This article was downloaded by: [Cornell University Library]On: 18 November 2014, At: 09:28Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH,UK

Technical Services QuarterlyPublication details, including instructions forauthors and subscription information:http://www.tandfonline.com/loi/wtsq20

Basic Strategies for FilmPreservation in LibrariesFrancis C. Poole a aa University of Delaware Library, University ofDelaware , Newark, DE, USAPublished online: 22 Oct 2008.

To cite this article: Francis C. Poole (1999) Basic Strategies for Film Preservation inLibraries, Technical Services Quarterly, 16:4, 1-10, DOI: 10.1300/J124v16n04_01

To link to this article: http://dx.doi.org/10.1300/J124v16n04_01

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracy of all theinformation (the “Content”) contained in the publications on our platform.However, Taylor & Francis, our agents, and our licensors make norepresentations or warranties whatsoever as to the accuracy, completeness,or suitability for any purpose of the Content. Any opinions and viewsexpressed in this publication are the opinions and views of the authors, andare not the views of or endorsed by Taylor & Francis. The accuracy of theContent should not be relied upon and should be independently verified withprimary sources of information. Taylor and Francis shall not be liable for anylosses, actions, claims, proceedings, demands, costs, expenses, damages,and other liabilities whatsoever or howsoever caused arising directly orindirectly in connection with, in relation to or arising out of the use of theContent.

This article may be used for research, teaching, and private study purposes.Any substantial or systematic reproduction, redistribution, reselling, loan,sub-licensing, systematic supply, or distribution in any form to anyone is

expressly forbidden. Terms & Conditions of access and use can be found athttp://www.tandfonline.com/page/terms-and-conditions

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

Basic Strategies for Film Preservationin Libraries

Francis C. Poole

ABSTRACT. Many school, college, university, and public librarieshave collections of educational, industrial, scientific, and documentaryfilms which are still being used in teaching and research. The majorityof these films are in the 16mm format. Unfortunately, improper orinadequate storage, handling, and maintenance may result in prematureaging and deterioration of the films. Yet, these film resources ofteninclude unique and valuable moving images that are not available onvideo formats such as videotape, laserdisc or Digital Video Disc(DVD). Taking a few simple and relatively inexpensive steps can im-prove the care of 16mm films and enhance chances for the survival ofthe moving image collections that exist in libraries. This can often beaccomplished with modest investments in resources and time on thepart of libraries and library staff. [Article copies available for a fee from TheHaworth Document Delivery Service: 1-800-342-9678. E-mail address: getinfo@haworthpressinc.com <Website: http://www.haworthpressinc.com>]

KEYWORDS. Film preservation, acetate film, vinegar syndrome, ace-tic acid, film collections

INTRODUCTION

A quick glance at a few of the major educational film and videoresource guides makes it obvious that 16mm films are a part of manylibrary collections and continue to be valuable resources. One of themore useful guides to films is the Educational Film and Video Loca-

Francis C. Poole is Associate Librarian and Coordinator of Media Services,University of Delaware Library, University of Delaware, Newark, DE. He is amember of the Association of Moving Image Archivists (AMIA) and holds an MA inLibrary and Information Science from the University of South Florida, Tampa.

Technical Services Quarterly, Vol. 16(4) 1999E 1999 by The Haworth Press, Inc. All rights reserved. 1

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

TECHNICAL SERVICES QUARTERLY2

tor (Bowker) which contains information on some 51,000 education-al and documentary film and video titles held by more than 50 col-lege and university media libraries. The American Library Directory(Bowker) lists more than 33,000 libraries in the United States, manyof which have film collections. Even though collections of VHSvideo cassettes have grown enormously during the 1990s as pricesfell and selection grew, there are still thousands of 16mm films inlibraries which are not available on video. For example, films like thepoetic study, Rhythm of Africa by Jean Cocteau and the fascinatingdocumentary edited from home movies, Natural History of a Psy-chotic Illness in Childhood, have not been released on video. Thereare thousands of other films which offer revealing, poignant andirreplaceable images of people and places in America and the worldduring the last century. Many of these films are in danger of beinglost, orphaned or irreparably damaged due to improper storage and/orpoor maintenance. As newer formats for the creation and storage ofmoving image materials are adopted (such as digital) and older ones(such as videotape) become obsolete, the standard film-based motionpicture format will become increasingly important as a long-termarchival medium. Like other library media materials they deserve tobe given proper care and handling so that future generations have anopportunity to view them.

FILM COMPONENTS

Film consists of two principal components: an image forming layercalled the emulsion coated on a transparent support material called thebase. The emulsion consists of light sensitive particles (silver com-pounds and in color film, dyes) dispersed throughout a medium ofmore or less transparent gelatin. This coating is bound to a support orbase which must be strong, flexible and transparent. The base is usual-ly composed of cellulose acetate or more recently, polyester. Motionpicture film includes the frames, which contain the images, a sound-track (optical or magnetic) and sprocket holes which allow the film tobe pulled through the projector during projection.

