Fall 2003 - Fridays 5-9pm, Rm 651
Introduction to Moving Image Archiving and Preservation
H72.1800
Assignments due before class:
Topics covered:
- Films/Videos/DVDs on the act of moving image preservation, as well
as how preserved material is reused and represented in different ways
- Why is conservation and preservation important?
- Who has taken on the responsibility for moving image and sound preservation?
- What are the issues involved in making visual materials persist
over time? How do we decide which materials should persist over time?
- What are some of the organizations that hold moving image and sound
material? (Film Studios, TV stations, large public film & television
archives, media preservation depts. w/i larger collecting institutions,
small non-profits preserving their own media, ...)
- What are some of the Professional Organizations that Moving Image
Archivists belong to? And at what conferences can one learn about professional
issues? (AMIA, FIAF, FIAT, AIC, AAM, MCN, SMPTE, ALA, Orphans, SCS)
- What are basic functions? (identification, selection [of both "content"
and equipment], appraisal, ...)
- What are the various professional practices that moving image archiving
and preservation professionals draw from? (cataloging, reference, exhibition,
fundraising, budgeting, management, ...)
- What are the various roles or tasks we are responsible for?
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Assignments due before class:
- Visit American Museum
of the Moving Image for a minimum 90-minute visit. Must see core exhibit
"Behind the Screen", and be familiar with basic concepts of film/video/audio
recording and playback per "Shutters, Sprockets, and Tools"
- Visit http://www.paulmessier.com/VideoID/
- Visit: http://www.paulmessier.com/VideoID/audio/
- Visit Section 2 (Film Specifics: Stocks and Soundtracks) of the Home
Film Preservation Guide
- Visit the descriptions of the 4 film gauges on the homepage of http://www.littlefilm.org/
- Bring an audio or video recording device, if you own one, and a tape
that can be recorded upon.
- Recommended:
- Child, Margaret S. 1993. Directory
of information sources on scientific research related to the preservation
of sound recordings, still and moving images and magnetic tape . Washington,
D.C.: The Committee on Preservation and Access.
- Screen Sound Australia Technical
Glossary of Common Audiovisual Terms
- Wasko, Janet. "The Way We Were: An historical look at Hollywood and technology
in Hollywood in the Information Age, Austin: University of Texas Press,
1995, pp 7-20
- Case, Dominic D. Motion Picture Film Processing. London; Boston: Focal
Press, 1985.
- Alkin, E.G.M. Sound Recording and Reproduction. 3rd ed. Oxford; Boston:
Focal Press,1996.
- Hartwig, Robert L. Basic TV Technology : Digital and Analog. 3rd ed.
Boston: Focal Press, 2000.
Topics covered:
- Who makes/has made moving image and sound material? Different eras,
modes of production have different artifacts. Role of manufacturers and
information industries.
- What artifacts exist as a result of the production? What gets saved
and what gets lost? Knowing production process can aid identification.
Detective work and how ancillary materials are both cultural artifacts
and clues. Sources for gauges & types of moving image material.
- Introduction of the Case Study of Production History assignment
- Technical Handout
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Assignments due before class:
- Read:
- Edmondson, Ray. A
philosophy of audiovisual archiving . General Information Programme
and UNISIST. United Nations Educational, Scientific and Cultural Organization.
Paris, June 1998 ()
- Belk, Russell W. "A Brief History of Collecting," in Collecting in
Consumer Society. New York: Routledge, 1995, pages 22-64
- Benjamin, Walter. "Unpacking My Library: A Talk about Book Collecting."
Illuminations. Ed. and intro. by Hannah Arendt. Trans. Harry Zohn.
New York: Schocken Books, 1969, pp 59-67
- Pearce, Susan M. "Collecting Processes," in On Collecting: An Investigation
into collecting in the European tradition . New York: Routledge, 1995,
pages 3-35
- Jean Baudrillardís "The System of Collecting." In John Elsner
and Roger Cardinal, eds., Cultures of Collecting, pp. 7-24. London:
Reaktion, 1994, translated by Roger Cardinal.
- Recommended
- Pierre Bourdieu, The field of cultural production: essays on art
and literature, Cambridge: Polity, 1993
- Marita Sturken and Lisa Cartwright in Practices of Looking: An Introduction
to Visual Culture (Oxford University Press, 2001)
- Buckland, Michael. (1997) What is a Document?", Journal of the American
Society for Information Science 48 (9), pp. 804-809
- Harrison, Helen P. (ed.). Audiovisual
Archives. A practical reader for the AV Archivists. 1997
- Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction"
Illuminations. Ed. and intro. by Hannah Arendt. Trans. Harry Zohn.
