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MOVING IMAGE ARCHIVES Ian Bloomfield GSLIS 733 Presentation Dr. Alexander April, 2014 Retrieved from http://1.bp.blogspot.com/-sWhtUBYD-1w/Tx1MKQPAQFI/AAAAAAAAB_A/nbrd9azIyvg/s400/movie-screen.jpg

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Page 1: 733 Presentation_final

MOVING IMAGE ARCHIVES

Ian BloomfieldGSLIS 733 Presentation

Dr. AlexanderApril, 2014

Retrieved from http://1.bp.blogspot.com/-sWhtUBYD-1w/Tx1MKQPAQFI/AAAAAAAAB_A/nbrd9azIyvg/s400/movie-screen.jpg

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MEDIUM CONCERNS

Film flammableexpensive

Television recycling of tape stockmagnets

Video DurabilityObsolescence

Recorded Sound Repeated playback = limited fidelity

Digital Media

Storage: estimated holdings of the LOC as text files = 20 TB; single feature film (hrs) digitized = 8 TB+ associated data files (edits, FX) = approx. 400 TB(Greene, 2007)

Obsolescence

Deletable, corruptable

PRESERVATION CHALLENGES

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MOVING IMAGE ARCHIVES ~ TIMELINE

1888 First patented film camera designed by Louis Le Prince

International phenomenon

125+ years of moving image heritage & culture

Arrival of a Train at La Ciotat (The Lumière Brothers, 1895)

https://www.youtube.com/watch?v=1dgLEDdFddk

Retrieved from http://www.pbs.org/idealab/2011/05/win-a-newsroom-fellowship-by-rethinking-video-storytelling121/

Retrieved from http://www.louisleprince.co.uk/

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“a history marked by shifting politics, standards and ideals as much by the changing technologies of preservation that continues to expand and control our understanding of the historical nature of the moving image.” (Fletcher & Yumibe, 2013, p.15)

“lack of preservation, lack of information and lack of accessibility” (Catterall & Morris, 1996, p.4)

“lack of a consistent public policy defines the terms of action.” (Knapskog, 2010, p.31)

”“the often intentional and sometimes accidental, preservation of the national cultural memory.”(Jenkins, 2013, p.231)

“fifty percent of our television history is destroyed” (Schreibman, 1991, p.89)

“The widespread recognition of the significance of motion pictures in American life is a fairly recent phenomenon, and to many people it is still a revelation that the films of their childhood had a value beyond the entertainment of the moment. It is a sad fact that this recognition has come too late to save more than half of the films produced in the land renowned for the development of this vibrant 20th Century art.” - Gregory Peck, The American Film Heritage, Impressions from the AFI Archives (1972) (quoted in Spehr, 2013, p.158)

MOVING IMAGE ARCHIVES ~ A QUOTABLE HISTORY

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Primary source materials are assembled

Primary source materials can be isolated

Source materials includes paper records

Technology that requires technology

Multiple formats

Varied, obsolescing technology:

Scarcity of replacement parts

Lost operation documentation (instructions)

Skilled technicians to operate

Lack of documentation (tape logs, shot sheets)

Research vs. Corporate missions

SPECIFIC CHALLENGES

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Legal/Political/Social agents

Technology

Funding

Bureaucracy

Provenance

Selection & Appraisal

Arrangement & Description

Preservation & Access

SHARED CHALLENGES

Consortia

Ethics & Standards

Professional Development

Education/Training

Awareness & Advocacy

Moral Rights

Social Memory

Narrative of Absence

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Retrieved from http://www.loc.gov/avconservation/packard

National Audiovisual Conservation CenterCulpeper, VA

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Library of CongressNational Archives and Records

AdministrationUCLA Film & Television Archive

The Paley Center for MediaGeorge Eastman House International

Museum of Photography & Film

MOVING IMAGE ARCHIVES

Museum of Modern Art British Film Institute

Institute National de l’audiovisuelleEYE National Film Institute Netherlands

Canadian Broadcasting CorporationNew Zealand Film Archive

Archives of the Planet

National Public Broadcasting Archives at University of Maryland http://www.lib.umd.edu/special

University of Georgia Peabody Collection of TV and Radio http://www.libs.uga.edu/media/collections/peabody/

University of Wisconsin Center for Film and Theater Research http://wcftr.commarts.wisc.edu

Vanderbilt Television News Archive http://tvnews.vanderbilt.edu/

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1894 “Landmark acquisitions” (Murphy, 2011, p.103)

LOC decides to accept paper prints as copyright deposit copies for motion pictures

1912 LOC decides not to keep copies of films registered for copyrightPolitics of Preservation?

1915-1940 tremendous loss

1941 LOC reverses 1912 decision, decides to keep filmsPilot project with MoMa 1943-1945

1976 U.S. Copyright ActEncouraged taping off-air taping of hard news broadcasts and established within the LOC the American Television and Radio Archives

Permitted the LOC to tape any program off the air and gave the Library the power to require deposits of works.

