saturday - melissa dollman...speakers: johan oomen netherlands instituut voor beeld en geluid...

AMIA/IASA 2010: Page 87Philadelphia, PA | United States

12:00pm 1:00pm | Lescaze��Meeting: AMIA Cataloging & Metadata Committee

12:00pm 1:00pm | Washington C�� Meeting: AMIA Education Committee

12:00pm 1:00pm | Commonwealth D��Open Meeting: Lessons From the First Year of the American Archive

Open Session on the American Archive, sponsored by the News, Documentary, andTelevision Committee. The American Archive is envisioned as the primary collection ofarchival content from public television and radio stations across the United States. Apilot project, concluded in January 2010, built a repository with audio/video contentfrom 22 stations, while assessing costs and capabilities and developing a workflow usingthe PBCore metadata standard. AMIA has been deeply involved in the American Archiveproject, which in its next phase will conduct a comprehensive content inventory for allpublic TV and radio stations. During this open meeting, Matt White, Executive Directorof the American Archive, will describe the next steps in the American Archive project,and we’ll discuss potential roles for AMIA members to provide guidance and hands onexpertise. Your ideas and involvement in building the American Archive will bewelcome!

12:00pm 2:00pm | Macy’s Department Store| Pre registration required��A Mammoth Musical Midday Adventure: Tour of the Wanamaker Grand Court Organ

The largest symphonic pipe organ in the world resides one block from our conferencehotel. The Wanamaker Grand Court Organ in Macy’s Department Store has been theperformance vehicle for many of the world’s most famous organists for nearly a century.Hearing this organ is a must for sound archivists, organ aficionados, and classical musiclovers. The tour will begin at noon with a 45 minute concert that is also open to thepublic. At the conclusion of the concert, your tour through the internal workings of thishuge musical instrument of 28,500 pipes will begin. The tour is sponsored by yourfriends and fellow conferees, Ralph Sargent and Alan Stark, from Film TechnologyCompany, Inc.

1:00pm 2:00pm | Anthony��Meeting: AMIA Academic/Archival Committee

1:00pm 2:00pm | Lescaze��Meeting: AMIA Small Gauge/Amateur Film Committee

2:00pm 2:30pm | Washington A�� Paper: Ethics and Moral Rights in the Converging World

Speaker: Shubha Chaudhuri (India)

SaturdayNovember 6, 2010

IASA/AMIA 2010: Page 88 November 2-6, 2010

2:00pm 3:30pm | Washington C��Black, Proud, Hidden, Lost: Accessing African American Media

Chairs: Jacqueline Stewart Northwestern University (United States)Leah Kerr Mayme A. Clayton Library and Museum (United States)

Speakers: Mark Quigley UCLA Film & Television Archive (United States)Devorah Heitner Lake Forest College (United States)

Outside of specifically curated collections, such as Indiana University’s Black Film Center/Archive, significant holdings of African American moving image media may be hiddenwithin larger archival collections. This session will focus on issues of access andmarginalization of content often inherent in the cataloging, collection, and curation ofBlack moving images. Through the presentation of case studies, problems of “lost”materials, inadequate archival description, and the process of uncovering valuablecollections will be explored.

2:00pm 3:30pm | Commonwealth D��Transcoding 101: The Mechanics and Application of Digital VideoConversion Within the Archive

Chair: David Rice AudioVisual Preservation Solutions (United States)Speaker: Skip Elsheimer AV Geeks (United States)

Unraveling digital audiovisual transcoding and the methodology of converting one formof encoding to another is pertinent to meeting the goals of access and preservation. Skipand Dave will examine various transcoding utilities including commercial, free and opensource tools in a panel that will analyze the strategies, challenges, and negotiationsinvolved in efficiently providing access to audiovisual media collections. The presentation will consider the selection of codecs, tools and workflows to allow the archivist tocontrol quality and loss while enabling new uses of content through transcoding. We’lllook under the hood of software based tools and applications, identifying what to lookout for, how to evaluate lossless and lossy transcoding methods, verify results, andexamining the relationship between the source and the results. The session will alsohighlight automation, quality control, metadata, access and delivery.

2:00pm 3:30pm | Commonwealth C��Session of Three Papers

Paper: Visual Quality Analysis an Archive Management ToolSpeaker: Peter Schallauer Joanneum Research, Media Services AS (Austria)

A significant amount of work in film and video preservation is dedicated to qualityassessment of the content to be archived or re used in the case of content alreadystored in the archive. During ingest of content it is of interest whether content reachesdefined quality criteria (e.g. image stability, focus, no freeze frames). For archivemigration it is of interest whether the content quality is preserved after the transcodingstep from the legacy to the new encoding (e.g. blocking). Quality analysis can be used todetect the best quality copy in the case that several copies of the same content areavailable within the archive. In archive exploitation it is of interest whether contentquality is sufficient for a certain intended usage (e.g. resolution, image stability, or noiselevel) or to estimate the restoration costs to reach the needed quality level.



In this paper we provide recent results on automatic, content based visual qualityanalysis tools. We present research results for electronic and film grain noise level as wellas dust level estimation, and furthermore for freeze frame and video breakup detection.In order to facilitate interoperability and exchange of impairment metadata betweendifferent tools and systems, a standardized way of description is needed. We give anoverview on our framework proposed for the description of visual impairments based onMPEG 7. Furthermore, we present novel film and video impairment visualization andsummarization techniques for efficient human exploration of visually impaired content.

Paper: EUscreen and EFG, the AV Aggregators for EuropeanaSpeakers: Johan Oomen Netherlands Instituut voor Beeld en Geluid

(Netherlands)George Eckes George Eckes Deutsches Filminstitut (Germany)

This presentation will firstly discuss the goals of Europeana and benefits this unifiedaccess brings to both users and contributing organizations. Secondly, the presentationwill outline the commonalities and differences between the two aggregations. Morespecifically regarding: Architecture, handling metadata, content Selection policy andhandling IPR, functionality and multi linguality.

Both projects have invested ample time defining Use Models by engaging in focus groupsand executing desk research. One of the common requirements that needed to beaddressed was the issue of providing multilingual access. However, film institutions andbroadcast archives often have a slightly different focus in terms of the way archivalcontent is archived, accessed and explored.

Paper: A Sound Vision on Mass Digitization: Quest for the Sweet Spotto Turn 17,500 Hours of Film Into an AssetSpeakers: Tom De Smet Netherlands Institute for Sound and Vision

(Netherlands)Dr. Henk den Bok Netherlands Institute for Sound and Vision (Netherlands)Harm Jan Triemstra Netherlands Institute for Sound and Vision (Netherlands)

The paper describes the outcome of a recent study conducted by The NetherlandsInstitute for Sound and Vision that will be digitizing 17,500 hours of archival film as partof the Images for the Future Project (2007 2014). Sound and Vision’s standard definition(Digital Betacam) digitization workflow needed to be replaced by a sensible HighDefinition digitization workflow. The study focuses on determining the scanning, codingand possible compression parameters necessary to successfully digitize 17,500 hours offilm for archiving purposes and to make it possible to access the material digitally.Building on the experience gained by two extensive pilot projects and research byFraunhofer IIS, Sound and Vision was able to make the decisions necessary to plan acomprehensive digital film archiving program and workflow, which are outlined in thepaper. Taking time as well as financial constraints into consideration, the study looks atSound and Vision’s decision to scan to uncompressed DPX files (HD 1440 * 1080 as wellas 2K), to refrain from jpeg2000 or other image compression for the archival format andto opt for XDCAM HD 422 as the digital access format. Subjective and objective qualityassessments are also described to corroborate the aforementioned decisions.


