Archival News 49.4
Archival News 49:4
TABLE OF CONTENTS
3.Institutions and Organizations
•George Eastman House Acquires Merchant Ivory Collection
George Eastman House International Museum of
Photography & Film has announced one of the most important acquisitions in
its 61-year history—the collection of Merchant Ivory Productions.This
collection of 2,600 elements includes more than 40 film titles, such as
Oscar®-winnersA Room With a View(1986) andHowards End(1992) and Oscar®
nominees such asThe Remains of the Day(1993),Mr. and Mrs. Bridge(1990), andThe Bostonians(1984).
Film director James Ivory will be honored May 5
with the title of George Eastman Honorary Scholar—awarded for artistic
achievement in motion pictures—on opening night of the 360 | 365 George Eastman
House Film Festival, when he will present his new film,The City of Your Final Destination, which stars Anthony Hopkins and Laura Linney.
Past recipients of this honor include Jeff Bridges, John Frankenheimer, and Ken
"Ismail Merchant’s worry for years was that
all those films of ours, made in so many places, stored in so many labs around
the world, would never be brought safely home and might be lost,” Ivory said.
"Now the George Eastman House motion picture archive is that home,
safeguarding the continuing life of Merchant Ivory's work for the next
Merchant Ivory’s extensive filmography spans
more than 40 years, and the collection at Eastman House also features their
early Indian films, such asShakespeare-Wallah(1965) andBombay Talkie(1970), as well as the company’s earlier American films, the
experimentalSavages(1972) and the New York-setRoseland(1977). Basic elements on deposit in the George
Eastman House archive include Merchant Ivory’s international successes, such asAutobiography of a Princess(1975),Quartet(1981),Heat and Dust(1983),Maurice(1987), andJefferson in Paris(1995). Films directed by Ismail Merchant are
also included, such as the Oscar®-nominated shortThe Creation of Woman(1961) and an earlier documentary,The Courtesans of Bombay(1984). Merchant passed away in 2005 during the
editing ofThe White Countess, which he filmed in Shanghai with Ivory.
Merchant met personally with Eastman House
representatives to plan the gift, which includes original negatives,
interpositives, and 35mm archive prints made from the original negatives of
some of Merchant Ivory’s most admired films. According to Ivory, it was
Merchant’s dream to back this original material up with his own collection of
his relevant contracts, correspondence, and other business papers that give an
idea of how this fiercely independent production company has operated so
successfully for over four decades, on four continents. The gathering of these
archival documents has been the task of James Ivory, Merchant’s surviving
partner, assisted by the staffs of Merchant Ivory’s offices in New York,
London, Paris and Mumbai.
The Eastman House is the archive in which many
filmmakers have chosen to preserve and house their films, including Cecil B.
DeMille, Spike Lee, Ken Burns, Kathryn Bigelow, and Martin Scorsese, whose personal
film collection of several thousand titles is at Eastman House. In March the
Eastman House announced the acquisition of the corporate archive of
The Eastman House motion picture archive is the
third largest in the United States, alongside Museum of Modern Art and
surpassed only by UCLA and Library of Congress. The Eastman House’s motion
picture archive is housed on the estate of Kodak founder George Eastman, the
father of popular photography and motion picture film.
"The Merchant Ivory collection is a
significant treasure in the George Eastman House archive,” said Dr. Anthony
Bannon, the Ron and Donna Fielding Director of George Eastman House. "The
celebrated films and behind-the-scenes photographs, correspondence, and
screenplays tell a complete story of filmmaking by this legendary production
team, and we are honored to preserve this collection at Eastman House.”
Merchant Ivory is a collaboration of three
masters from three vastly different cultures–Ismail Merchant, Ruth Prawer
Jhabvala, and James Ivory. Producer Merchant was born in India. Jhabvala, the
screenwriter, was born in Germany and educated in England, and Ivory, the
director, was born in the United States. Their partnership is listed in the
Guinness Book of World Records as the longest partnership in independent cinema
history. Merchant Ivory’s feature films (24 of them directed by Ivory),
documentaries, and shorts have been praised for their visual beauty, their
mature and intelligent themes, and the shrewd casting and fine acting from
which they derive their unique power.
The diversity of Merchant Ivory’s cultural roots
is evident in the range of locations in which their movies have been shot:
Delhi, Mumbai, and Benares; London, Paris, and Florence; New York, Boston,
Port-of-Spain in Trinidad, Shanghai, and most recently Argentina.The filmmakers
capture a vital sense of place and often lyrical feeling for widely varying
periods and landscapes, from Paris in the 1920s and Edwardian England, to
19th-century America and British India.
