Cinema Studies
For Students:
Fall 2009 - Tuesdays 6-10pm, 721 Broadway, Rm 674

Introduction to Moving Image Archiving and Preservation H72.1800

Syllabus 4.08
(also see Fall 2005 or  Fall 2006  or Fall 2007 or Fall 2008 syllabus)

(latest version of syllabus always at )

Instructor: Howard Besser         Office Hours: Tu 4:45-5:45 PM, 665 Broadway, rm 612, and by appointment (no office hours Nov 10)

Course Description:  This graduate-level course introduces and contextualizes aspects of the archiving and preservation of film, video, and new media.  We will consider the moving image and sound recording media as material objects, as technologies with histories.  We will contextualize them within culture, politics, industries, and economics. Topics include: conservation and preservation principles, organization and access, restoration, collecting, curatorship, and programming, legal issues and copyright, and emerging issues in digital media.    

Designed for students entering the profession of moving image archiving, the course examines the history of archiving and preservation and the development of the field’s theories, practices, and professional identities.  We will consider the tasks and areas of specialization practiced by moving image professionals and how these are changing and multiplying in the digital era.   

Required readings:  There is no single book, or even set of books, for this multiperspectival, interdisciplinary field and course.  The book that should start out the course is out of print, but read it on reserve.

 • Penelope Houston, Keepers of the Frame:  The Film Archives (BFI, 1994)  [one at Bobst Library Reserves Desk, TR886.3 H68]  (& A .pdf file of part of the book will be online at the Blackboard site)

          The other readings will be essays and documents handed out in class or (most often) made available in digital form (available through links on the course website or pdf files on the course Blackboard site; and electronic library documents via Bobst Library portals).  The U.S. national plans for television/video and film preservation are on-line, as are NFPF publications.  We will also read articles from the AMIA journal, The Moving Image.  The 2004-06 issues are available to you in .html and .pdf formats via Project Muse (see Bobst Library databases).

            Note:  Some readings (ie those in the "Restricted" directory on Howard's website) are only available if you have logged in via the NYU domain.  If you are using another ISP, you must either run a proxy server or be on campus to access these documents.  Please print paper copies for yourself when any electronic versions are required reading.  Keep them handy for marking, reviewing.

       “Blackboard”This online resource will host some of the course documents. Access NYU Blackboard Course Sites with a valid NYU Net ID and password through the Blackboard Classes list in NYUHome (   Click on the “Academics” tab, then click on the course link in the list provided.  If the class link does not appear in your list, try clicking the "Update Classes Information" link at the bottom of the channel.  Help is at ITS Client Services (212) 998-3333, or NYU Blackboard Help Request Form .

Objectives:  After completing the course you should be able to  …

  • understand professional protocols of moving image archivists;
  • define the key concepts in moving images preservation, conservation, restoration, access, research, education, and use;
  • participate in debates about moving image preservation and archiving;
  • discuss ways in which practices of archiving affect the writing of history and the production of media;
  • assess the curatorial needs of collections, materials, and institutions;
  • articulate access policies and procedures;
  • demonstrate familiarity with key copyright issues;
  • describe principles and philosophies of audio-visual archiving, including ethical concerns, collection issues,
  • demonstrate knowledge of different types of institutions relevant to professional archivists, including private, public, governmental, commercial, local, regional and national archives, as well as museums, libraries, digital repositories, galleries, broadcasters, cinematheques, laboratories, schools, and others. 

Requirements:  Course grades [A, A-, B+, B, B-, C+, C, C-, D, F] will be determined by performance in the following areas. MIAP students must earn a grade a B or better to advance. 

Attendance and Participation (25%)  Attend all meetings of the course.  Participate actively in all discussions. 
Participation will also measured by your completion of short assignments given occasionally.  These required short assignments will be announced throughout the semester.  Most will consist of a brief written response (ca. 500-words), sometimes due a week after its assignment.  All assignments and readings will be listed on the syllabus on the date due, so be sure to scan ahead on the syllabus.
You must also monitor the electronic discussion supervised by the Association for Moving Image Archivists (AMIA-L).  Subscribe via e-mail.