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2:30pm 3:30pm | Congress�� IASA EB and Committee Meeting (Members only)

3:30pm 5:00pm | Commonwealth��AMIA Membership Meeting

Members and guests are encouraged to attend to hear the annual report from the AMIABoard of Directors. The open forum will provide an opportunity for members to raiseissues and challenges not addressed elsewhere during the conference.

3:30pm 5:00pm | Congress�� IASA General Assembly (Members only)

5:30pm 6:30pm | 33rd Floor��AMIA/IASA 2010 Closing Cocktails

Please join us for cocktails as we say goodbye to colleagues and friends and mark theclose of the 2010 Conference.

7:00pm 9:30pm | Reading Market | Separate Registration Fee Required�� IASA Farewell Dinner at the Reading Market Terminal

Farewell while exploring this unique and extraordinary historic farmers market in CenterCity Philadelphia, with mouth watering aromas, produce fresh from the field, Amishspecialties, fresh meats, seafood, and poultry... in daytime, an exhilarating selection ofbaked goods, meats, poultry, seafood, produce, flowers, ethnic foods, cookware andeclectic restaurants are peppered throughout the Market and at nighttime, a festiveplace reserved just for you!

8:00pm | International House | Ticket required�� AMIA Restoration Screening: On The Bowery

Lionel Rogosin’s style as an independent filmmaker was straightforward and compassionate. His films, made “from the inside” showed the subjects he chose in their normalsurroundings and allowed them to speak in their own words. By choosing ordinarypeople caught up in universal problems homelessness, racial discrimination, war andpeace, labor relations, and poverty Rogosin made his point poignantly. The Oscar®nominated On the Bowery is a masterpiece of the American blend of documentary/fiction. On the Bowery chronicles three days on New York’s skid row, the Bowery. In theearly part of the 19th century, it was an elegant place of large mansions and respectabletheater. When the elevated trains came in, it covered the street in darkness and theBowery soon became known as the place for low rents and cheap drinks. Film providedby Milestone Films. A limited number of tickets available for Conference attendees pick up your ticket at the Registration Desk.


order online at:http://www.imagepermanenceinstitute.org

Features:

This large poster (47” x 35”) takes the viewer through the�� the use of microscopy-imaging techniques.

35mm reversal positive Dufaycolor

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Join us in the Vendor Cafe!Please join us for the vendor exhibits in the 2010 Vendor Cafe. It’s a great place toget a cup of coffee, have a quick meeting or just hang out between sessions. Thevendor exhibits are a wealth of information about our industry. What is new, whatworks, what doesn’t work, what’s on the horizon... the information and the servicesthese companies offer is important. So take advantage of the opportunity and sayhello!

On Thursday, you can see all of the entries in AMIA’s 2010 Short Film/Video con-test. The challenge? To create a film or video that conveys the importance of pre-serving the world’s moving image heritage. The winner will be screened at ArchivalScreening night, but on Thursday you’ll be able to see all of the entries in viewingareas in the Vendor Cafe.

On Friday is the IASA Poster Session in the Vendor Cafe. Posters include:• Turning Archives into Assets• TV Speaks: Curating Oral Histories Online• The User and the Archivist, How Kenya National Archives is Making theConvergence• Developing and Managing Digital Collections: All You Need to Know• Laying Claims to Africa’s Migrated Archives: Problems and Prospects• Digitized Musical Instrument Sample Libraries - A Valid Archival Resource?• History at Risk: A Survey to Determine the Size and Status of Local TVVideotape Archives

The Vendor CafeThursday - Friday: 8:00am - 4:00pm


Feenyx Oty Limited 1MediaServices GmbH 2Iron Mountain Film and Sound 3Tuscan Corporation 4Underground Vaults & Storage 5Iron Mountain Film and Sound 6Blackmagic Design 7Digital Vision 8Flashscan8.us 9Pixel Farm 10Posters & Short Film ViewingDC Video 15Image Systems TrackEye, Inc. 16Stil Casing Solution 17Kinoton America, Inc. 18

Specs Bros., LLC 19Colorlab Corp. 20Colorlab Corp. 21Hollinger Metal Edge, Inc. 22RTI Group 23Cube-Tec International 24National Boston, LLC 25Christy’s Editorial 26Posters & Short Film ViewingUnderground Archives 31The MediaPreserve 32Front Porch Digital 33Dancan Cinema Sevices 34Digital Film Technology 35Nauk’s Vintage Records 36

AMIA/IASA Vendor CafeMillennium Hall - Second Floor

The Vendor CafeListing By Booth Number


The Vendor Cafe

Blackmagic Design1551 McCarthy Bl., Suite 106Milpitas, CA 95035p. 408.954.0500 x321 | f. 408.954.0508terryf@blackmagic-design.comwww.blackmagic-design.com

Blackmagic Design creates the world’s highest quality video editing products, color correctors, videoconverters, routers, waveform monitors and film restoration software for the feature film, post-production and television broadcast industries.

Christy’s Editorial Film & Video Supply3625 W. Pacific Ave,Burbank, CA 91505p. 818.845.1755 | f. [email protected]

For over 35 years, Christy’s Editorial has provided the Motion Picture and Television Industry with topquality products, rentals and service. Christys Editorial offers a complete line of Avid Editing Systemsand Storage for Rent, Deck Rentals, Film Supplies, Film Equipment, Peripherals, as well as PostProduction Facilities to house your productions.

Colorlab Corp.5708 Arundel Ave.Rockville, MD 20852p. 301.770.2128 | f. [email protected]

Full film-to-film preservation and film-to-tape mastering in SD and HD from 8mm, Super 8, 9.5mm,17.5mm, 28mm, and 35mm. Replasticizing treatment and preservation from nitrate originals.

Cube-Tec InternationalAnne-Conway-Straße 128359 Bremen Germanyp. [email protected]

For more than a decade Cube-Tec serves media archives all over the world with state-of-art preservationtechnology. QUADRIGA, Media-Inspector and Dobbin Rendering Farm help migrating large collections oflegacy media formats in a quality-controlled way. While Cube-Workflow provides modular web-basedtechnology to streamline the work of the archive department.

Dancan Cinema Services S.L.Calle Explanada de Catillete 3Aptd. X-66 - Puerto de Mogan35135 Mogan . Las Palmas de GC EspanaP. 34.697.226.485 fax [email protected]

The career of Morten Jacobsen, director of Dancan Cinema Services,has spanned from cameraman tofilm producer and then , in the 1970s, the film reel business took over. It was Tuscan. Then he started toproduce the square Dancan which was the need in the last century for shipping. In this millenium hedesigned and constructed a new revolutionary series of film cans for storage and recently moved toGran Canaria where he has his Spanish operation. Talk of retirement? No way. See you in my booth!


DC Video177 West Magnolia Blvd.Burbank, CA 91502p. 818.563.1073 | f. [email protected]

DC Video provides videotape transfer, re-mastering, and digitizing services that enable older recordingsto be usable today. To provide this path of format migration, DC Video possesses rare machines andprofessional expertise to provide the highest quality transfer of picture and sound.