Part of this gift to Eastman House is the
extensive correspondence and shared records between Merchant Ivory and film
laboratories and film archives all over the world in the late 1990s, when the
Merchant Ivory Foundation and the Academy of Motion Picture Arts and Sciences
restored nine of the greatest films of the master Indian director Satyajit Ray.
These includedThe Apu Trilogy, The
Music Room, The Goddess,
• Academy of Motion Picture Arts and Sciences’
Margaret Herrick Library Acquires 12 New Collections
The Academy of Motion Picture Arts and Sciences’
Margaret Herrick Library celebrated the acquisition of 12 unique and
outstanding collections on Wednesday, May 19, 2010. Academy officers and
governors joined donors and others affiliated with the materials at an evening
reception at the Library, where selected items from each collection were on
"The Academy’s Herrick Library is home to
an undeniably unique and important treasure trove of materials,” said Academy
President Tom Sherak. "The collections being celebrated at this event are
fascinating and valuable additions to the Library, each exceptional in its own
"I’m delighted to be able to formally thank
the donors who have generously provided the Herrick with these one-of-a-kind
materials,” said Library Director Linda Mehr. "These collections are all
very special, and are terrific enhancements to the vast resources the Academy
makes available to students, filmmakers, scholars and others with a serious
interest in motion pictures.”
The recent acquisitions are:
·Gene Allen Papers:The career papers of this production designer
and past Academy President include extensive documentation on his work with
director George Cukor for such films asA Star Is BornandMy Fair Lady.
·Art Directors Guild
Collection:The Guild has donated
hundreds of beautiful production design drawings covering multiple decades of
film history from such artists as Albert Brenner, Richard Day, Ernst Fegte,
Alexander Golitzen, William Horning, Boris Leven and Lyle Wheeler, to name a
·James L. Brooks Papers:The collection from the multiple Academy Award
recipient and nominee writer/director/producer includes production and script
files for films such asAs Good As It Gets,
Broadcast News, Terms of Endearment, Jerry MaguireandSpanglish.
·Richard Koszarski Polish
Poster Collection:This collection of truly
stunning graphic poster design spans the 1950s to 1980s and contains nearly
1700 Polish posters for films produced in the United States, Poland, Russia,
France, Italy and Japan.
·Joseph L. Mankiewicz
Papers:The papers include the
comprehensive script and production files for the post-1949 career of this
multiple Academy Award honored writer/director/producer. Coverage includes such
films asA Letter to Three Wives,
No Way Out, Guys and Dolls, The Barefoot Contessa, The Quiet American,
·Alan J. Pakula Papers:This collection spans almost fifty years of the
career of this acclaimed producer and director, and includes production
material and Pakula’s personal notes on such films asInside Daisy Clover, Love with the Proper
Stranger, To Kill a Mockingbird, Up the Down Staircase, The Sterile Cuckoo, All
the President’s MenandSophie’s Choice.
·Sydney Pollack Papers:The Pollack papers include scripts,
correspondence, production documents, posters and photographs from the career
of this outstanding director/producer/actor, a multiple Academy Award nominee
and recipient. Among the films covered areOut of Africa, The Slender Thread, They Shoot Horses, Don’t They?,
The Way We Were, Absence of MaliceandTootsie.
·Jane Powell Papers:The MGM musical star of forties and fifties
films donated material documenting her career, including photographs, scripts
and home movies. There is coverage on such films asHoliday in Mexico, A Date with Judy, Nancy Goes
to Rio, Royal WeddingandSeven Brides for Seven Brothers.
·Edward R. Pressman
collection covers the career of this noted producer who has been active since
the 1960s. Among the documentation is coverage on a vast number of diverse
films such asBadlands, Blue Steel,
Wall Street, Conan the Barbarian, To Sleep with Anger, Bad Lieutenant, Talk
Radio, PlentyandReversal of Fortune.
·May Routh Costume Design
Drawings:The collection includes
beautiful costume drawings for such films asThe Last Remake of Beau Geste, Being There, My Favorite Year,
Ronin, Sgt. Pepper’s Lonely Hearts Club BandandGhost Story.
Photographs:This collection includes
a large quantity of extremely rare photographs covering the career of one of
the leading silent stars from 1913 to 1930.