New York: Schocken Books, 1969, pp 217-251
- John Berger. Ways of Seeing , New York: Viking, 1972
- Barbara Kirshenblatt-Gimblett "Objects of Ethnography" in Ivan Karp
and Steven Lavine (eds.) Exhibiting Cultures: The Poetics and
Politics of Museum Display, Washington: Smithsonian Press, 1991, pp
386-443
- Pearce, Susan M. "Collecting in Time" in On Collecting: An Investigation
into collecting in the European tradition. New York: Routledge, 1995
pages 235-254
- Drucker, Johanna. "The Codex and Its Variations." The Century of
Artists' Books. New York: Granary Books, 1997. 121-59
Topics covered:
- Discussion of Final Projects
- Introduction to Orphans Assignment
- Why do we collect?
- Extensive questions to ponder
- Issues of evidence and authenticity
- Issues of representation
- Who collects what? for whom? and why? How do collections
define their collectors? How have museums influenced colonialism,
nationalism, and taxonomies (categories) of knowledge? What kinds
of interdependence exists between institutions of collecting and certain
methodological goals of art history and anthropology? How can
we learn to read exhibits critically? What is a ërhetoricí
or ëpoeticsí of display? Why do people keep personal
collections of objects? How do ethnicities and genders appear--or
disappear--in museum contexts? How do museums also function to
support a local community memory and history? How do artists view
museums as social institutions? How can we imagine collecting
practices and museums in the future? How can the history of collecting
be read as an interdisciplinary intellectual practice?
- Why do we need museums? What should they look like?
Why do we collect things? What kinds of museums and collections
might we have in the future? What role might electronic media
play in the rethinking of the museum? Would changes in museum
practice necessitate changes in the disciplines of art history
and anthropology?
- How are moving images and sound part of the larger visual culture
and ways of looking and seeing? How does our understanding of visual
culture impact our role in moving image archiving and preservation?
- How do reformatting and multiple formats of the same work change
how we look at a work? (e.g., are videos the same as films? Are digital
photographs the same as analog photos?)
- Is there a social context to viewing an object? (is viewing a
video at home the same as viewing a film in a theater? Is viewing a
mural on a screen the same as viewing it in-situ?)
- Who attributes value to a work, and under what circumstances?
How does one deal with the different values that different communities
may have towards any particular set of works?
- Are there ethical considerations in format conversions (e.g.,
film colorization, pan-and-scan?)
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Assignments due before class:
Topics covered:
- What are the basic guiding principles of conservation/preservation
coming from different professions and/or communities? How were they shaped?
- How have they been utilized and/or affected by moving image and
recorded sound materials, through such factors as multiple copies, "born
digital" formats, and changing definitions of appropriate archival mediums?
- Discussion Panel including professionals from different organizations
and fields
- What are some of the issues that the archive, conservation, library
and independent preservation communities are addressing with regard to
moving image and sound preservation?
- What are the role(s) of a moving image specialist in relation to
other professionals caring for moving images and sound collections?
- Ray Edmundson, in A
philosophy of audiovisual archiving, proposes that moving image archiving
is evolving as a synthesis of other archiving and preservation practices.
What are the pros and cons of such an approach? What would be aspects
of this synthesis from various professions?
- What are ethical considerations are fundamental to our work as moving
image archiving and preservation specialists?
- Where do "de facto" archives - those organizations with important
materials but untrained as preservationists - fit?
- What is the role of producers in preservation practice?
- Discuss visit to Museum of Television and Radio
- Panel discussion with:
- Jim Hubbard, independent preservation consultant
- Carol Stringari, Senior Conservator, Contemporary Art, Guggenheim
Museum
- Janet Gertz, Director of Preservation, Columbia University Libraries
- Barbara Mathe, Senior Special Collections Librarian, American Museum
of Natural History
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Assignments
due before class:
- Mann, Sarah Ziebell. "The Evolution of American Moving Image Preservation:
Defining the Preservation Landscape (1967-1977)", The Moving Image
1:2 (Fall 2001), pp 1-20
- Magliozzi, Ronald. "Film Archiving as a Profession: An Interview with
Eileen Bowser", The Moving Image 3:1 (Spring 2003), pp 132-146
- Edmondson, Ray. "You Only Live Once: On Being a Troublemaking Professional",
The Moving Image 2:1 (Spring 2002), pp 175-183
- International Federation of Film Archives (FIAF) Code
of Ethics
- Jorge Luis Borges, The
Library of Babel , from Labyrinths (or The Book of
Sand) (see
review )
- Besser, Howard (1997). The
Changing Role of Photographic Collections with the Advent of Digitization
, in Katherine Jones-Garmil (ed.), The Wired Museum, Washington:
American Association of Museums, pages 115-127.