Digital Film TechnologyPO Box 1087Lake Villa, IL 60046p. 847.867.5709 | f. [email protected]

DFT Digital Film Technology provides high-end film and digital post production solutions for a variety ofcommercial media, film and content markets including; film studios, broadcast operations, and postproduction facilities. DFT products include the SCANITY™ Film Scanner, Spirit family of DataCines® andTelecines, Shadow Telecine, Scream grain reducer, LUTher color calibration tool, Bones digitalintermediate (DI) workflow solution and Bones Dailies non-linear dailies software solution.

Digital Vision4605 Lankershim Blvd. #700North Hollywood, CA 91602P. 818.769.8111 | f. [email protected]

With over 20 years experience in image processing, Digital Vision provides the leading solutions for filmand tape content restoration and re-mastering.

Feenyx Pty. Limited2 Garsia StCampbell, ACT 2612 Australiap. 461.2.6162.3979 | f. [email protected]

MAVIS provides integrated management of all media assets, regardless of medium (moving image,recorded sound, still image, text, object etc.) and format (all analogue and digital formats aresupported). MAVIS is designed to interoperate with other systems including web applications, DigitalAsset Management systems and Workflow Management systems via its XML and Web Servicesinterfaces. Feenyx distributes MAVIS free of licensing fees.

Flashscan8.usp. [email protected]

Flashscan8.us is pleased to introduce MWA Nova’s new multi-gauge, 1920 x 1080 HD (opt. 2K or 4K)16mm and/or 35mm film transfer system the flashtransfer Vario. Learn more in our suite or vendorbooth at the AMIA/IASA Conference. Get hands-on experience with the flashscanHD 8mm/Super8 and16mm flashtransfer standard definition systems. Book your demos of both systems for AMIA/IASA orafterward, on our“West to California Tour” Nov. 9-23. Contact Ted Langdell to arrange a test drive.

The Vendor Cafe


The Vendor Cafe

Front Porch Digital2011 Cheery St. , Suite 207Louiseville, CO 80027p. [email protected]

Front Porch Digital is the global leader in content storage management (CSM) solutions and, with the2008 acquisition of SAMMA Systems, it is now the global leader in the migration and preservation ofvideotape to digital files as well. Having merged operations with SAMMA, Front Porch provides an end-to-end solution for cost-effectively digitizing, accessing, and preserving media past, present, andfuture. Front Porch Digital now can accelerate migration of vulnerable videotape - on an unprec-edented, global scale - to optimize and secure digital storage. www.fpdigital.com

Hollinger Metal Edge, Inc.6340 Bandini Blvd.Commerce, CA 90040p. 323.721.7800 | f. 323 [email protected]

We specialize in custom products- let us solve your archival storage dilemma. Our creative and flexiblestaff is ready and waiting to help. Remember, just because it isn’t in the catalog doesn’t mean it isn’tpossible.

Image Systems TrackEye, Inc.2711 Centerville Road, Suite 400Wilmington, DE 19808p. [email protected]

Image Systems AB has been providing high quality scanners for over 15 years. Recently the GOLDENEYE Film Scanner has been developed especially for the Archiving Market where the software drivenfilm motion provides very gentle film handling. Handles 8, 16, 35 and 70mm.

Iron Mountain Film & Sound Archives1025 N. Highland Ave.Hollywood, CA 90038p. 323.466.9287 | f. [email protected]

Iron Mountain continues to lead the industry in preserving and transferring analog and digitalentertainment assets, offering unmatched expertise and resources, including: Experience managingmore than 15 million film and sound elements from more than 1,500 customers, including all of thetop entertainment companies; A fully integrated digital studio to handle analog to digital transfer ofboth audio and video assets; A team of experts who come from the entertainment world andunderstand the industry’s special requirements, standards and emerging technologies; Highly secure,climate-controlled facilities that ensure preservation of valuable film and sound elements; A dedicated,trained, and screened staff of security professionals who keep assets secure and protected.


Kinoton America, Inc.33 Jacksonville Road, Unit 1Towaco, NJ 07082p. 973.331.9200 | f. 973.331.9203lutz.schmidt@kinotonamerica.comwww.kinotonamerica.com

Kinoton has served the motion picture industry for over 60 years. We therefore know and respectthe enormous cultural and historical significance and value of our cinematic heritage Our highestwhen designing equipment for handling and presenting archival films is thus to safeguard theseirreplaceable historical treasures. Our reliable, user-friendly products ensure easy, gentle handlingand viewing of archival film prints of all kinds with the best possible picture and sound quality,without any risk of damage.

The MediaPreserve111 Thomson Park DriveCranberry Township, PA 16066p. 800.416.2665 | f. [email protected]

The MediaPreserve, an Audio Visual Laboratory, provides audio, video, and film reformatting tailoredto our clients’ needs. The MediaPreserve has a mixture of legacy playback machines and digitaltechnology capable of reformatting historical and modern media. We create high quality digital filesand client specific metadata.

Media Services GmbHEichetwaldstraBe 6a-5081 AnifSalzburg, Austriap. +43.660.555.3155paul.leitner@mediaservices.atwww.mediaservices.at

MediaServices GmbH is a group of senior professionals working for major international companieswithin the media industry. In research and development MediaServices cooperates with leadingresearch institutions on award winning projects. Paul Leitner, the founder of MediaServices, startedto work on automated archive systems and automated quality inspection in 1994 when he wasworking for Sony Music. We are very proud of AudioInspector and excited about the possibilities ofour unique VideoInspection Library.

National Boston115 Dummer StreetBrookline, MA 02446p. [email protected]

National Boston is a 22,000 square foot production facility with a drive-in soundstage and a fullcompliment of video and audio services. We offer film to tape transfers, color correction and fileformat conversions including Quad, 1" and 3/4' video formats. With over 30 standard definitionformats, we offer conversions to High Definition 1080i, 720p, SR and D5.

The Vendor Cafe


Nauck’s Vintage Records22004 Sherrod LaneSpring, TX [email protected]

Nauck’s Vintage Records is the world’s premier company dealing in 78rpm & cylinder recordings. Inaddition to their bi-annual auction catalogs, Nauck’s offers a wide range of turntables, audioequipment, custom styli, collector & archival supplies, books & discographies, record sleeves andoriginal wind-up phonographs. Visit them at www.78rpm.com

The Pixel FarmUnit 1 Pattenden Business ParkPattenden Lane , TN12 9QS United Kingdomp. +1 805 527 [email protected]

The Pixel Farm manufactures and markets innovative image-processing technologies that meet thedemands of professionals working in the motion picture, broadcast TV and interactive entertainmentindustries. Our products - which address V | F. , DI and restoration - are well-known and well-loved bydigital artists worldwide, as they seamlessly integrate into the most demanding post-productionenvironments, whilst supporting creativity and maximizing productivity.

RTI Group4700 W. ChaseLincolnwood, IL 60712p. 847.677.3000 | f. [email protected]

The RTI Group is the world-leading manufacturer of motion picture film laboratory, archival andrestoration equipment, videotape migration and optical disc care and restoration equipment. The RTIGroup consists of BHP wet and dry film printers and special prints heads for archival films, LipsnerSmith Film Cleaners, Imagica Film Scanners and Recorders, Treise Engineering and Calder EquipmentProcessors, Rewash and rejuvenation equipment, Filmlab Systems Colormaster Film Color Grading andTiming Equipment and RTI Viseotape Cleaners/Inspectors and DiscChek Optical Disc Repair andInspection Equipment. We also offer a full line of quality control equipment, film inspection, archivalfilm scanners, rewinders, silver recovery and chemical mixing. The RTI Group…the bridge connectionanalog and digital film restorastion.

