Fall 2005 - Tuesdays 6-10pm, Rm 651
Introduction to Moving Image Archiving and
Preservation
H72.1800
Classes
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IMPORTANT NOTE to non-MIAP students:
Several items
related to the class will be covered with the MIAP students during
orientation. Here is a summary of them:
- You have assignments due the first class; look below under "Sept
6"
- Assignments for the 2nd class (due Sept 13) are more extensive,
and you may want to get started on them early
- On Sept 13 we will meet at 6:10 in Alan Berliner's Tribecca
studio. Make sure that you show up there rather than in our
regular classroom. And take a look at his website beforehand to
get an idea of the kinds of films he makes.
- We have scheduled 3 visits during non-class hours this
semester. Please try to arrange to have about 90 minutes of
availability on the following dates:
- Fri Oct 21, 11 AM, Cineric Film Labs
- NOTE new time: Fri
Oct 28, 1 PM, Vidipax Video Labs
- Museum of Television and Radio, probably Oct 14 late AM
- Look over the notes from a Talk that the MIAP students will be
given on MIAP and other similar academic
programs
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Assignments due before class:
Topics covered:
- What is this class about? (non-MIAP students should
pay more attention to both the "Professional Organizations" reading
above, and should read notes on academic
programs; MIAP students will get more details on these in
Internship class and in Orientation)
- Films/Videos/DVD clips on the act of moving image
preservation,
as well as how preserved material is reused and represented in
different ways
- Review of Readings
- Materiality and
Deterioration of Film/Video
- Examination of recording devices
- 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, SCMS)
- 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?
- What are the structures like of film and other moving image
works?
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Assignments due before class:
- NOTE: On Sept 13 we will meet at
6:10PM at Alan Berliner's Tribecca studio (13 Vestry St, about a block
west of Canal and 6th Ave)
- Go through all 6 animated tutorials called Shutters, Sprockets, and
Tubes. You can either do this at the Museum of the Moving Image in
Queens, or do it online.
- 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/
- Read:
- Ascher, Steven and Edward Pincus, "Introduction to Film and
Video Systems" in The Filmmaker's Handbook: A Comprehensive
Guide for the Digital Age, New York: Plume, 1999, pp 1-44
- Annette Melville, ed., "Understanding
Film and How It Decays", The Film Preservation Guide,
San Francisco: The Film Preservation Foundation, 2004, pp 6-18.
- Recommended:
Topics covered:
- Guest speaker: Filmmaker Alan Berliner
- Exercise in identification of Film
- 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
- Begin discussion of identification of different formats and
gages of video and
film, as well as when they evolved. Who makes/has made moving
image and sound material? Different eras, modes of production have
different artifacts. Role of manufacturers and information industries.
- Explain Case Studies Assignment
This Week:
- International Federation of Television Archives (FIAT) meeting at
Parker Meridien Hotel Fri Sep 16-Tu Sep 20
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Assignments due before class:
- Read:
- Visit the Video Format
Identification Guide by Sarah Stauderman and Paul Messier
- Look at Sarah Stauderman's Guide to Audio Formats
- Visit: http://www.paulmessier.com/VideoID/audio/
- Packer, Randall and Ken Jordan (eds.) "Overture" in Multimedia:
From Wagner to Virtual Reality (2001), p. xiii - xxxi.
- 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.
- 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.
- Further Readings
Topics covered:
- Discussion of FIAT meeting
- Exercise in identification of Video, Audio, and New Media
- 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?
- New Media
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Assignments due before class:
- Sign up for library use class
- Come prepared to report on progress of Case Study of Production
History assignment
- Read:
- Edmondson, Ray. Audiovisual
archiving: Philosophy and Principles. Paris: UNESCO, April
30, 2004 June (CI/2004/WS/2) (http://www.ccaaa.org/news_010504.htm)
- Brooks, Connie, "Videotape Preservation: Ethical
Considerations", Playback: A Preservation Primer for Video, p.