- "Why Ethics?" in Marie Malaro, Museum Governance: Mission, Ethics,
Policy, pages 16-21
- "Controlled Collecting: Drafting a Collection Management Policy" in
Marie Malaro, Museum Governance: Mission, Ethics, Policy , pages
43-49
- Jane R. Glaser with Artemis A. Zenetou, "Museum Professional Positions:
Qualifications, Duties, and Responsibilities," Museums: A Place to
Work: Planning Museum Careers (London; New York: Routledge, 1996),
65-125
- Libbie Rifkin, "Association/Value:
Creative Collaborations in the Library ", RBM: A Journal of Rare
Books, Manuscripts, and Cultural Heritage, 2:2
- O'Toole, James. (1990) "The History of the Archives Profession." In
Understanding Archives and Manuscripts. Chicago: Society of American Archivists.,
pp. 27-47
- Recommended:
- Douglas, Mary. (1986) "Institutions Cannot Have Minds of Their Own."
In How Institutions Think. Syracuse, NY: Syracuse University Press,
pp 9-19
Topics covered:
- Discussion of Final Projects
- Groups for Orphans Assignment
- How do the mission, goals, history, other activities, etc., of various
repositories affect how moving images and sound are preserved and accessed?
- What are the roles of different professionals in each type of institution?
- What type of Professionalism is associated with each type of role
& each institution
- How has the role of collecting institutions changed as more and
more people have started taking photographs of everyday life? How might
changes in popular attitude towards this media effect expectations on
collecting institutions? How will collecting institutions handle personal
archives that no longer are only paper? And how will this all change even
more as the number of home video cameras and digital editing vastly increases?
- How do politics affect cultural heritage institutions as they strive
to serve new audiences? (the Enola Gay incident?)
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Assignments due before class:
- Prepare for in-class presentation of Case Study of Production History
assignment.
- View video: Keepers of the Frame. Available in Bobst Library and
Film Study Center.
- Read:
- Packer, Randall and Ken Jordan (eds.) "Overture" in Multimedia: From
Wagner to Virtual Reality (2001), p. xiii - xxxi.
- Canter, Marc "The New Workstation: CD ROM Authoring Systems" in Multimedia:
From Wagner to Virtual Reality (2001), p. 179-188.
- Besser, Howard (1994). Fast
Forward: The Future of Moving Image Collections , in Gary Handman
(ed.), Video Collection Management and Development: A Multi-Type Library
Perspective, Westport, CT: Greenwood, p. 411-426.
- Screen
Sound Australia Film Preservation Handbook (first 5 sections: Film Construction
through Damage to Film)
- Roosa, Mark, "Videotape Analysis and Evaluation" and Adelstein, Peter,
"Videotape Storage" in Playback: A Preservation Primer for Video
(1998), p.5-17. On reserve in Bobst Library.
- Recommended
- American Library Association. "Audio
Preservation: A Selected Annotated Bibliography and Brief Summary of Current
Practices" (7 March 2003)
- National Institute of Standards & Technology and Care and Council
on Library and Information Resources. Handling
Guide for the Preservation of CDs and DVDs, NIST Special Publication
500-252, May 2003
Topics covered:
- Who makes/has made new media? What artifacts exist as a result of
the production? What gets saved and is lost?
- Knowing more about film/video/sound/new media artifacts, what does
that tell you about risks to the materials? What about their needs for
description and care?
- In class presentations of case studies
- Guest lecturer Tom Regal. Manager of Audio
Restoration Services at Universal's BluWave Audio division
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Assignments due before class:
- Have final project topic approved
- Read:
- Position
Paper On Conservation & Preservation In Collecting Institutions
- Whitson, Helene and Gerry Yeager, "Arrangement and Description" in Steven
Davidson and Gregory Lukow, The Administration of Television Newsfilm
and Videotape Collections: A Curatorial Manual, Los Angeles: American
Film Institute (1997), p. 127 - 148.
