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Film archives today face many conflicting demands and expectations, from funders and a relatively small cohort of users. Their policies and practices still largely reflect the era when they first came into being, in the face of industry suspicion and scholarly indifference. Although academic film studies has largely ignored the archive, there are now opportunities to engage with new currents of interest in representations and evidence of the past, and in doing so to connect with new curatorial practices and audience-centred currents in the study of the moving image. This paper reviews new forms of archival engagement and argues for a user-centred future that could re-invigorate the concept of the film archive.
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