The Current Landscape of Film Archiving and How Study Programs Can Contribute
In this paper I will start by describing film archives at the current situation as they move from analogue to digital. Meanwhile new educational programs in Germany have been set up to prepare the next generation of film archivists for their task. I will discuss my views on how study programs can support them and what they could usefully add to their current offerings. In addition to that I will outline possible intersections for scholarly collaboration, particularly how computer sciences or digital humanists can support film archivists. initially to describe the situation of film archives as they move from analogue to digital. After that I will discuss future film archivists, my views on how study programs can support them and what they could usefully add to their current offerings. My suggestions for additional subjects in the curricula might not always be the most obvious, but hopefully my reasons will become clear. Finally, I will outline possible intersections for scholarly collaboration, where for example computer sciences (or digital humanists) can support film archives.
L'Association des Cinémathèques Européennes (ACE). “Interim Report on ACE activities July 2015-February 2016.” Unpublished document.
Cultural Heritage Information Professionals (CHIPs). 2008. “Workshop Report.” April 3-4. URL: https://www.imls.gov/sites/default/files/publications/documents/chipsworkshopreport_0.pdf
Edmondson, Ray. 1995. “Is Film Archiving a Profession?” Film History, 7, 3, Film Preservation and Film Scholarship (Autumn): 245-255.
Hanley, Oliver and Heftberger, Adelheid. 2012. “Scholarly Archivists/Archival Scholars: Rethinking the Traditional models.” The Velvet Light Trap 70: 64-65.
Heftberger, Adelheid. 2014. “Film archives and digital humanities – an impossible match? New job descriptions and the challenges of the digital era.” MedieKultur – Journal of media and communication research 30, 57: 135-153.
Hoyt, Eric. 2016. “Curating, Coding, Writing: Expanded Forms of Scholarly Production.” in: The Arclight Guidebook to Media History and the Digital Humanities, edited by Eric Hoyt and Charles Acland. (Sussex: Reframe Books in association with Project Arclight), 347-373.
Koerber, Martin. 2013. “Who are these new archivists?” in: Work|s in Progress: Digital Film Restoration Within Archives, edited by Kerstin Parth, Oliver Hanley and Thomas Ballhausen (Vienna: Synema Publikationen, 2013, 43-50.
Nowell-Smith, Geoffrey. 1996. “The Joint European Filmography (JEF).” in: The Lumiere Project. The European Film Archives at the Crossroads, edited by Catherine A. Surowiec (Lisbon: The LUMIERE Project, 169-173.
Novia, Jennifer. 2012. “Library, Archival and Museum (LAM) Collaboration: Driving Forces and Recent Trends.” Endnotes: The Journal of the New Members Round Table, 3, 1 (October): 1-10.
Prelinger, Rick. 2015. “The Future of Memory: Disrupting the Archives To Save it” (paper presented at the annual meeting for the International Association of Film Archives, Sydney, April 19). http://www.fiafnet.org/images/tinyUpload/E-Resources/Reports-Glossaries-And-Papers/Sydney-Symposium/Sydney-Symposium-slideshows/Rick%20Prelinger-slideshow.pdf.
Schaffner, Jennifer. 2009. “The Metadata is the Interface: Better Description for Better Discovery of Archives and Special Collections, Synthesized from User Studies,” Report produced by OCLC Research. URL: http://www.oclc.org/programs/publications/reports/2009-06.pdf
Schnapp, Jeffrey T., and Presner, Todd. 2009. “Digital Humanities Manifesto 2.0.” URL: http://humanitiesblast.com/manifesto/Manifesto_V2.pdf
Trant, Jennifer. 2009. “Emerging convergence? Thoughts on museums, archives, libraries, and professional training.” Pre-print of the article, later published in: Museum Management and Curatorship, 24, 4 (December): 369-386. URL: http://www.archimuse.com/papers/trantConvergence0908-final.pdf
Williams, Mark. 2016. “Networking Moving Image History: Archives, Scholars, and the Media Ecology Project.” in: The Arclight Guidebook to Media History and the Digital Humanities, edited by Eric Hoyt and Charles Acland. (Sussex: Reframe Books in association with Project Arclight), 335-346.
- There are currently no refbacks.
Mel Hoppenheim School of Cinema, FB 319
1455 Boulevard de Maisonneuve Ouest
Montréal, Québec, Canada
© 2017 Synoptique
Copyright of all materials remains with their authors. See individual pages for Creative Commons and other licensing information.