- Newborg, Gerald G., "A Case Study: Newsfilm Preservation Project at The
State Historical Society of North Dakota" in Steven Davidson and Gregory
Lukow, The Administration of Television Newsfilm and Videotape Collections:
A Curatorial Manual, Los Angeles: American Film Institute (1997), p.
59 - 68.
NOTE: 7-9 we will meet in the East Room of Bobst Library
Topics covered:
- What is the impact of appraisal and selection (or the lack thereof)
on what gets preserved?
- What are practices for tracking information about moving images?
- What are other typical tasks in collection management of archival
collections?
- How might they differ for moving image/sound materials and other
materials such as paper or photographs?
- In-class presentations of case studies
- In class presentations of case studies
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Assignments due before class:
- Read:
- Besser, Howard (1998). The Shape of the 21st Century Library, in
Milton Wolf et. al. (eds.), Information
Imagineering: Meeting at the Interface , Chicago: American Library Association,
pages 133-146
- Moving Image Collections (MIC) General
Information
- Schiller, Daniel. (1988) "How to think about information." In. V. Mosco
and J. Wasko (eds.), The Political Economy of Information (pp. 27-43). Madison,
WI : University of Wisonsin Press. 1988
- Lievrouw, L.A. (1994) "Information Resources and Democracy: Understanding
the Paradox." Journal of the American Society for Information Science, 45(6),
July, pp. 350-357
- AMIA Compendium of Moving Image Cataloging Practice, edited by Abigail
Leab Martin and compiled by Jane D. Johnson, Linda Tadic, Linda Elkins,
Christine Lee, and Amy Wood. Society of American Archivists & AMIA,
2001. ca. 275 pp.
- Archival Moving Image Materials: A Cataloging Manual (AMIM2) .
2nd ed. revised by the AMIM Revision Committee, Motion Picture, Broadcasting,
and Recorded Sound Division.Washington, D.C.: Library of Congress, Cataloging
Distribution Service, 2000. 1 v. ISBN 0-8444-1008-X
- Harrison, Harriet W. (comp. and ed.), for the Cataloging Commission of
the International Federation of Film Archives (FIAF). The FIAF
Cataloging Rules for Film Archives. Film-Television-Sound Archive Series:
Volume 1. München; London; New York; Paris: K.G. Saur, 1991
NOTE: From 8:00-9:30 we will meet in the Electronic Resource Center,
B level. Bobst Library (obviously some people will need to leave at 9PM)
Guest: Pamela Bloom, NYU Reference Librarian for Moving Image Material
Topics covered:
- Obtaining moving image materials:
- How does one find moving image collections? (Moving Image Gateway
Project)
- What are sources for clips? For ancillary materials?
- What do you need to do research? General reference and resources (Pam
Bloom?)
- Types of resources (biographical, film indexes, union catalogs, almanacs,
periodical indexes, trades, dictionaries, encyclopedias, review compilations)
- What are issues for historical research and reconstruction?
- How are moving images and sound part of the larger visual culture
and ways of looking and seeing? How does our understanding of visual culture
impact our role in moving image archiving and preservation?
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Assignments due before class:
- Read:
- Besser, Howard. Commodification
of Culture Harms Creators,The Information Commons, New Technologies, and
the Future of Libraries , Issue #1, June 2002, American Library
Association
- Coyle, Karen. (1994) "Copyright in the Digital Age." Coyle's Information
Highway Handbook. Chicago : ALA, pp. 96-113
- Mosco, Vincent. (1998) "Information in the Pay-per Society." In V. Mosco
and J. Wasko (eds.), The Political Economy of Information,pp. 3-26. Madison,
WI : University of Wisconsin Press
- The
Coming of Copyright Perpetuity , New York Times Editorial, January 16,
2003
- The Eric Eldred Act FAQ
- Save Orphan Films
Look over:
Topics covered:
- What are some of the practices with regard to copyright, ownership,
licensing, and the use of "talent" or footage that are part of the history
of a particular form of production or genre of work?
- What are some of the recent or anticipated changes in the legal
arena that affect moving image/sound preservation or use?
- Effects of copyright on preservation and programming
- Avoidance of intellectual property issues
- Fair Use guidelines
- How do intellectual property issues affect preservation, access,
and use of visual materials ? (e.g., the implications of the digital millennium
copyright act?