1960s: Department of Defense: kinescoping network news stories re: Vietnam war

1968 CBS vs. Vanderbilt University: recording network coverage of election campaign

1975 introduction of standardized videocassette becomes the major distribution medium for education production and industrial video

precursor to home video market

Moving Image Archives ~ Copyright

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Preservation Legislation

1968 American Film Institute (AFI) 1965 National Endowment for the Arts (NEA)1966 Stanford Report: planning study“to seek out and acquire endangered films and place them in existing archives” (Spehr, 2013, p.155)

1988 National Film & Video Preservation Act 1986 Ted Turner purchases MGM archive to air on cable Viewers preferred colorized versionCopies for coloring on video were improvementsMoral Rights buried in final legislationIntroduces concept of Orphan Works

1983 National Center for Film and Video Preservation

Independent organization of archivistsTook over administration of film preservation grants from the NEA managed National Moving Image Database1986 issued “two-year national moratorium on the destruction of tv programs” Produced guidelines for archival selection and preservation of video documents (Schreibman, 1991, p.93)

http://www.archives.gov/research/guides/catalog-film-sound-video.htmlhttp://www.loc.gov/film/arch.htmlhttp://www.loc.gov/film/pdfs/tvncfvp.pdf

Frankly, my Frankly, my dear, we lit this dear, we lit this scene for black scene for black

& white.& white.

Retrieved from http://best-ofthepast.blogspot.com/2013/01/top-10-advantages-of-technicolor.html

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PROFESSIONAL DEVELOPMENT

FIAF Federation Internationale des Archives du FilmParis, 1938: British Film Institute (BFI), Museum of Modern Art (MoMa), Cinematheque Francaise, Reichsfilmarchive (Berlin)

Institutional Membership

1969 MoMa hosts annual conference1970 Library of Congress applies for membership

150 institutions in over 77 countries Journal of Film Preservation

AMIA Association of Moving Image ArchivistsPortland, 1990: outgrowth of Film & Television Archives Advisory Committee (F/TAAC)

Individual & Institutional Membership

2008 Peak membership 1,033 (Horak, 2011)Moving Image

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CASE STUDY: DAVID TURCONI

PROJECT

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Josef Joye (1852-1919) Swiss Jesuit AbbottBasel, Switzerland: founded Borromaum in 1898, a community-based institution still in existence http://www.borromaeum.ch/index.php

Early adopter: late 1800’s, used hand-painted lanterns (personally created over 16,000)

Used 35mm films as teaching aides to illustrate the educational and religious lectures he gave in his parish.

Collected an estimated 1,540 international films produced between 1908-1912

Davide Turconi (1911-2005)Historian, advocate for early Italian silent film preservation

1964 founded Rome’s L’Associazone Italian per le Richerche di Storia del Cinema (AIRSC) archive

1970s: created 23,491 frame clippings from Joye collection

Contained remarkable examples of early film coloring, in particular stenciling, hand coloring, tinting and toning

Process of selecting single frames not far removed from today’s standards of creating and managing digital moving image records, i.e. key frames & thumbnails (Fletcher & Yumibe, 2013)

http://licensing.eastmanhouse.org/GEH/C.aspx?VP3=ViewBox_VPage&ALID=274408LZOB&CT=Album

http://www.cinetecadelfriuli.org/progettoturconi/

Retrieved from http://www-3.unipv.it/cinema/extra/extraturconi.htm

Retrieved from http://www.cinetecadelfriuli.org/progettoturconi/davide_turconi/josef_joye.html

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TURCONI CLIPPINGS

FROM THE JOYE COLLECTION

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Retrieved from http://payload8.cargocollective.com/1/2/88505/2461689/00062_900.jpg

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Retrieved from http://zauberklang.ch/filmcolors/wp-content/uploads/2013/05/GEH_Turconi_01018-517x1024.jpg

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Retrieved from http://www.eastmanhouse.org/museum/publications/annual-report/2011/media/8-1.jpg

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Retrieved from http://www.davidbordwell.net/blog/wp-content/uploads/Feuillade-3001.jp

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Ian [email protected]

Contact Info

Retrieved from http://www.moma.org/explore/publications/modern_women/history

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Catterall, P., & Morris, K. (1996). Flickering images? Importance of maintaining television archives in Britain. History Today, 46, 4-6.

Fletcher, A., & Yumibe, J. (2013). From Nitrate to Digital Archive: The David Turconi Project. Moving Image, 13(1), 1-32.

Greene, S. (2007). Chasing Technology. Prologue. 39(2), 1-7.

Horak, J.C. (2011.) Surveying AMIA’s First Twenty Years. Moving Image 10(1). 113-126.

Jenkins, J.L. (2013). The Past Is a Moving Picture: Preserving the Twentieth Century on Film. Moving Image 13(1), 230-233.

Knapskog, K. (2010). Archives in Public Service. Critical Studies in Television, 5(2), 20-33.

Murphy, W.T. (2011). Genesis of A Profession. Moving Image 11(1), 103-112.

Schreibman, F.C. (1991). A Succinct History of American Television Archives. Film & History, 21(2), 88-95.

Spehr, P.C. (2013). The Education of an Archivist. Moving Image, 13(1), 151-178.

Tarr, K., & Shay, W. (2013). How Film (and Video) Found Its Way into "Our Nation's Attic". Moving Image 13(1), 178-184.

Thompson, L.J. (2011). Histories of the digital future: archives of the audio-visual’ workshop, University of Warwick, 19 May 2011. Screen, 52(4), 522-527.

References