·Albert Wolsky Costume
Design Drawings:The collection of
multiple Academy Award nominee and recipient covers multiple decades and
includes drawings forGrease, All That Jazz,
Sophie’s Choice, Toys, Across the Universe, Galaxy Quest, Bugsy, Road to
PerditionandThe Turning Point.
The Margaret Herrick Library, located in Beverly
Hills, is the world’s preeminent cinema research facility. Holdings include
more than 10 million photographs, 300,000 clipping files, 80,000 screenplays,
35,000 movie posters and 32,000 books. Devoted to the history and development
of the motion picture both as an art form and as an industry, the holdings also
include more than 1,000 special collections representing a wide range of giants
and legends of moviemaking. The Herrick is open to the public four days a week;
it is a non-circulating research facility housed in what was once a water
treatment facility in Beverly Hills.
• Twitter Donates Entire Tweet Archive to
Library of Congress
Twitter is donating its digital archive of
public tweets to the Library of Congress. Twitter is a leading social
networking service that enables users to send and receive tweets, which consist
of web messages of up to 140 characters.
Twitter processes more than 50 million tweets
per day from people around the world. The Library will receive all public
tweets-which number in the billions-from the 2006 inception of the service to
"The Twitter digital archive has
extraordinary potential for research into our contemporary way of life,” said
Librarian of Congress James H. Billington. "This information provides
detailed evidence about how technology based social networks form and evolve
over time. The collection also documents a remarkable range of social trends.
Anyone who wants to understand how an ever-broadening public is using social
media to engage in an ongoing debate regarding social and cultural issues will
have need of this material.” Billington added: "The Library looks at this
as an opportunity to add new kinds of information without subtracting from our
responsibility to manage our overall collection. Working with the Twitter
archive will also help the Library extend its capability to provide stewardship
for very large sets of born-digital materials.”
In making the donation, Greg Pass, Twitter’s
vice president of engineering, said: "We are pleased and proud to make
this collection available for the benefit of the American people. I am very
grateful that Dr. Billington and the Library recognize the value of this
information. It is something new, but it tells an amazing story that needs to
be remembered.” Twitter’s own take on the donation is posted on theirblog.
A few highlights of the donated material include
thefirst-ever tweetfrom Twitter co-founder Jack Dorsey, President Obama's tweet aboutwinning
the election, and a set of two tweets from a photojournalist who was
arrested in Egypt and then freed because of a series of events set into motion
by his use of Twitter:Tweet 1andTweet 2.
The announcement came coincidentally on the same
day the Library’s own Twitter feed (@librarycongress) crossed 50,000 followers
(April 14, 2010).
"I think Twitter will be one of the most
informative resources available on modern day culture, including economic,
social and political trends, as well as consumer behavior and social trends,”
said Margot Gerritsen, a professor with Stanford University's Department of
Energy Resources Engineering and head of the Center of Excellence for
Computational Approaches to Digital Stewardship, a partnership with the Library
The archive follows in the Library’s long
tradition of gathering individuals’ firsthand accounts of history, such as
"man on the street” interviews after Pearl Harbor; the September 11, 2001,
Documentary Project; the Veterans History Project (VHP); and StoryCorps. While
the Twitter archive will not be posted online, the Library envisions posting
selected content around topics or themes, similar to existing VHP
The Library has been collecting materials from
the web since it began harvesting congressional and presidential campaign
websites in 2000. Today the Library holds more than 167 terabytes of web-based
information, including legal blogs, websites of candidates for national office
and websites of Members of Congress. In addition, the Library leads the
congressionally mandatedNational Digital Information Infrastructure and Preservation
Programwhich is pursuing a
national strategy to collect, preserve and make available significant digital
content, especially information that is created in digital form only, for
current and future generations.
• George Eastman House Acquires Kodak’s Colorama
George Eastman House International Museum of
Photography and Film celebrates the 60th anniversary of the Kodak Colorama—the
gigantic panoramic images that dominated Grand Central Terminal for 40 years,
from 1950 to 1990—with an international touring exhibition titled Colorama
debuting June 19, on view at Eastman House through Oct. 17, 2010. At the same
time, Eastman House is announcing Eastman Kodak Company has donated its
Colorama archive to the museum.
Coloramas were promoted by Kodak as "the
world’s largest photographs” and called "technically remarkable” by Ansel
Adams, who photographed several. The towering backlit transparencies were
18-feet high and 60-feet wide, each illuminated by more than a mile of tubing.