- Complexity of underlying rights
- Other legal issues
- Policy issues
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Assignments due before class:
- Orphans Assignment due
- Take tour of VidiPax either W Oct
29 or Th Oct 30 at 2:30 (450 West 31st St. btwn 9th & 10th Av, 4th flr)
- Read:
- Bachman, Rebecca, "Video Preservation: Glossary of Terms", in Playback:
A Preservation Primer for Video (1998), p.72 ó 76. On reserve
in Bobst Library.
- Van Bogart, Dr. John W.C., Magnetic Tape Storage and Handling: A Guide
for Libraries and Archives, Washington, D.C.: The Commission on Preservation
and Access and St. Paul, MN: National Media Laboratory (1995).
- Norris, Debbie Hess, "Videotape Collections: Establishing Priorities
for Preservation" in Playback: A Preservation Primer for Video San
Francisco: Bay Area Video Coalition (1998), p.60 - 69. On reserve in Bobst
Library.
- American Institute for Conservation of Historic & Artistic Works
(AIC) "Caring for
your Videotape "
Topics covered:
- What are some of the major issues with video and sound preservation?
- What are typical approaches to caring for and preserving video and
sound?
- What is the effect of digital formats and digitization on media
preservation?
- Knowing more about video/sound artifacts, what does that tell you
about risks to the material? What about its needs for description and
care?
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Assignments due before class:
- View video Into the Future: On the Preservation of Knowledge in
the Digital Age. Available at the Bobst Library and in the Film Study Center.
- Read:
- Besser, Howard (2001). Digital
Preservation of Moving Image Materia l,The Moving Image,
Fall, pages 39-55
Besser, Howard (2000). Digital
Longevity , in Maxine K. Sitts (ed.) Handbook for Digital Projects:
A Management Tool for Preservation and Access Andover Mass: Northeast
Document Conservation Center, pages 155-166
- Variable media Initiative
- P reserving
the Rhizome ArtBase . Richard Rinehart
- Richard Rinehart, "
Archiving the Avant Garde: Documenting and Preserving Variable Media
," D-Lib Magazine, 8 (5), May 2002
- Rinehart, Richard,"
The Straw that Broke the Museum's Back? Collecting and Preserving Digital
Media Art Works for the Next Century "
- Besser, Howard (1997). The
Transformation of the Museum and the way itís Perceived ,
in Katherine Jones-Garmil (ed.), The Wired Museum, Washington: American
Association of Museums, pages 153-169
- Variable Media case study (from monograph)
- "Quick Reference Guide for Care and Handling" (see "the Checklist" in
Byers, Fred R.. Care
and Handling Guide for the Preservation of CDs and DVDs - A Guide for Librarians
and Archivists. (24 June 2003).
Topics covered:
- Knowing more about digital media artifacts, what does that tell
you about risks to the material? What about its needs for description
and care?
- What are some of the major issues with new media preservation?
- What are the major issues facing moving image and sound archivists
in the "digital age"?
- What are some of the practicalities that preservationists must address?
- What theories and predictions are being advanced?
- Does this evidential value change when materials are reformatted?
- What are the advantages and disadvantages of keeping different versions
of materials?
- What is different between the preservation needs of material that
is "born digital" and that which has been digitized?
- Is it possible to preserve digital materials unchanged?
- What are the strengths and limitations of the various proposed methods
of digital preservation for different uses of cultural materials?
- As the digital world moves toward multiple uses and viewing works
from different angles, how does this affect notions of context and its
preservation?
- How do digital objects challenge traditional archival notions of
evidence? Can ways be found to authenticate digital works, and track
provenance and versioning?
- Documentaries, Actuality Footage, media art, installation art, performance
art
- Documentation, treatment
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Assignments due before class:
- Tour of Cineric either Nov 10 3PM, or Nov 11 10AM
- Read:
- Gracy, Karen. "Documenting the Process of Film Preservation", The
Moving Image 3:1 (Spring 2003), pp 1-41
- Gartenberg, Jon, "The Fragile Emulsion", The Moving Image 2:2
(Fall 2002), pp 142-152
- Screen Sound Australia Film
Preservation Handbook (parts you havenít read yet)
- Baker, Nicholson. (1996) The Size of Thoughts. New York: Random House,
pp. 36-50 "The Projector."
