Cinema Studies
For Students:
Fall 2020 - Mondays 12:30-4:30

Introduction to Moving Image Archiving and Preservation H72.1800

Syllabus 1.90
(also see Fall 2005 or  Fall 2006  or Fall 2007 or Fall 2008 or Fall 2009  or Fall 2010 or  Fall 2013  or Fall 2014 or Fall 2015 or Fall 2016 or Fall 2017 syllabus)

(make sure you are viewing the latest version of the syllabus, which is always at )

Instructor: Howard Besser         Office Hours via Zoom (sign up on the Office Hours google doc, or email to schedule your slot): Tues 4:30-6:00 & at other times by appointment

Note: All class sessions will be online in real-time (synchronous) via Zoom.

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:

 � Penelope Houston, Keepers of the Frame:  The Film Archives (BFI, 1994)  [one at Bobst Library, TR886.3 H68]  (& a PDF file of part of the book will be online at the NYU Classes 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 NYU Classes 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.  Many back issues are available to you in HTML and PDF formats via Project Muse (see Bobst Library databases).   Your heaviest period for readings and other assignments will be the month of October, so it would be in your best interest to read ahead.

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

       NYU Classes This learning management system will host some of the readings for the course . Access with a valid NYU Net ID and password.  Basic instruction for using NYU Classes is at Training for Students. Most of the readings that are not available on the open Web are available in the "Documents and Readings" section of our NYU Classes site.  Note:  The list of required readings is always on your syllabus.  The syllabus should be your guide to what you need to do, and sometimes the links on the syllabus are to the latest versions of readings (where the NYU Classes site contains older versions).  There are many readings on the NYU Classes site that are only recommended (not necessarily required).

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 (such as a report on Committee meetings from the AMIA Conference).  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).  

Group Research report (25%)  Research and write a report on a single piece of under-researched film or video.  You and two or three other 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, depending on the work and where it comes from, you might also recommend a preservation and presentation plan.  Your group will also have to present this as an oral class presentation on Oct 26. To find the materials you'll be working on this semester, click here for a description of the films and videos that we'll be using this semester. And to see the actual works, go to NYU Classes | Resources | Documents_Readings | "Filmic Materials for student Research Reports" (the last entry).

Proposal  (10%)  A proposal for your final project, including preliminary research bibliography and a prospectus.  Due via email by Oct 12.  (3-4 pages--can be less if you've discussed the topic extensively with the instructor). 

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 7), plus you will be graded on your class presentation of your project during the final class session. Class presentations will be 10-12 min, with an additional 3-5 min for questions/comments. (You will be cut off at 12 min; do not go any longer than that!)
            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.
  • Examine the various ways that are recommended for how people should create citations to digital media. In the same way that scholars cite something on a particular page of a book, scholars should also be able to cite a particular place in a digital media object. Write a paper that examines both the style guide recommendations (APA, MLA, Chicago Manual of Style) and how a variety of streaming media sites link to a particular timecode within a work. The results in your paper will hopefully serve as a starting point for a project to standardize the way that these works are cited.
  • 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).
  • 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, ...
  • Do intensive research on an elderly media artist.  Develop a set of questions getting to the heart of what they have done and how they did it.  Perform and record an oral history with them (minimum of 2 hours, but could be in multiple sittings).  Edit and index the oral history, and put it online.
  • 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.
  • list of other possibilities from previous years

Wed Sep 9 Introduction to Entire Class (week 1)--NOTE: this is the only time the class meets on a Wed!

Topics covered:
  • Acknowledgement of today�s Scholar Strike #ScholarStrike for racial justice ( 
  • 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)
  • How to read the syllabus/class-outline (including looking for assignments one week ahead); discussion of assignments
  • NYU Classes is only for Readings and uploading assignments into Forums
  • Look for readings in NYU Classes--Resources--Documents
  • Outdated links, how to find reading material
  • Films/Videos/DVD clips on the act of moving image preservation, as well as how preserved material is reused and represented in different ways
  • 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?
  • The role of Collector: Marianne Stokes
  • lecture notes 

Sep 14 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)--NOTE: Beginning this week, we meet on Mondays!