Group Research report (25%)  Research and write a report on a single piece of under-researched film or video.  You and one or two classmates will be provided an access copy of an original item about which little is known.  Studying the film’s content, historical context, archival and material conditions, your group will compose a written report assessing the piece’s significance and recommend a preservation and presentation plan.  Your group will also have to present this as an oral class presentation on Oct 27.

Proposal  (10%)  A proposal for your final project, including preliminary research bibliography and a prospectus.  Due Oct 6.  (3-4 pages). 

Individual Final project  (40%)  A substantive, in-depth, individual research project.  Integrate archival research with one or more set of moving image materials (or related materials, such as audio, photographic or paper documents), or develop an essay and documentation on an archival project stemming from issues in the course.  This project will have a written component (due Dec 14), plus you will be graded on your class presnetation of your project during the final class session.
            The topic of your final project must be approved before submitting a formal proposal.  You will receive an additional list of possible projects, but you may also propose a project of your own invention.  Look at the MIAP web site to see projects that students have done previously.  The best projects tend to work with available primary materials. 
            Some general options to consider include:

  • Research and write a plan for a film or video that needs preservation and/or restoration.  This might include a combination of the following:  locate existing elements and prints, identify differences between extant copies, do interviews and historical research about the production and post-production, create a budget for restoration.
  • Write an essay comparing two archival institutions of differing types (e.g., a public library and a state archive or historical society).  Analyze how institutional differences affect moving image archival practice (acquisition, cataloging, access, preservation).
  • Your project might also lead to a thesis project if it’s expandable.  Or your final Intro course project might also grown out of the first research report you do with a classmate.
  • 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 from previous years

Sept 8 Introduction to Entire Class (week 1)

Topics covered:
  • What is this class about?  (non-MIAP students should pay more attention to both the "Professional Organizations" reading next week, 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
  • 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?
  • lecture notes 
  • News ariticles

Sept 15 Modes and Artifacts of Moving Image Production: Video, Audio, and New Media; Issues of Risk Assessment with all forms of Moving Image Works (week 2)

Assignments due before class:
Topics covered:
  • Examination of recording devices
  • Discussion of handling audio and new media
  • Kitchen Sisters.  Sonic Memorial stored on Center for History & New Media's Sept 11 Digital Archive.
  • Discussion of general landscape: professional organizations & professionalism, preservation, cataloging, future changing landscape

Sept 22 Modes & Artifacts of Moving Image Production: General Discussion & Film, Basic Distribution Issues (week 3)

Assignments due before class:
Topics covered:

Sept 29   Collections Management: Issues and Approaches (week 4)

Assignments due before class:
  • Select 1 title from the filmography in The Field Guide to Sponsored Films that is also available at the Internet Archive (  Briefly, compare the data/metadata found in the Field Guide for that title to the information about that title found at  View the moving image version of the title you find there.  Note any significant or surprising differences between the Field Guide entry and the movie itself. 
  • 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:
  • Discussion of Final Projects
  • Appraisal, selection, description, sorting, organizing
  • Risk Management discussion
  • 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?
  • News Articles & topical events

Oct 6  Collecting in Context: Theoretical Underpinnings (week 5)

Assignments due before class:
  • Proposal for Final Project  due
  • 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:
  • Discussion of Final Projects
  • Discussion on metadata differences between the Field Guide,, and the digital versions of the films themselves
  • Collection Management (continued)
    • Continuation of  Metadata Talk and Metadata Issues
    • Archival Arrangement--maintaining original order, context, relationships
    • Metadata Standards (EAD, Dublin Core, MARC)
  • Appraisal, selection, description, sorting, organizing
  • Risk Management discussion
  • 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?)

Oct 13  Film Artifact & Preservation Issues (week 6)

Assignments due before class
  • Meet at 6:10PM at Alan Berliner's Tribecca studio (13 Vestry St, about a block west of Canal and 6th Ave)
  • Read:
      including bio, resume, and Philip Lopate’s “American Family Life Wittily Revealed,” New York Times, Jan. 12, 1997.
    • 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 [reprinted in MIAP's co-publication -- Andrew Lampert (ed)  Results you can't refuse: celebrating 30 years of BB Optics, New York: Anthology Film Archive, 2006]
  • Recommended
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?
  • Show video from Film Technology; DVDs from ColorLab and LaboCine

Oct 20 Perspectives on Collecting, Preservation, & Conservation (week 7)

