Inherent Vice: Bootleg Histories of Videotape and Copyright

Abstract

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of Minnesota Press is collaborating with JSTOR to digitize, preserve and extend access to The Moving Image: The Journal of the Association of Moving Image Archivists This content downloaded from 154.59.125.91 on Tue, 02 Jul 2024 03:35:31 +00:000 0 0 0 0 0 0 0 0 0 0 0 All use subject to https://about.jstor.org/terms ^^н^^^нвн 152 the films themselves move to the background, Hastie broadens the scope of the historical archive and offers cinema's lost women renewed consideration. And in her most compelling argument, she offers these women their due credit, making explicit how the production of knowledge, indeed the authoring of history, is always the work of collaboration across time-past, present, and future.