesn’t even come close to discussing all pertinent issues and topics regarding film. Having researched cellulose-nitrate film in depth, the next step would be to undertake the same thoroughness of investigation for acetate-based film and color films. From there it would be appropriate to analysis the ramifications of digital films and archival techniques. Furthermore, more connections and evidence can be found for each film type regarding economic and consumption statistics that have not fully been included at this point.