Assignments due before class
Topics covered:
  • Panel discussion including professionals from different organizations and fields:
    • Carol Stringari, Chief Conservator, Guggenheim Museum of Art
    • Barbara Mathe, Senior Special Collections Librarian,American Museum of Natural History
    • Lygia Guimaraes, Chief of Central Conservation, Instituto Patrinômico Historíco e Artístico Nacional de Brasil (IPHAN)
  • Reports from Home Movie Day
  • 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?
  • 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?
  • Different NYU projects:
    • Merce Cunningham project
    • NYU IMLS project to improve 21st Century job situation for Moving Image Professionals within Libraries
    • NYU potential Mellon proposal to research uniqueness and need for preservation within circulating library moving image collections
  • from student project proposals: issue of opportunistic collection development
  • from student project proposals and group history projects: This field isn't old enough to have a large established literature.  Most projects need to go through iterative, and change direction based upon how much info may be available
  • from student project proposals: Panofsky, Shatford/Layne--pre-iconographic/Iconographic/Iconological (see TASI's Challenge of Describing Images)
  • Current Events Articles:

Oct 27  Collecting Institutions: History & Culture of Museums, Archives, Libraries, & Other Repositories  (week 8)

Assignments due before class:
  • Research Report due
  • Read:
    • Oct 27 is World Audiovisual Heritage Day 
    • 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
    • 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:

Nov 3  Video & Audio Preservation Issues (week 9)

Assignments due before class
Topics covered:
  • 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?

  • Assignment at AMIA conference

*Nov 10 New Media & Digital Preservation Issues, Digital Public Television Preservation (week 10)

Assignments due before class:
Topics covered:
  • Guest: Kara Van Malssen, Senior NDIIPP Fellow, Preserving Public Television

  • Student reports from AMIA
  • 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
  • Nov 17  Access, Curating & Programming (week 11)

    Assignments due before class:
    • Read: Additional readings (optional):
      • The Moving Image 4:1, Spring 2004, pages 1-88
      • 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  (you will need to find the text of these papers yourself)
      • 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: Dan Streible, Professor of Cinema Studies and Director, Orphans Film Symposium

    • 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?
    • 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?
    • News articles:

    Dec 1 Copyright, Legal Issues, & Policy (week 13)

    Assignments due before class:
    Topics covered:

    Dec 8 Final Classroom Presentations (week 14)

    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.)  We will only have 10-15 minutes for each presentation (including questions and discussion)
    Topics covered:
    • Final Individual presentations

    Other Information

    MIAP Digital Archive:  In addition to any paper or other materials that must be submitted for a course project, all MIAP course projects will be submitted with accompanying electronic copies.  The ‘e-versions’ will be made part of the MIAP digital archive.  Provide all files with (1) a MIAP Submission Form and (2) file names that follow MIAP Digital Archive file-naming guidelines (which can be found at  Identify on the Submission Form any content that might require access restrictions. 

    Plagiarism Advisory:

    Plagiarism and other violations of the University’s published policies are serious offenses and will be punished severely.  Plagiarism includes presenting or paraphrasing a phrase, sentence, or passage of a published work (including material from the World-Wide Web) in a paper or exam answer without quotation marks and attribution of the source, submitting your own original work toward requirements in more than one class without the prior permission of the instructors, submitting a paper written by someone else, submitting as your own work any portion of a paper or research that you purchased from another person or commercial firm, and presenting in any other way the work, ideas, data, or words of someone else without attribution. These are punishable offenses whether intended or unintended (e.g., occurs through poor citations or confusion about how to reference properly).
    You are encouraged to read additional texts and to discuss the issues of this course and your papers with others; but if you use ideas that come from others, you must acknowledge their help.  It is always better to err on the side of acknowledging other people than to fail to do so.  

    Other offenses against academic integrity include: collaborating with others on assignments without the express permission of the instructor, giving your work to another student to submit as his/her own, copying answers from another student or source materials during examinations, secreting or destroying library or reference materials. . If you have any questions about how to cite sources, what constitutes appropriate use of a text, or other matters of academic integrity, please discuss them with your course instructor. 

    Anyone caught plagiarizing will fail the course.  In addition, violations of academic integrity, including plagiarism, call for disciplinary action through the University.