1. Andrew Oddy (ed.), The Art of the Conservator, Washington DC, Smithsonian Institution Press (1992), pp. 8–9.
2. For an account by restoration producer James Katz of the use of the stereo session recordings, see Dan Auiler, Vertigo: The Making of a Modern Classic, New York, St. Martin’s Press (2000), pp. 197–198.
3. Barbara Klinger, Beyond the Multiplex: Cinema, New Technologies and the Home, Berkeley, University of California Press (2006), p. 93 — my emphasis.
4. Frederick Wasser, Veni, Vidi, Video: The Hollywood Empire and the VCR, Austin, University of Texas Press (2001), pp. 45–46.
5. Patrick Russell, ‘Truth at 10 Frames per Second? Archiving Mitchell and Kenyon’ in Russell, Simon Popple and Vanessa Toulmin (eds.), The Lost World of Mitchell and Kenyon: Edwardian Britain on Film, London, British Film Institute (2004), p. 13.