Specs Bros., LLCPO Box 195Lodi, NJ 07644p. 973.777.5055 | f. [email protected]

SPECS BROS. is a magnetic tape decontamination and restoration facility that specializes in disasterrecovery and the rejuvenation of archival tapes suffering from material breakdown. We have beenrestoring magnetic materials since 1983. The services we offer include: Fire Restoration; FloodReclamation; Archival Rejuvenation; Incubation for Binder Hydrolysis; chemical decontamination;fungus removal; reel/hub/shell repair and duplication.

The Vendor Cafe


The Vendor Cafe

STil Casing Solution76 St. Paul Street, Suite 301Quebec, QC G1K 3V9 Canadap. 418.694.0449 | f. [email protected]

To remain the epitome of professionals dedicated to insuring the protection and integrity of your film,audio, and data content with an ongoing development of products of exceptional quality and design.NEW A “stylish box” tending to all your assets. Warner Bros. and STiL Casing Solution joined forces togive you an opportunity to have an edge over your photographic material, paper and other media.

Tuscan Corporation7115 Virginia Road, Suite 111-6Crystal Lake, IL 60014p. 847.458.7280 | f. [email protected]

In continuing to meet the needs of our evolving industry, we’re setting a new pace with our activelyventilated ProVent container. To ensure the maximum lifespan for your film collection, properventilation is paramount. The better your film can breathe, the less likely it is to succumb to vinegarsyndrome. After extensive research, we’ve developed a revolutionary new actively ventilated containerthat significantly improves airflow compared to standard ventilated containers, reducing free acid levelsand literally breathing new life into your valuable film collection.

Underground Archives1605 Old Route 18Wampum, PA 16157p. 724.526.0555 | f. [email protected]

Underground Archives is a full service Records Management company that specializes in Vital Records.We operate the largest underground climate controlled storage environment in the industry. Protectyour collection in our secure, climate controlled environment.

Underground Vaults & StoragePO Box 1723Hutchinson, KS 67504p. 620.662.6769 | f. 620.662.8871storage@undergroundvaults.comwww.undergroundvaults.com

For over 50 years, UV&S has been a leader in secure offsite storage and information managementoffering services ranging from managed inventory to preservation programs for the entertainmentindustry. With its primary facility located 650’ underground, UV&S operates six nationwide locations,serving worldwide clients from nearly every sector of industry.

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AttendeesTo October 18, 2010

Fouant A. MalakHellenic National Audiovisual

Archive

Sulasteri Abd. HamidNational Archives of Malaysia

Ruta AbolinsUniversity of Georgia

David AckermanLoeb Music library

Tom AdamiUnited Nations Mission in Sudan

(UNMIS)

Gary AdamsBlackmagic Design

Steve AdamsNARA

Matthew AddisIT Innovation

Geoff AlexanderAcademic Film Archive of North

America

Vasilios AlexopoulosERT SA

Barry AllenBarry Allen Film Preservation

Consultancy

Vickie AllenPBS

Audrey AmidonNational Archives and Records

Administration

Tina AnckarmanNational Library of Norway

Seth AndersonNYU - MIAP

Joy ArdizzoneThought Equity Motion

Carla ArtonLibrary of Congress

Thomas AschenbachColorlab

Ilse AssmannSABC

Jenifer BaldwinTemple University Libraries

Rebecca BallentineDisney Destinations, LLC

Raymond BarberHollywood Vaults

Karen BarcellonaAcademy Film Archive

Jonathan BarlowEastman Kodak Company

Kevin Barrett20th Century Fox

Brian BarteltPost Haste Sound

Matthew BartonLibrary of Congress

Andrei BartsevichClose-Up Global Entertainment

Karen BaxterCalifornia Institute of the Arts

Thomas BealGeorge Blood Audio, L.P.


Jeff BeaulieuIron Mountain Film & Sound

Archives

Christopher BeerWGBH

Schawn Belston20th Century Fox

Susan BennettCNN

Nicholas BerghEndpoint Audio Labs

Tom BernierProvincial Archives of Alberta

Howard BesserNYU - MIAP

Yngvil BeyerNational Library of Norway

Michael Biel

Sue BigelowCity of Vancouver Archives

Jean-Louis BigourdanImage Permanence Institute

Aaron BittelUCLA Ethnomusicology Archive

William BjelfNARA

Nicole BlainCanadian Broadcasting

Corporation

Daniel BlazekLibrary of Congress

George BloodGeorge Blood Audio, L.P.

Joan BoadasGirona City Archives

Ian BogusUniversity of Pennsylvania

Ronald BonkChace Audio by Deluxe

Tim BonoBonoLabs

Joëlle BorgattaMEMORIAV

Leslie BourgeoisLouisiana Public Broadcasting

Stephanie BoyleAustralian War Memorial

Kevin BradleyNational Library of Australia

Jennifer Breier

Eric BrickerIron Mountain Film & Sound

Jack BrightonIllinois Public Media

Jeffrey BrittCrawford Media Services

Elena Brodie KusaIndependent

Myer BrostoffAcademy Film Archive

Peter BrothersSpecs Bros.

Susan BrothersSpecs Bros.

Nicholas BrowneUCLA

Marco BuarqueCPDOC/FGV

Melitte BuchmanNYU

Mette Charis BuchmanDanish Broadcasting Corporation

Peter BulckeNT Audio

Alan BurdetteEVIA Digital Archive Project

Reid BurnsReliance MediaWorks

Robert ByrneSan Francisco Silent Film Festival

Preston CabeGeorge Blood Audio, L.P.

Sonia CampaniniUniversità degli Studi di Udine

Jeffrey CappGartenberg Media Enterprises

Joe CaracappaPRO-TEK Vaults

Frank CardelloThought Equity Motion

Karen CarianiWGBH Educational Foundation

Karin Carlson

Rich CarlsonKodak

Curt CarlssonSwedish Radio

Ed CarterAcademy Film Archive

Jared CaseGEH

Jeanette CaseyMusic Library, UW-Madison

Mike CaseyIndiana University Archives of

Traditional Music

Stefano CavaglieriFonoteca Nazionale Svizzera

Shubha ChaudhuriArchives and Research Centre forEthnomusicology. American Inst.

of Indian Studies

Jennifer CherAIG

Larry ChernoffMTI Film

Kelly ChisholmLibrary of Congress

Kathy ChristensenCNN

Thomas ChristieNY Public Library

Leah ChurnerElectronic Arts Intermix

Larry ChwirutOffice Movers, Inc.

Rebecca ClemanElectronic Arts Intermix

Maureen ClementsNPR



Dwight CodyBoston Connection Inc.

Liz CoffeyHarvard Film Archive

Tom ColleyVideo Data Bank

Chelsea CookeKeene State College

Anne CooperNational Film & Sound Archive

Mark CooperUniversity of South Carolina

Talya CooperStoryCorps

Robert J. CortiWarner Bros.

