has decried the shift from analogue to digital preservation of film as ethically unacceptable, arguing, on philosophical terms, that the medium of film is an essential ontological precondition for the existence of cinema. In 2009, the senior curator of EYE Film Institute Netherlands Giovanna Fossati has discussed the use of digital technologies for the restoration and preservation of film in a more optimistic way as a form of remediation of the cinematic medium, and has positively reflected on digital technologies' ability to broaden restoration possibilities, improve quality, and reduce costs. According to the cinema scholar Leo Enticknap, the views held by Usai and Fossati could be seen as representative of the two poles of the digital debate in film preservation. It should be kept in mind, however, that both Usai and Fossati's arguments are highly complex and nuanced, and likewise, the debate about the utility of digital technologies in film preservation is complex and continually evolving. Advancements In 1935, New York's Museum of Modern Art began one of the earliest institutional attempts to collect and preserve motion pictures, obtaining original negatives of the Biograph and Edison companies and the world's largest collection of D. W. Griffith films. The following year, Henri Langlois founded the Cinémathèque Française in Paris, which would become the world's largest international film collection. For thousands of early silent films stored in the Library of Congress, mostly between 1894 and 1912, the only existing copies were printed on rolls of paper submitted as copyright registrations. For these, an optical printer was used to copy these images onto safety film stock, a project that began in 1947 and continues today. The Library hosts the National Film Preservation Board, whose National Film Registry annually selects 25 U.S. films "showcasing the range and diversity of American film heritage". The George Eastman House International Museum of Photography and Film was chartered in 1947 to collect, preserve and present the history of photography and film, and in 1996 opened the Louis B. Mayer Conservation Center, one of only four film conservation centers in the United States. The American Film Institute was founded in 1967 to train the next generation of filmmakers and preserve the American film heritage. Its collection now includes over 27,500 titles. In 1978, Dawson City, Yukon Territory, Canada, a construction excavation inadvertently found a forgotten collection of more than 500 discarded films from the early 20th century that were