18-24. On reserve in Bobst Library and study center.
- Come with questions for panelists about archival practice,
conservation practice, library preservation practice, and independent
preservationist practice.
- Recommended: View video Slow Fires: On the Preservation of
the Human Record. Available in Bobst Library and in the Film Study
Center.
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 Audiovisual
archiving:
Philosophy and Principles, 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:
- Jon Gartenberg, independent preservation consultant
- Carol Stringari, Senior Conservator, Contemporary Art,
Guggenheim Museum
- Duane Watson, retired Head of Conservation, New York
Public Library
- Barbara Mathe, Senior Special Collections
Librarian,American Museum of Natural History
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Assignments due before class:
- Prepare for in-class presentation of Case Study of Production
History assignment.
- 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.
- Annette Melville, ed., "Film
Handling", The Film Preservation Guide, San
Francisco: The Film Preservation Foundation, 2004, pp 19-33.
- 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.
- Further Readings
Topics covered:
- Guest: Linda
Tadic, ArtSTOR Director of Operations, Instructor for our Collections
Mgmt class, and Chair of AMIA's Digital Initiatives Committee
- Appraisal, selection, description, sorting, organizing
- Continue with Risk Management discussion
- Intro to cataloging and value of description (EAD, MARC, DBs,
...)
- Film Inspection
- Projection basics
- Examining uncataloged boxes of media in Bobst and filling out
cataloging templates
- 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?
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Assignments due before class:
- Read:
- Anne J. Gilliland-Swetland. Enduring
Paradigm, New Opportunities: The Value of the Archival Perspective in
the Digital Environment , Council on Library & Information
Resources, pub89, pp 1-16 [document pages 1-16, not Acrobat pages 1-16]
- 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.
- Further Readings
- 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:
- Collection Management
(continued)
- Archival Arrangement--maintaining original order, context,
relationships
- Metadata Standards (EAD, Dublin Core, MARC)
- In-class presentations of case studies
- Appointments for Film Handling
- Introduction to Orphans
Assignment
- Discussion of Final Projects
- 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?)
For Next Week
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Assignments due before class
- Have final project topic approved
- Read:
- 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.
Further Readings:
- "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
- O'Toole, James. (1990) "The History of the Archives
Profession."
In Understanding Archives and Manuscripts. Chicago: Society of American
Archivists., pp. 27-47
- Douglas, Mary. (1986) "Institutions Cannot Have Minds of Their
Own." In How Institutions Think. Syracuse, NY: Syracuse University
Press, pp 9-19
- 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
Topics covered:
- Discussion of Final Projects
- Show video from Film Technology
- 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?)
For next week:
- Take Tour of Cineric --
Fri Oct 21, 11:00 AM
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Assignments due before class
- Tour of Cineric -- Fri
Oct 21, 11:00 AM
- Read:
- Gracy, Karen. "Documenting the Process of Film Preservation", The Moving Image 3:1 (Spring
2003), pp 1-41
- Read, Paul and Mark-Paul Meyer. "Introduction to the
Restoration of Motion Picture Film" and "Menschen am Sonntag--a
Reconstruction and Documentation Case Study", Restoration of
Motion Picture Film, Oxford: Butterworth-Heinemann, 2000, pp
1-5 and pp 231-241
- Gartenberg, Jon, "The Fragile Emulsion", The Moving Image 2:2 (Fall 2002),
pp 142-152
- Frye, Brian. "The Accidental Preservationist: An Interview
with Bill Brand", Film History
15:2 (2003), p 214
- Screen Sound Australia Film
Preservation Handbook (parts you havenít read yet)
- Screen
Sound Australia Film Preservation Handbook (first 5 sections: Film
Construction through Damage to Film)
- Baker, Nicholson. (1996) The Size of Thoughts. New York:
Random House, pp. 36-50 "The Projector."