Stéphanie CôtéCinémathèque québécoise

Barbara Crandall20th Century Fox

Grover CrispSony Pictures Entertainment

Michael CroneHessischer Rundfunk

David CrosthwaitDC Video

Sarah CunninghamLyndon B. Johnson Library &

Museum

Meghan CurreySmithsonian Institution

Daniela CurròHaghefilm

Steven CusimanoCable Public Affairs Channel

Antonio Da SilvaUnited Nations

Peter DahlbeckDahlbeck Engineering Company

Susan E DaltonDalton Data Works

John DamerUCLA

Virginia DanielsonHarvard University

Lisa DavidsonChace Audio by Deluxe

Matthew DaviesNational Film & Sound Archive

Brian DavisHigh Point University

Matthew DavisIndiana University

Steve DavisCrawford Media Services

Louise De ChevignyRadio-Canada

Rufus De RhamNYU - MIAP

Paula De StefanoNew York University Libraries

Gene DeAnnaLibrary of Congress

Kurt DeggellerMemoriav

David Deitch

Elizabeth Delaney

Cory Dieterly

Katrina M. DixonNortheast Historic Film

Melissa DollmanSchlesinger Library, Harvard

University

Jovita DominguezUCLA

Joanne DonovanSchlesinger Library, Radcliffe

Institute

Dennis DorosMilestone Film & Video

Nancy DoschNational Library Of Medicine

Annette DossGetty Research Institute

Maxine DuceyWisconsin Center for Film and

Theater Research

Brittan DunhamNYU - MIAP

Andrea DunlapMakani Power

Jon DunnIndiana University

Nino DzandzavaSelznick School

James EcclesChace Audio by Deluxe

Georg EckesDeutsches Filminstitut - DIF

Joseph EckhardtMontgomery CountyCommunity College

Evan EdelistReliance MediaWorks

Ray EdmondsonArchive Associates

Courtney EganNational Archives and Records

Administration

Stefan ElnabliNorthwestern University Library

Cornelia EmersonArts/Collections/Education

Leo EnticknapUniversity of Leeds



Dan Erdman

Kristin EshelmanDodd Research Center University

of Connecticut

Jason Evans GrothIndiana University

Aimee EverrettThe Historic New Orleans

Collection

Carolyn FaberSchool of the Art Institute of

Chicago

Woods FairbanksWestern Washington University

Mohd FarizalNational Archives of Malaysia

Tariq FattaniDeluxe Digital Restoration

Christiane Fennesz-JuhaszPhonogrammarchiv

Natalia FidelholtzStoryCorps

Zac FinkFilm Technology Company

Gila FlamThe National Library of Israel

Karma FoleyHuman Studies Film Archives

Walter ForsbergNYU - MIAP

Giovanna FossatiEYE Film Institute Netherlands

Heather Fox

Evelyn FrangakisThe New York Public Library

Alison FreakeProvincial Archives of Alberta

Mary FreemanDrexel University

Caroline FrickGeorge Eastman House

Hannah FrostStanford University Libraries

Jean GagnonCinémathèque québécoise

Rosa GaiarsaUCLA Film & TV Archive

Cassandra GallegosGeorge Blood Audio, L.P.

Amy GallickLibrary of Congress

Natalia GanemClose-Up Global Entertainment

Anne GantEYE Film Institute Netherlands

Joseph GardnerNortheast Historic Film

Jon GartenbergGartenberg Media Enterprises

Lorenzo GattornaNYU MIAP

Lars GaustadNational Library of Norway

Ann Michele GearyUCLA

Nadia GhasediWashington University

Julia GibbsFilm Studies Center, University

of Chicago

Sandra GibsonNYU - MIAP

Steve GilbertKane Library Relocation Services

David GiovannoniFirst Sounds

Randy GitschPRO-TEK Vaults

Theo GluckThe Walt Disney Studios

Nancy GoldmanPacific Film Archive

Stephen GoldsmithTata Communications

Victoria GoodfellowCBC

Bruce GordonLoeb Music Library, Harvard

University

Elena GorfinkelUW-Milwaukee, Art History

Department

Jeff GoughAcademy of Motion Picture Arts

& Sciences

Troy GowenInt’l Tennis Hall of Fame &

Museum

Karen GracyKent State University

Bruce GrahamAscent Media

Brian Graney

Shelly GrantNational Library of Australia

Jennifer GravesEmporia State University

Judith GrayAmerican Folklife Center,

Library of Congress

Richard GreenLibrary and Archives Canada

Steve GreeneNational Archives

Kathryn GronsbellTemple University

Rebecca GuentherLibrary of Congress

Grace GuggenheimGuggenheim Productions, Inc.

Jacqui GuptaBBC

Marissa HaddockPRO-TEK Vaults

Albrecht Haefner

Siobhan Hagan

Emily HalevyCrawford Media Services

Caitlin HammerNYU - MIAP



Marit HamreNRK - Norwegian Broadcasting

Corporation

Ann HarrisNYU Cinema Studies/MIAP

Megan Harris

Robert HarrisThe Film Preserve, Ltd.

Denise HartmanPennsylvania State University -

Media Sales

Dorinda HartmannWisconsin Center for Film and

Theater Research

Tina HarveyLibrary and Archives Canada

Jim HarwoodPRO-TEK Vaults

Kelly HaydonNew York University

Judy HeaneySyda Foundation

Jane HedbergHarvard University Library

Sterling HedgpethLucasfilm Ltd.

Robert HeiberChace Audio by Deluxe

Amy HelbingIron Mountain Film & Sound

Robert HendricksonGeorge Blood Audio, L.P.

Fritz HerzogAcademy Film Archive

Callie HolmesLibrary of Congress

Heidi HolmstromNational Archives and Records

Administration

Mark HoodIndiana University Archives of

Traditional Music

Jan-Christopher HorakUCLA Film & Television Archive

Serge HoudeRadio-Canada

Joerg HoupertCube-Tec International GmbH

Charles HowellLibrary of American

Broadcasting - U of MD

Sally HubbardHBO

Robert HudsonCarnegie Hall

Mary HuelsbeckIndiana University - Black Film

Center/Archive

Barbara Humphrys

Emily HurwitzLibrary of Congress

Jeanine IntindolaMGM Technical Services

Khandaker IslamCanadian Museum for Human

Rights

Rachel JacobsMGM Technical Services

Morten JacobsenDancan International Sales

Vijay JadhavNational Film Archive of India

Gisa JaehnichenUniversiti Putra Malaysia

Ashok JainTriveni Inc., DigitalTalkies

Division

Gina JamesNBC Universal

Vishnu Jani

Jennifer JenkinsUniversity of Arizona

Crispin Jewitt

Anna JhiradMarigold Productions, LLC.

An JieunNYU - MIAP

Mona JimenezNew York University - MIAP

Lisbeth JohannessenThe National Library of Norway

Lisa JohansenNRK Archive & Research

Kirston JohnsonDuke University Libraries

Martin JohnsonNew York University

Lewanne JonesAutonomedia

Gunnel JönssonSwedish Broadcasting Resources

Aude Julien Da Cruz LimaCREM CNRS France

Joel Kanoff

Kris KatroshPryor Center for Arkansas Oral

and Visual Historyy

Victoria KeddieNew York University

Mary KeeneMuseum of Modern Art

Tara KelleySelznick School

Scott KellyWalt Disney Company

Sean KellyUniversity of Amsterdam

Gordon KiddShambhala Archives

Sean KilcoyneSelznick School

Karen KingNational Public Broadcasting

Archives

Lynne KirsteAcademy Film Archive

Mary Ellen KitchensBayerischer Rundfunk



Dimitra KitsiouHellenic National Audiovisual

Archive

John KlacsmannColorlab

Michael KohnLucasfilm

Charles KolbNational Endowment for the

Humanities

Christina KovacNational Archives and Records

Administration

Laura Krasnow

Kelly KressNewberry Library

Michele KribsOregon Historical Society

Reto Kromerreto.ch Ltd

Ramesh KumarNew York University

Drago KunejInstitute of Ethnomusicology

SRC SASA

Anthony L’AbbateGeorge Eastman House

Chris LacinakAudioVisual Preservation

Solutions

Justin LaLibertySelznick School

Charles Lamb

Jo LammertUniversity of Texas at Austin

School of Information

Andrew LampertAnthology Film Archives

Anna LamphearUniversity of Texas Libraries

Frédéric LapointeSTIL Casing Solution

Mary LarsonOklahoma State University

Marie LascuNYU MIAP

James LaytonEast Anglian Film Archive

Carole Lazio

Louise LedeenNetApp Inc.