FILM TYPES

While physical and chemical tests can be used to identify filmbases, often the nature of the film base can be determined by the age

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

Francis C. Poole 3

and historical context of the collection. Following are examples ofseveral film bases with descriptions of their identifying characteristics.

Nitrate

Films on cellulose nitrate support were first manufactured in thelate 1880s, and nearly all films made between 1889 and the mid-1920swere nitrate. All 35mm motion picture film is likely to be nitrate up to1951, when it was replaced by triacetate. However, no 16mm or 8mmmotion picture film was manufactured on nitrate base. The extremeflammability of nitrate film has been the cause of terrible fires inmovie theaters and film vaults. Socalled ‘‘Safety’’ film which had aslower burning rate was developed in the 1920s.

Acetate

Both cellulose acetate base film and more modern polyester basefilms are labeled with the words, ‘‘Safety Film.’’ Films marked ‘‘Safe-ty,’’ which were manufactured prior to 1955, are definitely acetate, notpolyester. Although experiments with acetate film were conductedfrom about 1900 on, large-scale manufacture of cellulose acetate filmdid not commence until the mid-1920s, when the 16mm home cinemaformat became popular. The main advantage of acetate film overnitrate was its low flammability.

Motion Picture Acetate Film

In general, cinema and amateur roll films marked ‘‘Safety’’ arelikely to be acetate, regardless of format or age. Thus, collections ofcinema film will consist largely of acetate. At present, acetate contin-ues to be the most commonly used base for motion picture films,though since the late 1980s the trend toward polyester is increasing.

Polyester

Polyester plastic film supports are different from acetate in theirchemical and physical properties. For example, polyester cannot betorn easily unless a nick or cut occurs, while acetate and nitrate arefairly easy to tear. Polyester film is not prone to chemical decomposi-tion in the same way that nitrate and acetate film are.

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

TECHNICAL SERVICES QUARTERLY4

FILM BASE DETERIORATION: ‘‘VINEGAR SYNDROME’’

The most important aspect of preserving cellulose acetate film isproper storage. All acetate film is prone to degradation. The process ofdeterioration goes on every day, slowly or quickly, depending on thetemperature and relative humidity (RH) of the storage environment.The first step in basic film preservation is to determine the extent ofthe problem.

Films in library collections are probably most at risk for damagefrom the effects of ‘‘vinegar syndrome.’’ Vinegar syndrome is a slowform of chemical deterioration which affects the plastic support ofacetate film, eventually causing it to become acidic, to shrink, and togive off an odor of acetic acid (vinegar). Under the influence of heat,moisture, or exposure to acidic vapors from nearby degrading film,cellulose acetate undergoes chemical reactions that form acetic acid.This acid is generated within the plastic support, then diffuses into thegelatin emulsion and may evaporate into the air, creating a sharp,acidic odor. Vinegar syndrome is a problem that affects only celluloseacetate plastic materials.

DIAGNOSING ‘‘VINEGAR SYNDROME’’

Acid-base (A-D) indicator papers are now available from the ImagePermanence Institute (IPI) in Rochester, New York to measure thepresence of acetic acid in film. The A-D strips measure film deteriora-tion in an indirect manner by reacting to the amount of acidic vaporpresent in a confined air space above the film, commonly, inside thefilm can or container. Color changes in the strips indicate the amountof acidic vapor present. The strips, which are blue, turn from blue togreen and then to yellow in high concentrations of acidic vapor. Thisaid in diagnosing vinegar syndrome helps determine the approximateextent of acetate support degradation in individual films. They are alsouseful as a survey tool for gaining an overview of the condition offilms in an entire collection. Use of A-D strips does not require spe-cialized archival or technical training. Instructions are simple and easyto follow. IPI has also developed a storage guide for acetate film as atool for evaluating and planning storage environments for acetate basefilms.

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

Francis C. Poole 5

EFFECTS OF ‘‘VINEGAR SYNDROME’’

The vinegar smell is perhaps the most obvious symptom of acetate-base deterioration, but it is not the only one; if an unpleasant odorwere the only consequence of degradation, many ruined films wouldstill be with us. Unfortunately, other chemical and physical changestake place in acetate film as the acid begins to form in the film base.The vinegar odor is a warning that chemical deterioration is progress-ing. One of the physical changes that occurs in the advanced stages ofdeterioration is the embrittlement of the plastic base, in which a for-merly supple and strong material becomes weak and brittle. Theslightest flexing of the film may cause it to split and tear. Anotherconsequence of acetate-base decomposition is shrinkage. Film canshrink for other reasons than deterioration (some small amount ofshrinkage normally occurs over time) but really destructive shrinkageis a result of vinegar syndrome.