- Recommended
Topics covered:
- How Film Projectors Work...Inside a 16mm projector
and a
Tour of the Projection Booth
- Guest Speaker
- 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?
For next week:
- Take Tour of Vidipax -- Fri Oct 28, 1 PM, Long Island
City Business Center, 300-00 47th Avenue, Suite 600 (this is Queens,
not Manhattan!)
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Assignments due before class
- Tour of Vidipax -- Fri Oct
28, 1 PM
- Orphans Assignment due
- Read:
- AMIA Preservation Committee, Video
Preservation Fact Sheets, 2003.
- Wheeler, Jim. Video
Preservation Handbook, 2002.
- 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 "
- Recommended
- Bachman, Rebecca, Video
Preservation: Glossary of Terms, originally published in Playback:
A Preservation Primer for Video (1998), p.72-76.
- Council on Library & Information Resources (2004) The State of Audio Collections in Academic
Libraries
- Schoenherr, Stephen, Recording
Technology History, Feb. 16, 2004.
Topics covered:
- Orphans presentations
- Sound
- Tape Cleaning
- "Playback" DVD
- 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:
- NOTE: We'll meet
in the Bobst Library Conservation Labs for the first half of the 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
- Preserving
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:
- Guest: Melitte
Buchman, Digital Conversion Specialist, NYU Digital Library
- Visit to Bobst Video/Audio reformatting Lab
- NYU Cataloging Templete
- Introduction NYU/Public Television preservation project
- 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:
- Look over the website of MIC-Moving
Image Collections, and prepare questions and comments for our
guest, Jane Johnson
- Read:
- Each student should read one article from The Moving Image
4:1, Spring 2004, pages 1-88, and be prepared to present a short (5
min) summary to the rest of the class
- 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
- 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
Topics covered:
- Guest: Jane Johnson, MIC Project Director
- Presenting and contextualizing historical material
- Programming a series
- Repurposing
- Issues of access
- 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?
- Discussion of Pamela Bloom's workshop earlier in the semester
Nov 22 Thanksgiving Holiday (no class)
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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
- Lessig, Lawrence. Copyrighting
the President: Does Big Media have a vested interest in protecting
Bush? You betcha. Wired Magazine 12:8, August 2004
- Hirtel, Peter B (2003) Digital
Preservation and Copyright, Copyright
& Fair Use, Stanford University Libraries , November
- Bricklin, Dan (2004) Software that
Lasts 200 Years
- Coyle, Karen (2003) The
Technology of Copyright: Digital Rights Management, Lecture at
Library of Congress (streaming video and written paper)
- Bricklin, Dan (2004) Copy Protection Robs
The Future
- Bricklin, Dan (2002) The Recording
Industry is Trying to Kill the Goose That Lays the Golden Egg
- Bricklin, Dan (2003) How will the Artists
Get Paid?
- 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:
- Issues of term, territory, and market
- 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:
- Present your final project to the rest of the class. (Arrive promptly and be prepared to
stay late so that everyone can present.)
Topics covered:
- Final Individual presentations
Major Assignments
Examples of student work from
2003-2004
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 (and
because we haven't yet had a chance to discuss this in detail, don't
dwell on the preservation treatments that should be done)
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.
-- Research Context of Historical news clips: In groups of 3 or
4, you will be given a 4-15 minute VHS clip of nonfiction footage from
the late 1920s or early 1930s from the collection of the
NewsFilm Library at the
University of South Carolina. You will also have access to a temporary
cataloging record for the clip by searching the catalog of the NewsFilm
Library. 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 in early 2006.
What you find out about the clip will likely be presented there as
well, as was much of last year's student work. You will need to
turn in both a written paper (both the paper and word-processed
version) and a Powerpoint presentation (which you will present in class
and hand in the file to Alicia).
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 sessions, and a
written component must be turned in. Below 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, ...
- list of other
possibilities
- Due dates -- Nov 30 (before AMIA); present in class Dec 6