David LeeWessex Film & Sound Archive

Kevin LeeHome Box Office

Anke LeeningsDeutsches Rundfunkarchiv

Gypsye L Kate LeggeArchive Consultant and

Advocate

Andrea LeighLibrary of Congress

Paul LeitnerMediaServices GmbH

Tania LentiniAustralian Centre for the

Moving Image

Lindy LeongUCLA Cinema and Media Studies

Maya LermanLibrary of Congress

Packard Campus

Tyler LeshneyDeluxe Archive Solutions

Hermann LewetzÖsterreichische Mediathek Wien

Grace LileWITNESS

Peter LimburgHaghefilm Conservation

James LindnerMedia Matters / SAMMA

Systems

Heather LinvilleAcademy Film Archive

Ross LipmanUCLA Film & Television Archive

Zack Lischer-KatzNYU - MIAP

Heinz LooserSchweizer Radio DRS

Tom LorenzCube-Tec International GmbH

Tom LorenzCube-Tec International GmbH

Samantha LosbenNYU - MIAP

Amy LuckerInstitute of Fine Arts, NYU

Keith LufWGBH Educational Foundation

Xilonen LunaComisión Nacional para elDesarrollo de los Pueblos

Indígenas

Karen LundLibrary of Congress

Scott LunsfordUniversity of Arkansas

Pryor Center

Gail MacFarquhar

Michael MacKinnon20th Century Fox

Meghan MadonnaSub Pop Records

Margaret MajorackReliance MediaWorks

Susan MalsburyNew York Public Library

Andy MaltzAcademy of Motion Picture

Arts & Sciences

Kevin ManbeckMTI Film

Angelique MansellIron Mountain Film & Sound Archives

Josef MarcFront Porch Digital

Guy MarechalMemnon



Jeff MartinIndependent Archivist

Nicole MartinDemocracy Now!

Louis MassiahScribe Video Center/Swarthmore College

Tadashi MatsuuraGeorge Blood Audio, L.P.

Lindsay MattockUniversity of Pittsburgh

Jenni MatzArchive of American Television

Taylor McBrideNYU - MIAP

Andrea McCartyHBO

Katie McCormickUNC Charlotte

Graham McDonaldNational Film & Sound

Archive Australia

Frances McElroyShirley Road Productions

Martina McGinnFeenyx Pty Ltd

Jim McGuiganGeorge Blood Audio, L.P.

Nancy McLeanColorlab Corp.

Kevin McMahonSouthern California Institute of

Architecture

Mark McNuttGeorge Blood Audio, L.P.

Megan McSheaArchives of American Art

Brian MeachamAcademy Film Archive

Yvonne MedranoMGM

Daniel MeillerDeutsche Kinemathek, Berlin

Belinda MerrittMTI Film

Michel MertenMemnon Archiving Services

Sara MeyersonArchival Management

Courtney MichaelWGBH Media Library & Archives

John MiglioreThe Kitchen

Alana MillerSILS - Pratt Institute

Mary MillerBrown Media Archives, UGA

Ross MilsteinFremantleMedia

Candace MingNYU - MIAP

Rob Mobley

Jen MohanNewscred

Azimah Mohd AliNational Archives of Malaysia

Kara MolitorUCLA-MIAS Student

Taz MorganUniversity of Amsterdam

Anne MorraThe Museum of Modern Art

Bill MorrowFootage File

Alice MoscosoNYU Libraries

Tawnya MosierUniversity of Utah

Multimedia Archives

Benjamin MoskowitzNew York University

Sofia MouratoThought Equity Motion

Michael MullinGeorge Blood Audio, L.P.

Bruno MungerDigital Vision

William MurphyAVArchives Services

Jacob NadalUCLA Library

Paul NarvaezPRO-TEK Media

Preservation Services

Kurt NauckNauck’s Vintage Records

Thomas Nemeth

Yvonne NgWITNESS

Mary Grace NicolasMGM Studios

Susi NiewahnerScene Savers

Michèle NoirjeanPaul Sacher Foundation

Henry Nyabuto ZakayoKenya National and

Documentation Services

Breandán Ó NualltáinComhaltas Ceoltóirí Éireann

Samantha OddiNYU - MIAP

Bronwyn OfficerNational Library of New Zealand

Jung Yun OhNYU - MIAP

Peter OleksikAudio Visual Preservation

Solutions

Benedict OlgadoNYU - MIAP

Bob O’NeilNBC/Universal

Claudy Op den KampUniversity of Plymouth

Andrew OranFotoKem

Devin OrgeronEditor, The Moving Image



Marsha OrgeronThe Moving Image/NorthCarolina State University

Stephen O’RiordanUniversity Of California

San Diego

Vickie O’RiordanUniversity of California,

San Diego

Eric OttoCalifornia Institute of the Arts

Amanda OtzenThe New Zealand Film Archive

Kurt OtzenThe New Zealand Film Archive

James OwsleySony Pictures Entertainment

Rachel ParkerLibrary of Congress

Stephen ParrOddball Film+Video/SanFrancisco Media Archive

John PassmoreAnthology Film Archives

Franz PavuzaPhonogrammarchiv

Rebecca Payne CollinsNational Film Preservation

Foundation

Kimberly PeachGeorge Blood Audio, L.P.

Thomas PeaseLibrary of Congress,

Packard Campus

Pio PellizzariFonoteca Nazionale Svizzera

Kristin PepeOutfest

John PettitTemple University Libraries,

Urban Archives

David PierceCopyright Services

Erik PiilNYU - MIAP

Datu Roynie PindatunNational Archives of Malaysia

David PiperDance Heritage Coalition

Vincent PirozziModern VideoFilm

Dana PlepysCineGrid Exchange

Dean PlionisColorlab Corp.

Paul PlutnickiWGBH Educational Foundation

Joanna PosesFreelance

Kate PourshariatiUniversity of Pennsylvania

Museum of Archaeology andAnthropology

Anna Pranger

Andy PrattDeluxe Archive Solutions

Rachel PriceMovingImageArchiveNews.org

Samuel B. PrimeUCLA | Moving Image

Archive Studies

Matt PristavePost Haste Sound

Dafydd PritchardNational Screen and Sound

Archive of Wales

Mark QuigleyUCLA Film & Television Archive

Sandy RamosLibrary and Archives Canada

Richard RanftThe British Library

Joshua RangerAudioVisual Preservation

Solutions

Paul RaytonAmerican Cinematheque

Brian RealUniversity of Maryland

Emjay RechsteinerEYE Film Institute Netherlands

Miranda RectenwaldAssoc. of St. Louis Area

Archivists

Tom RegalUniversal Studios

Ulrike ReichholdCineric

Michele ReillyUniversity of Houstno Libraries

Stephanie RennePacific Basin Institute at

Pomona College

Menno ReversHaghefilm Conservation

Rebecca ReynoldsColorlab

David RiceAudioVisual Preservation

Solutions

Charles Richardson

Eddie RichmondUCLA Film & Television Archive

Frank RicottaEastman Kodak Comapny

Meredith RimmerHBO

Sharon Pucker RivoNational Center For Jewish Film

James RobertsNational Film Board of Canada

Caitlin Robertson20th Century Fox

Charles RogersUCLA

Emmett RogersGeorge Blood Audio, L.P.