- Look through issues of FIAF's Journal
of Film Preservation
- Review some of the resources listed in Conservation Online's Preservation
of Motion Picture Film
Topics covered:
- Knowing more about film artifacts, what does that tell you about
risks to the material? What about its needs for description and care?
- What are some of the major issues with film preservation?
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Assignments due before class:
- Read:
- Atkinson, Jane. AGCS
Occupational Profile: Programme Researcher: Broadcasting/film/video
- At least 3 of the papers from the March 2003 Toronto Conference
Terms of Address:
The Pedagogy and Politics of Film and Video Programming and Curating
- In Focus: a guide to using films / by Linda Blakaby, Dan Georgakas and
Barbara Margolis. NY: Cine Information, 1980.
- American Film Distribution: the changing marketplace / by Suzanne Mary
Donahue. MI: UMI Research Press, 1987
- Noriega, Chon A. "On curating," Wide Angle Vol XVII nr 1-4 (1995); p
292-304
- Gilmore, Geoff. "Sundance's agenda," Scenario Vol II nr 3 (Fall 1996);
p 4-5
- Peary, Gerald. "Season of the hunt; On the practice of film festival
programming," American Film Vol XVI nr 10 (Nov-Dec 1991); p 20
- PaÔni, Dominique. "Comme dans un musee" Journal of Film Preservation
no 53 (Nov 1996); p 8-11 (Argues that programming in archives should be
directed at building collections. Explores current explosion in film restorations
within the context of archival programming.)
- MacDonald, Scott. "Avant-garde at the Flaherty," Wide Angle Vol XVII
nr 1-4 (1995); p 256-267
Topics covered:
- Presenting and contextualizing historical material
- Programming a series
- Repurposing
- Issues of access
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Dec 2 Final Classroom Presentations (MJ, HB)
Assignments
due before class:
- Be prepared to present your final project to the rest of the class
Topics covered:
Major Assignments
Group Project -- Case Study of Production History : In this
assignment, groups of 3 to 4 students will collaborate to create a case study
that will be instructive in the identification and selection of moving image
and sound material. Each group will conduct 2 case studies that, through text
and image, demonstrate the production process for a particular project or
mode of production including:
- time period and brief description of the mode of production, the final
product, and its intended use or audience
- the steps to production
- the people involved and their roles
- film and/or recorded media that is produced at each stage, its format
and purpose
- documentation or ancillary materials that are produced at each stage
(print, electronic), and their purpose
- any identification clues or special tips when sorting
- the relative value of the film, media and documentation, and to whom
it may have value
- typical disposition of the materials at the end of a production process
- recommendations for materials to be archived and the rationale for why
they should be considered for long-term preservation
Imagine the audience for the case study is moving image and archiving professionals
who will utilize the information as they begin sorting and processing a collection.
The case study should be concise and easy to read, but with sufficient detail
for the task. Visual aids such as for key formats, special labeling, examples
of documentation, database screenshots, etc., will also be helpful.
To gain the necessary knowledge, the groups must conduct an audio or video
interview of one person per case study. In some cases, print and electronic
resources may be available or helpful.
Orphans Assignment -- Research
Context of Historical news clips: In groups of 2 or 3, you will be given
a 5-10 minute VHS clip of a Movietone News story from sometime in the period
1924-34. You will also be given a cataloging record for the clip. Your assignment
is to research the context of this clip. (All these clips are in the process
of being restored, and the restored versions will be screened at the Orphans
Film Symposium this Spring. What you find out about the clip will be presented
there as well, and the group that does the best job will have a full speaking
slot to present their results.)
Individual Final Project -- student choice, but must be related to
something covered during the semester: A major term project. Topic
must be approved by one of the instructors by Oct 14. Must be presented in class
during the last class session. Here are a few examples:
- Do research for a film or video that needs to be restored. This might
include a combination of the following: locate existing prints, identify
differences btwn prints, do interviews or historical research about the
shooting and editing, create a fundraising plan for restoration, compare
plusses and minuses of different restoration processes, ...
- Write a paper comparing and contrasting the differences btwn 2 types
of institutions (eg. A public library and a state Historical Archive), and
how institutional differences affect moving image archival practice (acquisition,
cataloging, access, restoration, ...)
- Plan an exhibition series for historic moving image material. Select
the works to show, check print and date availability, write program notes,
plan a publicity campaign, coordinate with tie-in activities or events,
...
- Due dates -- Nov 25; present in class Dec 2
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