THE NEED FOR PROPER STORAGE

Diagnostic tools like acetic acid detection strips are only one part ofmanaging the vinegar syndrome problem. The most important aspectof preserving acetate film is proper storage. All acetate film is prone todegrade. The process of deterioration goes on every day, slowly orquickly, depending on the temperature and relative humidity (RH) ofthe storage environment.

The simple facts of life for acetate film preservation are that at roomtemperature and moderate RH, film will begin to seriously degrade inabout 50 years. Periods of higher temperature and dampness willaccelerate the process while periods of cold and dryness will slow itdown. Film stored in cool (less that 72 degrees Fahrenheit, 21 degreesCelsius) conditions at moderate RH (20% to 50%) can be expected tolast for centuries. For example, film stored at 40% RH and 60 degreesF should not suffer from the effects of vinegar syndrome for at least100 years. Film stored under poor conditions may become degradedwithin a few decades. Color film benefits doubly from cold storage;the rate of color dye fading is minimized under cold conditions. Li-braries can monitor areas where films are stored for temperature andhumidity levels using a thermohygrometer, and if possible, make ad-

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

TECHNICAL SERVICES QUARTERLY6

justments to the storage environment to minimize the effects of vine-gar syndrome. If high humidity is a problem, the use of portablehumidifiers can often help hold down RH levels.

ARCHIVAL FILM STORAGE CONTAINERS

All films need some form of storage enclosure. Containers areneeded for physical protection against dust and handling damage, andthey also serve to shield film from atmospheric contaminants andabrupt changes in environmental conditions. Motion picture films arewound on reels made from steel or plastic. The film is then placed in acontainer for shelving. Until the 1960s, most reels of film were kept inlight-gauge steel cans. These containers pose a couple of problems forlong-term film storage. First they are subject to oxidation and deterio-ration when exposed to moisture, contaminants and in reaction toacetic acid off-gassing. A rusting film container may cause furtherdamage as particles of rust and other oxides come in contact with thefilm itself. Metal film containers may even rust shut so that it becomesdifficult if not impossible to open them without damaging or destroy-ing the container. Another problem with metal film containers is thatthey are often air-tight when closed and thus trap harmful acetic acidvapors. Rising levels of such vapors will accelerate the acetate-basedecomposition. This acid-trapping can make a big difference in howlong film will last.

Archival quality film storage containers are available from a num-ber of audio-visual suppliers at a reasonable cost and can add manyyears to the life of a film. These containers are made of chemicallyinert polypropylene to resist off-gassing. The covers are vented whichallows an even air exchange throughout to help prevent vinegar syn-drome. Also available are polystyrene reels designed to withstand thewear and tear of continuous use.

HEALTH HAZARDS FROM DEGRADING FILM

Close contact with severely degraded acetate and nitrate films(touching or sniffing) may be a health hazard. Acetic acid and otheracidic products emitted by degraded film have been known to producecontact burns, skin and mucous-membrane irritations, and other physi-

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

Francis C. Poole 7

ological effects. When handling degraded films, protective gloves andadequate ventilation are strongly recommended. Use of acetic aciddetection strips will eliminate the dangers of ‘‘sniffing’’ degraded filmand also will provide a more objective and accurate determination ofthe presence of degradation products.

STEPS IN BASIC FILM PRESERVATION

1. Determine acetic acid levels using acetic acid detection (A-D)strips.

2. Analyze test results.3. Correlate test results with physical storage conditions and envi-

ronmental conditions, especially humidity and temperature levels.4. If possible make alterations in temperature and humidity to opti-

mize storage conditions. Optimum conditions may be calculatedat 40% relative humidity at 55 degrees fahrenheit.

5. Evaluate the condition of film containers. If possible, replacemetal film storage cans with vented polypropylene containers.

6. Monitor temperature, humidity and levels of acetic acid on a reg-ular basis.

CONCLUSION

Library moving-image film collections are valuable resourceswhich need and deserve basic preservation care. The main threat tocollections of 16mm films in libraries is deterioration due to the ef-fects of acetic acid vapors which are produced under the influence ofheat, moisture, and acids. Valuable film resources need to be properlymonitored and maintained in storage environments, which minimizethe chemical degradation of the film. One cost-effective way of deter-mining acetic acid levels in film collections is with the use of aceticacid detection strips. Following analysis of test results, steps can betaken to adjust temperature and humidity levels in order to preventfurther damage to the films. Protective film storage containers areavailable which can help reduce acetic acid off-gassing and prolongshelf life. If even these basic steps are taken to manage the storageenvironment provided for films in libraries, the predicted life span ofsuch materials will be greatly extended.