AJ RohnerColorlab Corp.

Simon RooksBBC

Gerald RoskillyFotokem



Elena Rossi-SnookThe New York Public Library

Rajendra RoyThe Museum of Modern Art

Caroline RubensAppalshop, Inc.

Neil RubensteinJohns Hopkins University

Applied Physics Laboratory

Nan RubinCommunity Media Services

Ulrich RuedelHaghefilm Foundation

Celine RuivoEclair LAB

Rudy RuizHugh M. Hefner Moving

Image Archive

Bill RushLibrary of Congress

Michela RussoUniversity of Amsterdam

Gary RutkowskiArchive of American Television

Ghyslain SabourinCBC

Asle Sæternes

Crystal SanchezNYU - MIAP

Clara Sanchez-DehesaSelznick School

Cynthia SandersOber Kaler

Ralph SargentFilm Technology Company, Inc.

Elias SavadaMotion Picture Information

Service

Angela SawardWellcome Trust

Daniel SbardellaNew York Public Library for the

Performing Arts

John ScarffHollywood Vaults

Peter SchallauerJoanneum Research

Andrew SchlegelGeorge Blood Audio, L.P.

Angela SchmidtAlaska Film Archives

Teague SchneiterIsumaTV

Ariel Schudson

Dietrich SchüllerPhonogrammarchiv

Chase SchulteGlobal Curators

Ginger ScottVtape

Toby SeayDrexel University

Anthony SeegerUniversity of California Los

Angeles - UCLA

Bill SeeryStandby Program

Gabriel SegoviaIron Mountain Film & Sound

Xavier SenéBibliothèque nationale de

France

Winter ShanckWNET.ORG

Maria SharafutdinovaSelznick School

Wendy ShayArchives Center, NMAH

Nicola ShayerSelznick School

Milton R. ShefterMiljoy Enterprises, Inc.

Karan SheldonNortheast Historic Film

Herbert ShellenbergerInternational House Philadelphia

Mikhail SheydinClose-Up Global Entertainment

Elaine ShilstutPresbyterian Historical Society

Sungeun ShinSelznick School

Roxanne Shirazi

Lee ShouldersGetty Images

Whitney ShumanUCLA

Jennifer SidleyLibrary of Congress

Alan SilversCinetech/Ascent Media

Bob SimmonsSony Pictures Entertainment

Joséphine SimonnotCREM CNRS France

Ronald SimonsEYE Film Instituut Nederland

Colleen SimpsonTechnicolor

Janice SimpsonAscent Media

Jessica SimsNational Archives and Records

Administration

Swarn Singh SinghGuru Nanak Academy Ratia

Lindsay Skay WhitacreWGBH

Bob SkySmart Post Sound

Amy SloperHarvard Film Archive

Douglas SmalleyLibrary and Archives Canada

Libby SmigelDance Heritage Coalition

David SmithArchives New Zealand



Kristin SmithImage Permanence Institute

Robert SmithCARGOPak Corp

Marius SnydersSound and Vision, The

Netherlands

David Sommerfield

Hannah SommersNPR

Lauren SorensenBay Area Video Coalition

Laura Soto-BarraNPR

Paul SpehrSpehr Misc

David SpencerUNCSA Moving Image Archives

Alan StarkFilm Technology Company, Inc.

Deborah SteinmetzHU, Steven Spielberg Jewish

Film Archive

Jacqueline StewartNorthwestern University

Stephanie StewartUNC

Kristen StitzerUCLA - MIAS

Rachael StoeltjeIndiana University

Deborah StoiberGeorge Eastman House

Jeff StoiberThe L. Jeffrey Selznick

School of Film Preservation

Daniel StokesNational Archives

Jessica StormUCLA Moving Image

Archive Studies

Ed StratmannGeorge Eastman House

Dan StreibleNYU/Orphan Film Symposium

Whitney StrubRutgers University, Newark

Marc StruemperAustrian National Library

Martha StumJHU/Applied Physics Laboratory

Peter Stwertka

Marcos Sueiro BalWNYC New York Public Radio

Russ SuniewickColorlab Corp.

Dwight SwansonCenter for Home Movies

Elizabeth SweeneyBoston College Burns Library

Ashley SwinnertonNYU - MIAP

Christiane TaddeoRadio-Canada

Linda TadicAudiovisual Archive Network

John TariotFilm Video Digital

Irene TaylorWashington University

in St. Louis

Mark TaylorNational Air and Space Museum

Ned ThanhouserThanhouser Company Film

Preservation, Inc.

Deidre ThiemanNBC Universal Archives &

Collections

Chuck ThomasInstitute of Museum and

Library Services

Laura ThornburgParamount Pictures

Diane ThramInternational Library of

African Music

Janet Topp FargionThe British Library

Brian TowlePreferred Media

Cheryl ToyamaJapanese AmericanNational Museum

Ernie TracyKinoton America, Inc.

Katie TrainorMuseum of Modern Art

Toni TreadwayBrodsky & Treadway

Sandy TrioloNational Library of Medicine

Amy TurnerSouthern Methodist Univ.

Leah TuttleDeluxe/MGM Technical Services

Martin TzanevWITNESS

Chalida UabumrungjitFilm Archive

Andy UhrichIndiana University

Communication and Culture

Moriah UlinskasBay Area Video Coalition

Steve UnklesAudio-Visual Archives

Rick UtleyPRO-TEK Vaults

Pamela VadakanCalifornia Preservation Program

Dirk Van DallBroadway Video Digital Media

Kara Van MalssenBroadway Video Digital Media

Melissa VandeBurgtCSU, Channel Islands,

Broome Library

Sara VelezPrivate consultant



Erwin VerbruggenNetherlands Institute for

Sound & Vision

Lacey VerhageNYU - MIAP

Steven VillerealUniversity of Virginia Library

Tom VincentAardman Animations

Jonah VolkNew York Public Library

Jacqueline von ArbNorwegian Institute of Recorded

Sound/MemNor AS

Daniel WagnerGeorge Eastman House

Tim WagnerGeorge Eastman House

Marit Johanne WagonesNRK Archive & Research

Nan WakefieldNew York Philharmonic

Robert WalkerIron Mountain Film & Sound

Archive Services

Nadja WallaszkovitsPhonogrammarchiv

Allasia WalterEURIX S.r.l.

