Product Description
by Susan Poole (Author), Ed Poole (Author)
Only 10% of the silent feature films made in the U.S. remain, and only a tiny fraction of movie stills produced. BUT, WHAT GOOD IS IT TO PRESERVE THESE HISTORIC STILLS IF YOU CAN'T IDENTIFY THEM?
We present over 50,000 production codes to help identify unknown movie stills in our new 2 volume Movie Still Identification Book Ultimate Edition.
The 2 volumes are sold separately - THIS IS VOLUME TWO - NUMBERS.
Author Biography
For almost 40 years Ed and Susan Poole have been involved with documenting, recording and preserving film accessories (i.e., press books, movie stills, movie posters, general press materials, etc.). Their path has evolved from being just collectors to retail and wholesale dealers and eventually to full time researchers. They have been featured in dozens of newspaper and magazine articles. Their accomplishments on a national and international level include: -Published the first reference book on movie posters, Collecting Movie Posters, released in 1997 by McFarland Publishers. -Published 19 additional reference books including: Learn About Movie Posters; Learn About International Movie Posters; Movie Still Identification Book; Legality of U.S. Movie Posters; Movie Trailer Identification Codes; National Screen Service Accessory Codes; Production Code Basics; the Silent Studio Directory; Hollywood On The Bayou; Louisiana Film History; Heroine to Hussy: Women in Louisiana Films; and Louisiana Plantations: Real to Reel. -In 2001, developed the first reference website on movie posters designed for novice to intermediate level collectors: LearnAboutMoviePosters.com. -In 2005, developed the first and only cross referenced research film accessory database with 100,000 images online: MoviePosterDataBase.com. -In 2009, developed the first and only advance research website for documenting press still codes, lithographer plate numbers, etc. - now in a member only research site. Currently: The Pooles are using their research, books and websites to expand in 3 major directions: using what has been created for Louisiana as a template for other states; create training material to help develop programs for the academic community for film accessory documentation; and the creation of the first Film Accessory Museum and Research Center to document, preserve and use film accessories to recreate national and international film history that has been considered LOST. What good is preservation, if you can't identify or verify it?