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

TECHNICAL SERVICES QUARTERLY8

FURTHER READING

American National Standard for Imaging Media (Film)–Silver-Gelatin Type–Specifi-cations for Stability, ANSI Standard IT9. 1-1992 (New York, American NationalStandards Institute).

M. Edge, N.S. Allen, T.S. Jewitt, J.H. Appleyard, and C.V. Horie, ‘‘The DeteriorationCharacteristics of Archival Cellulose Triacetate Base Cinematograph Film,’’Journal of Photographic Science, 36:199-203, 1988.

W. Haynes, Cellulose, the Chemical that Grows (New York, Doubleday & Company,1953).

W.P. Lull and P.N. Banks, Conservation Environment Guidelines for Libraries andArchives in New York State (New York State Library, 1990).

Reilly, James M. 1996. IPI Storage Guide for Acetate Film. Image PermanenceInstitute, Rochester, N.Y.

INFORMATION, SUPPLIES, SERVICES

All-Media Storage, Inc.1 Ethel Blvd.Wood Ridge, New Jersey 07075(201) 939-1111

Association of Moving Image Archivists8949 Wilshire BoulevardBeverly Hills, California 90211(310) 550-1300http://www.amianet.org/

The Association of Moving Image Archivists (AMIA) is an organization of movingimage archivists and librarians involved in film and video archival and preservationactivity on a national level. This is the organization that all librarians who deal withmoving image collections should consider joining for information-sharing, educationand support in film collection management and preservation.

ComprehensiveBox 881, Times Square StationNew York, N.Y. 10036(212) 586-6161

Film splicers, splicing tape, and quick-splice patches.

Fort Lee Film & Video Tape Storage Company, Inc.504 Jane StreetFort Lee, New Jersey 07024(201) 944-1030

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

Francis C. Poole 9

Image Permanence InstituteRochester Institute of Technology70 Lomb Memorial DriveRochester, New York 14623-5604(716) 475-5199

The Image Permanence Institute is a private, non-profit academic research institutededicated to the preservation of imaging media. It is a part of the School of Photo-graphic Arts and Sciences of Rochester Institute of Technology. IPI is co-sponsoredby the Society of Imaging Science and Technology. Proceeds from the sale of A-Dstrips go toward the continuation of preservation research at IPI.

Motion Picture Enterprises, Inc.P.O. Box 276Tarrytown, New York 10591-0974(212) 245-0969

Film Reels, Cans and other film supplies.

National Film Preservation FoundationLibrary of CongressWashington, D.C.http://lcweb.loc.gov/film/nfpf.html

The National Film Preservation Foundation will help pool the interests and resourcesof public and private groups to reach the goal of preserving films of regional,educational and historical interest. It will act as a clearing house for administrativegrants to preserve collections, update storage facilities, and digitize certain preservedpublic domain collections of enormous research interest to scholars, schoolchildrenand others living away from metropolitan areas.

National Film Preservation BoardLibrary of CongressWashington, D.C.http://lcweb.loc.gov/film/

Research Technology InstituteRTI4700 Chase Ave.Lincolnwood, Illinois 60646(800) 323-7520

Film inspection, cleaning and repair equipment.

Tek Media SupplyW. 4700 Chase Ave.Lincolnwood, Illinois 60646(800) 323-7520

Film inspection and repair supplies.

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14

TECHNICAL SERVICES QUARTERLY10

Tuscan Corporation7105 Virginia RoadSuite 22Crystal Lake, Illinois 60014-7985(815) 477-5550

Archival film storage containers.

HAWORTH JOURNALSARE AVAILABLE ON MICROFORM

All Haworth journals are now available in either microfiche or microfilm fromThe Haworth Press, Inc.

Microfiche and microfilms are available at the ‘‘library’’ subscription rate.Library hard-copy subscribers may receive microform at $35 per volume.For all microform subscriptions, these charges apply: outside US and Canada:40% to total; in Canada, 30% to total as well as 7% GST.

Microfilm specifications: 35mm; diazo or silver.Microfiche specifications: 105mm x 184mm (4” x 6”); reduction ratio: 24X;

nonsilver (diazo) positive polarity.Microform are mailed upon completion of each volume.

For further information, contact Janette Kemmerer, Microform Contact,The Haworth Press, Inc., 10 Alice Street, Binghamton, NY 13904-1580;Tel: (607) 722-5857 (ext. 311); Fax: (607) 722-1424;E-Mail: getinfo@haworthpressinc.com

Dow

nloa

ded

by [

Cor

nell

Uni

vers

ity L

ibra

ry]

at 0

9:28

18

Nov

embe

r 20

14