Elizabeth WaltersHarvard University Library

Lance WatskyUCLA Moving Image

Archive Studies

Arthur WehrhahnMuseum of Modern Art

Stephen WeilMemnon Archiving Services

Sarah WeinblattLibrary of Congress

Anne WellsChicago Film Archives

David WexlerHollywood Vaults

Jim WheelerDigitalForward

Alexis WhiteMGM

Mark WhiteHuman Studies Film Archives,

Smithsonian Institution

Matthew WhiteCorporation for Public

Broadcasting

Taylor WhitneyPreserving The Past, LLC

Ann WilkensWisconsin Public Television

Peter WilliamsonMuseum of Modern Art

Greg WilsbacherUniversity of South Carolina

Steve WilsonHarry Ransom Center/University

of Texas

Kimberly WineCNN

Pam Winn BarnettHBO

Pamela WintleHuman Studies Film Archives,

Smithsonian Institution

Timothy WisniewskiJohns Hopkins Medical Archives

Kathleen WittboldCorporation for Public

Broadcasting

Adrian WoodInkulla Media

Kent WoynowskiThe Historic New Orleans

Collection

Richard WrightBBC R&D

Maria WroblewskaBiblioteka Narodowa

John YanezWarner Bros.

Sandra YatesUniversity of Texas - Austin

Caroline YeagerGeorge Eastman House

Janis YoungLibrary of Congress

Arlene YuNew York Public Libraryfor the Performing Arts

Zuzana ZabkovaSelznick School

Lindsay ZarwellSteven Spielberg Film

& Video Archive



Page 1. The famous LOVE sculpture was designed in aluminum by Robert Indiana forPhiladelphia’s bicentennial. It is located at the end of the Benjamin Franklin Parkway in JFK Plaza,better known to locals as LOVE Park. Photo by Jim McWilliams. Photo courtesy of PhiladelphiaCVB.

Page 21. Operating Room, circa 1900. A photograph of the operating theater at JeffersonMedical College, Philadelphia. Photo courtesy of Philadelphia CVB.

Page 23. From On The Bowery. AMIA’s 2010 Restoration Screening, on Saturday, November 6th.On The Bowery was the first of Lionel Rogosin’s award winning films, garnering the Grand Prizefor Documentary at the 1956 Venice Film Festival, the British Award for Best Documentary andnomination for an Oscar® as best documentary. Publicity still. Courtesy of Milestone Films.

Page 35. The series of Sylvester Stallone’s “Rocky” movies were filmed in Philadelphia from 1975through 1990. Atop of the famous steps of the Philadelphia Museum of Art, which wereimmortalized by the original “Rocky,” visitors can see Rocky’s footprints, Photo by EdwardSavaria, Jr. Photo courtesy of Philadelphia CVB.

Page 37. Dissecting Room by Thomas Anshutz, ca. 1879. Oil on cardboard (grisaille), 10 x 12 1/2inches. Philadelphia is home to the nation s first hospital and medical school, as well as the firstart school and museum. It is home to an extensive collection of medical art ranging from arecently unveiled outdoor mural honoring nurses to Thomas Eakins painting The Gross Clinic atJefferson Medical College of Thomas Jefferson University. Photo courtesy of Philadelphia CVB.

Page 41. First day of Airmail Service, May 15, 1918. Army airmail pilot Lt. Torrey Webb receives acelebratory watch from a representative of the Hamilton Watch Company. Each of the pilotsflying the first day’s mail between Washington, DC, Philadelphia, Pennsylvania, and New YorkCity received a Hamilton Watch. Webb flew the Curtiss Jenny JN 4H between New York City andBustleton airfield near Philadelphia on May 15, 1918.Benjamin Lipsner Collection. NationalPostal Museum. A.2006 2..

Page 49. Founded in 1984, Philadelphia’s Mural Arts Program has painted nearly 3,000 muralsthroughout the city, providing art as a “city service” to neighborhoods. The city supportedprogram works in partnership with community residents, grassroots organizations, governmentagencies and others to create murals of enduring value while actively engaging youth in theprocess. Photo by Edward Savaria, Jr. for the Philadelphia CVB.

Page 63. Hammond sales office Philadelphia circa 1900.

Page 79. Rodin Museum. The Thinker” is among Auguste Rodin’s most famous pieces which canbe found at the Rodin Museum on the Benjamin Franklin Parkway. Photo by Andrea Golod.Photo courtesy of Philadelphia CVB.

Page 94. Army Air Corps pilots Major Reuben Fleet and Lt. George Boyle. Major Reuben Fleet ofthe Army Air Corps (left) and Lieutenant George Boyle (right) standing near a Curtiss Jenny (JN4H) airplane on May 15, 1918. Major Fleet was tasked by the U.S. Army and the Post OfficeDepartment with arranging the first regularly schedule airmail service flights in the UnitedStates. The flights began on May 15, 1918 with flights between Washington, D.C., Philadelphia,Pennsylvania, and New York City. Major Fleet and Lt. Boyle were photographed at Washington’stemporary airmail field on the polo grounds near the Potomac River. The pair are admiring MajorFleet’s new wristwatch. The Hamilton Watch company presented each of the Army Air Corps

Image Credits


The Cover. University of Pennsylvania Museum of Archaeology and Anthropology(Penn Museum) sponsored expeditionary film Matto Grosso (c.1931) “production”photo. Left to right: George Rawls, lead actor, Floyd Crosby A.S.C., cameraman and codirector, Arthur Rossi, second camera, and Ainslee Davis sound recordist, in the fieldin Mato Grosso Brazil. Penn Museum #25717.

Image Credits

airmail pilots with a new wristwatch in honor of their historic flights. 1918. Benjamin LipsnerCollection. National Postal Museum. A.2008 17.

Page 105. Coppelia International Ballet Classique. Anastasia Babayeva and Denis Gronostayski,both Bolshoi trained dancers who in true fairy tale fashion fell in love, married and gave upinternational dance tours to settle down with children here in Pennsylvania. They continue toteach Russian classical ballet in a dance studio near Philadelphia. Photo by Karen Kilimnik.Credit to Dance/USA Philadelphia advocating for dance as an art and a vital component of ourculture.

Page 117. Photo by Rick Echelmeyer. When English Quaker William Penn founded Philadelphia,he welcomed people of all religions. Perhaps as a result of Penn’s hospitality to all, the city hasbecome a center for religious art. Philadelphia art museums are home to many religious piecesamong their collections. Death on a Pale Horse, Benjamin West (1738 1820), 1817, oil oncanvas, 147 x 115 in. Gift of the City of Philadelphia, by exchange. Located in the PennsylvaniaAcademy of Fine Arts Washington Foyer. Photo courtesy of Philadelphia CVB.

Page 120. The Philadelphia Art Museum decorated for an exhibit. Photo courtesy of PhiladelphiaCVB.


It takes a lot of people working very hard to ensure asuccessful conference. Put together two Associations, withthree programming committees working across fourcontinents - almost all of them volunteers - and you have justpart of the challenge for 2010.

Thank you to the sponsors and donors, without whom theConference would not be possible ...

To the IASA Organizing Committee, the Joint ProgrammingCommitte, the AMIA Conference Committee and TaskForce, and all of the local members of both organizationsthat have worked for more than a year to bring theconference together and make your experience inPhiladelphia the best it can be ...

To the speakers and workshop leaders who develop pro-gramming and workshops that address every facet of ourfield...

To the volunteers and others who give so much of their timeand energy throughout the year ...

To the volunteer staff, who give up their vacation time tospend a week at the Conference making sure everything runssmoothly ...

And especially to all of those attending this year ....

On behalf of the IASA Executive Board and theAMIA Board of Directors and staff -

Thank you!

Thank you!

saturday - melissa dollman...speakers: johan oomen netherlands instituut voor beeld en geluid...

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