Assignments due before class:
Topics covered:
  • Finishing the various things that we didn't get to from last week
  • Examination of recording devices + name + program + interest areas
  • Discussion of Professional Organizations in this field
  • Discussion of handling audio and new media
  • Discussion of general landscape: professional organizations & professionalism, preservation, cataloging, future changing landscape
  • 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
Sep 21 Modes & Artifacts of Moving Image Production: General Discussion & Film as an Artifact, Basic Distribution Issues (week 3)
Assignments due before class:
Topics covered:
  • 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.
  • 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.
  • Next week is Banned Book Week.  Look over ALA's website, and particularly the list of Banned & Challenged Classics (, and the Infographics (
  • Next week is UNESCO International Day for Universal Access to Information (IDUAI) (
  • Rick Prelinger joining Howard's Free Culture & Open Access class 1PM tmrw via Zoom
  • AMIA event this Thurs: Unionizing & Organizing with Your Professional Community (
  • News Articles

Sep 28   Collections Management: Issues and Approaches; Issues around Access (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:
    • �Preservation without access is pointless.� Statement by The Committee For Film Preservation and Public Access before The National Film Preservation Board of the Library of Congress, Los Angeles, California, February 12, 1993 [on NYU Classes]
    • Besser, Howard. �Future Trends in Library Video & Film Collections� in Video Collection Management & Development. Gary Handman, ed. Westport, Conn.: Greenwood Press, 1994. [Accessed 19 Aug 2013]

    • International Federation of Library Associations Sustainable Development Initiatives and read the Lyon Declaration on Access to Information and Development 
    • Spend 15 minutes looking over Sandy Berman's 1971/1993 Prejudices and Antipathies
    • Loe, Nancy E. "Avoiding the Golden Fleece: Licensing Agreements for Archives," The American Archivist 67:1 (Spring/Summer 2004): 58�77.
    • Reference and Information Services in the 21st Century: an introduction. Read Chapters 1-3 (pages 3-88). [also on NYU Classes as chapters 1-3]
    • Laura Miller.  The trouble with Google Books: How rampant errors threaten the scholarly mission of the vast digital library, Salon, Sept 9, 2010 (be sure to hit the "continue reading" button)
    • JISC (UK). 2014  Metadata Guide
    • 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.
    • The Passenger Pigeon Manifesto: Preservation vs Access
  • Further Readings
Topics covered:
  • Issues of pejorative terminology (Berman)
  • Discussion of Final Projects
  • Risk Management discussion
  • Reminders:  Final Proposal due via email Oct 12
  • 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?
  • Reference and Access Issues
    • Types of access to collections: physical, digital, intellectual
    • Institutional types of repositories and access policies
    • Relationship between preservation and access
    • History and ethics of access
    • Access policies and services
      • Types of repositories and their access protocols
      • History of film archives� access philosophies
      • Access conditions in donor agreements
      • Establishing policies and fee structures
    • Kinds of reference services
    • The researcher interview process
  • Discussion of Preservation vs Access in light of recent Passenger Pigeon Manifesto
  • News Articles & topical events

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

Assignments due before class:
  • Reminder: Proposal for Final Project  due via email Oct 12
  • 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 Baudrillard's "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, "Editor's Introduction: Pierre Bourdieu on Art Literature and Culture" in 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:
  • Issues of pejorative terminology (Berman)
  • Questions from last week's syllabus
  • Reference & Access issues
  • Discussion of Final Projects
  • Discussion of file-naming conventions & MIAP Archive & general good archival practice (& in-progress vs. finalized works)
  • Release 3 years ago of IASA TC05 (NYU Classes)
  • Appraisal, selection, description, sorting, organizing
  • Critical Archival Theory (
  • 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 �rhetoric� or �poetics� 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?)
  • News Articles & topical events
    • xx
Oct 12  Video & Audio Preservation Issues (week 6)
Assignments due before class
Topics covered:
  • Today is Indigenous Peoples Day
  • Catching up
    • Research Reports--status update
    • Continuation of Metadata slides [54]
    • Differences between Libraries, Museums, Archives
    • Larger questions from last week
    • Continuation of opening slides [34]
  • Discussion of World Audiovisual Heritage Day
  • Next week is Open Access Week 
  • 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 for AMIA conference
    • All students participating in AMIA conference must attend an AMIA Task Force or Committee meeting and give a presentation on this to class on Nov 30
  • News articles
Oct 19  Personal Archiving, Community Archiving, Police Conflict Archiving  (week 7)
Assignments due before class:
Topics covered:

Oct 26  Film Preservation Issues; Moving Image Reference and Access Issues (week 8)

Assignments due before class
  • Research Report due
  • Read:
    • Access & Reference Issues:
      • Media Research Resources.� Compiled by Nancy Goldman at Pacific Film Archive, with some additions by Linda Tadic.
      • Prelinger, Rick. �Archives and Access in the 21st Century,� in Cinema Journal 46:3, Spring 2007 pages 114 � 118. [on NYU Classes]
      • Bottomore, Stephen. "A Critical View of Some Major Libraries: The Perspective of an Early Cinema Historian," The Moving Image 4:2 (Fall 2004): 87�110. [on NYU Classes]
      • Reference and Information Services in the 21st Century: an introduction. Chapters 4-5:  Organization of Information and Search Strategies; Electronic Resources for Reference (p. 95-159). [also on NYU Classes as chapters 4-5]
      • Handman, Gary.  �License to Look: evolving models for video acquisition and access�, Library Trends, vol. 58, no. 3, Winter 2010 [on NYU Classes
      • Moving Image Archive at Internet Archive: [Accessed Sept. 2, 2013]
    • 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:
  • Continue discussion of issues we didn't get to
  • 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?
  • Access & Reference Issues:
    • Finding Film and Media Related Info
    • Areas of research conducted in moving image, audio, and digital media
    • Online and print resources for research--Types of resources (biographical, film indexes, union catalogs, almanacs, periodical indexes, trades, dictionaries, encyclopedias, review compilations)
    • Online sources
      • Electronic search and search strategies
      • Electronic information systems and search protocols
      • Issues in Internet access: keyword vs fielded search; the deep Web
      • Online catalogs
    • Access to digital moving images
      • Digitization projects
      • Born digital
      • Web access vs traditional access
  • Film/Video Collections you can access online via the NYU Library (after authenticating through NYU Home)
    • Footage Access (access and licensing rights to primary-source and relevant archival footage and audio for educational purposes, including HBO, NatGeo, Discovery, NBC Universal, CNN, ABC News, AP)
    • Docuseek2 Complete Collection (documentaries from Bullfrog, Icarus [including The Fanlight Collection and dGenerate], Kartemquin, KimStim, National Film Board of Canada, and Terra Nova)
    • FILM PLATFORM (social, political and cultural documentaries)
    • Kanopy (includes the Criterion collection)
  • Research Reports presentations
  • ((Film Labs: show video from Film Technology; DVDs from ColorLab and LaboCine))

Nov 2 New Media (and other dynamic content) & Digital Preservation Issues, Digital Public Television Preservation; Digital vs Analog Cinema (week 9)

Assignments due before class:
Topics covered:
Nov 9   The Curating Process   (week 10)

Assignments due before class:

  • Read:
    • Paolo Cherchi Usai, A Charter of Curatorial Values (NYU Classes)
In Class

Nov 16 Filmmaker as Collector with Guest Alan Berliner; A/V as Research Data  (week 11)

Assignments due before class:
  • Watch at least one film by Alan Berliner
  • Look over, including bio, resume, etc.
Topics covered:

Nov 23  Copyright, Legal Issues, & Policy; Metadata continuation; Women & Archives/Technology/Arts (week 12)

Assignments due before class:
Topics covered:

Nov 30  Collecting Institutions: History & Culture of Museums, Archives, Libraries, & Other Repositories & Ethical Issues  (week 13)
Assignments due before class:
Topics covered:
    oral report from each student who attended the AMIA Conference
    *Your Final Project Presentations for next week:
    • 13 min maximum Talk, then several minutes of questions
    • Use visuals; alert us ahead if you're using some software other than Powerpoint, Acrobat, Web Browsers, Office, ...
    • Try to arrive a little early and load your software onto the computer into the folder for Intro Final Presentations
    *Differences between libraries, museums, archives
    • 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:
    • NYU Mellon Project to archive websites including streaming media content
    • Privacy
    *issue of opportunistic collection development
    *from 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
    *Panofsky, Shatford/Layne--pre-iconographic/Iconographic/Iconological (see JISC's Approaches to Describing Images)
    *Ethics from 53 years ago
  • NDSR
  • XFR Collective
  • Dealing with Complex Works
  • ReMuseum 2020: Labor and Social Justice (55 min), California Assn of Museums, Oct 15, 2020
  • 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 kind of Division of Labor is there?
  • 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?)
  • Information Systems in Libraies, Museums, conventional Archives, Film Archives, ...
  • Course Evaluation ( choose course, then "evaluation")
  • News Articles

Dec 7 Final Classroom Presentations (week 14)

Assignments due before class:
  • Present your final project to the rest of the class.  (Connect promptly and be prepared to stay late so that everyone can present.)  We will only have 13-15 minutes for each presentation (including questions and discussion)
Topics covered:
  • Final Individual presentations
  • Course Evaluations


Curation (not covered in Intro class this year)

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.

Standard Language Required for CS Syllabi


Tisch Policy on Academic Integrity
The core of the educational experience at the Tisch School of the Arts is the creation of original work by students for the critical review of faculty members.  Any attempt to evade that essential transaction through plagiarism or cheating is educationally self-defeating and a grave violation of Tisch�s community standards. Plagiarism is presenting someone else�s original work as if it were your own; cheating is an attempt to deceive a faculty member into believing that your mastery of a subject or discipline is greater than it really is. Penalties for violations of Tisch�s Academic Integrity Policy may range from being required to redo an assignment to dismissal from the School. For more information on the policy--including academic integrity resources, investigation procedures, and penalties--please refer to the Policies and Procedures Handbook ( on the website of the Tisch Office of Student Affairs.

Health & Wellness Resources
Your health and safety are a priority at NYU.  If you experience any health or mental health issues during this course, we encourage you to utilize the support services of the 24/7 NYU Wellness Exchange 212-443-9999.  Also, all students who may require an academic accommodation due to a qualified disability, physical or mental, please register with the Moses Center 212-998-4980. Please let your instructor know if you need help connecting to these resources. Students may also contact Department Chair Anna McCarthy and/or Administrative Director Ken Sweeney for help connecting to resources.

Sexual Misconduct, Relationship Violence, and Stalking Policy & Reporting Procedures
NYU seeks to maintain a safe learning, living, and working environment. To that end, sexual misconduct, including sexual or gender-based harassment, sexual assault, and sexual exploitation, are prohibited. Relationship violence, stalking, and retaliation against an individual for making a good faith report of sexual misconduct are also prohibited. These prohibited forms of conduct are emotionally and physically traumatic and a violation of one�s rights. They are unlawful, undermine the character and purpose of NYU, and will not be tolerated. A student or employee determined by NYU to have committed an act of prohibited conduct is subject to disciplinary action, up to and including separation from NYU. Students are encouraged to consult the online
Sexual Misconduct, Relationship Violence, and Stalking Resource Guide for Students ( for detailed information about on-campus and community support services, resources, and reporting procedures. Students are also welcome to report any concerns to Department Chair Anna McCarthy and/or Administrative Director Ken Sweeney for help connecting to resources.

NYU Title IX Policy
Tisch School of the Arts to dedicated to providing its students with a learning environment that is rigorous, respectful, supportive and nurturing so that they can engage in the free exchange of ideas and commit themselves fully to the study of their discipline. To that end Tisch is committed to enforcing University policies prohibiting all forms of sexual misconduct as well as discrimination on the basis of sex and gender.  Detailed information regarding these policies and the resources that are available to students through the Title IX office can be found by using the
this link.

Non-Discrimination and Anti-Harassment Policy & Reporting Procedures
NYU is committed to equal treatment and opportunity for its students and to maintaining an environment that is free of bias, prejudice, discrimination, and harassment. Prohibited discrimination includes adverse treatment of any student based on race, gender and/or gender identity or expression, color, religion, age, national origin, ethnicity, disability, veteran or military status, sexual orientation, marital status, or citizenship status, rather than on the basis of his/her individual merit. Prohibited harassment is unwelcome verbal or physical conduct based on race, gender and/or gender identity or expression, color, religion, age, national origin, ethnicity, disability, veteran or military status, sexual orientation, marital status, or citizenship status. Prohibited discrimination and harassment undermine the character and purpose of NYU and may violate the law. They will not be tolerated. NYU strongly encourages members of the University Community who have been victims of prohibited discrimination or prohibited harassment to report the conduct. MIAP students may make such reports to Department Chair Anna McCarthy and/or Administrative Director Ken Sweeney for help connecting to resources, or directly to Marc Wais, Senior Vice President for Student Affairs. Students should refer to the University�s Non-Discrimination and Anti-Harassment Policy and Complaint Procedures ( for detailed information about on-campus and community support services, resources, and reporting procedures.

NYU Guidelines for Compliance with the Family Educational Rights and Privacy Act (FERPA)
The Family Educational Rights and Privacy Act of 1974 (FERPA) was enacted to protect the privacy of students' education records, to establish the rights of students to inspect and review their education records, and to provide students with an opportunity to have inaccurate or misleading information in their education records corrected. In general, personally identifiable information from a student's education records, including grades, may not be shared without a student�s written consent. However, such consent is not needed for disclosure of such information between school officials with legitimate educational interests, which includes any University employee acting within the scope of their University employment. See here ( for full policy guidelines.

NYU Student Religious Observance Policy
See here for the University Calendar Policy on Religious Holidays.

NYU Academic Support Services
NYU offers a wide range of academic support services to help students with research, writing, study skills, learning disability accommodation, and more. Here is a brief summary:
NYU Libraries
Main Site:; Ask A Librarian:
70 Washington Square S, New York, NY 10012
Staff at NYU Libraries has prepared a guide ( covering services and resources of particular relevance to graduate students. These include research services and guides by topic area, subject specialists, library classes, individual consultations, data services, and more. There's also a range of study spaces, collaborative work spaces, and media rooms at Bobst, the library's main branch.

The Writing Center
411 Lafayette, 4th Floor, 212-998-8860,

The Writing Center is open to all NYU students. There, students can meet with a faculty writing consultant or a senior peer tutor at any stage of the writing process, about any piece of writing (except exams). Appointments can be scheduled online. Students for whom English is a second language can get additional help with their writing through a monthly workshop series scheduled by the Writing Center (

The University Learning Center (ULC); Academic Resource Center (18 Washington Pl, 212-998-8085) or University Hall (110 East 14th St, 212-998-9047)

Peer Writing Support: All students may request peer support on their writing during drop-in tutoring hours for "Writing the Essay / General Writing" at the University Learning Center (ULC), which has two locations noted above. Students for whom English is a second language may wish to utilize drop-in tutoring geared towards international student writers (see schedule for "International Writing Workshop").

Academic Skills Workshops: The ULC's Lunchtime Learning Series: Academic Skills Workshops focus on building general skills to help students succeed at NYU. Skills covered can help with work in a variety of courses. Workshops are kept small and discuss topics include proofreading, close reading to develop a thesis, study strategies, and more. All Lunchtime Learning Series workshops are run by Peer Academic Coaches. 


Moses Center for Students with Disabilities 

726 Broadway, 3rd Floor, 212-998-4980,

All students who may require an academic accommodation due to a qualified disability, physical or mental, are encouraged to register with the Moses Center. The Moses Center�s mission is to facilitate equal access to programs and services for students with disabilities and to foster independent decision making skills necessary for personal and academic success. The Moses Center determines qualified disability status and assists students in obtaining appropriate accommodations and services. To obtain a reasonable accommodation, students must register with the Moses Center (visit the Moses Center website for instructions).