A total of 565 Coloramas were publicly displayed, changing out every three
The archive gift from Kodak of several thousand
items includes display images of all Coloramas, including ones that were
intended but not featured, plus research documents, negatives, guide prints,
proof prints, model releases, and digital files.This archive will join the
Eastman House current holdings of high-res scans and a detailed history
compiled by long-time Kodak and Colorama photographer Norman Kerr.
"We are delighted that this treasure trove
of photographic history and imaging technology, which enthralled millions of
people over the years, has found a home where they will be preserved for many
more people to enjoy in the future,” said Kodak professional photographer Steve
Kelly, himself the creator of several Coloramas. "These images were Kodak
Moments of the highest order, and we at Kodak are proud to have them reside at
the home of our founder so that the public can once again experience the
magnificence of these images.”
When each new Colorama was unveiled, it often
received ovation from New York City residents and travelers. Photographer
Edward Steichen telegraphed Kodak upon viewing a Colorama in 1950, stating,
"EVERYONE IN GRAND CENTRAL AGOG AND SMILING. ALL JUST FEELING GOOD.”
"These illuminated images reflected and
reinforced American values and aspirations while encouraging picture-taking as
an essential aspect of leisure, travel, and family,” said Dr. Alison Nordström,
Eastman House curator of photographs, "The Coloramas taught us not only what
to photograph, but how to see the world as though it were a photograph. They
served to manifest and visualize values that even then were seen as nostalgic
and in jeopardy, salvageable only through the time-defying alchemy of Kodak
cameras and film.”
A constant in the first two decades of Colorama
was a model using a Kodak camera, photographing family, an activity, or
beautiful scene. "Coloramas resonate with nostalgia, a staple in Kodak
advertising since at least 1900, reminding us to pause, via photography, in the
midst of present enjoyment to record it for later remembrance,” Nordström said.
In addition to Adams, well-known names associated with Colorama include
photographer Elliot Porter, artist Norman Rockwell who art-directed a Colorama,
and TV’s Ozzie and Harriett who appeared in several.
The Eastman House exhibition, which will travel
internationally after its Rochester debut, will focus on the 1960s—featuring
cowboys in the Grand Tetons, water skiers in Florida, children visiting Santa
and breaking wishbones on Thanksgiving, tourists at the Taj Mahal, snowmobilers
in New Hampshire, and the Junior Miss Pageant in Mobile, Alabama (at center is
the 1964 winner, ABC’s Diane Sawyer). Eastman House representatives have been
asked if a full-size original Colorama will be featured. Their answer is that
even one is too large to display in the museum.
The Eastman House exhibition will feature 36
Coloramas, some as large as 80 inches, as well as two video presentations.
"We are determined to show the Coloramas looking as vibrant as they looked
when they were first presented,” Nordström said.
Colorama was a technical feat undertaken by
Kodak’s advertising and photography teams. Making the exposures for each
display was a full day’s work in almost total darkness. In early years the wet
20-foot transparencies were dried overnight in the swimming pool at Kodak’s
employee recreation center—the only building large enough to accommodate
For those who have seen the uncropped versions
of the Coloramas, witnessed are the studio lights and wooden set frames in the
periphery—proof that the perfect Thanksgiving dinner or summer outing was
fictional bliss. But for those passing through busy Grand Central, these scenes
were a moment of escapism, as New Yorkers and tourists longed for these Kodak
moments to unfold in their own worlds.
"Everyone who sees the Colorama should be
able to visualize themselves as being able to make the same wonderful photo,”
said Adolph Stuber, a Kodak vice president when the project was conceived, who
told his staff, "Talk photography first—Kodak next.” The Colorama
exhibition is being presented in honor of Waldo B. Potter, Kodak’s vice
president of advertising beginning in 1958, who was director of advertising
operations when the Colorama was conceived and launched.
The 1990 renovation of Grand Central Terminal to
landmark condition marked the end of the Colorama. The final display was a
glittering nighttime view of the New York City skyline, with an oversized red
apple nestled among the buildings—the only digital enhancement ever created for
the Colorama program. The accompanying copy read, "Kodak thanks the Big
Apple for 40 years of friendship in Grand Central.”
"The Colorama archive is important to the
study of photographic history and Kodak advertising, and this generous gift
from Kodak also further enhances our comprehensive collection of color
photographs and motion pictures,” said Dr. Anthony Bannon, the Ron and Donna
Fielding Director of George Eastman House. The museum announced in March its
acquisition of the Technicolor company archive and holds many of the earliest
research documents related to color photography and color motion pictures. The
Eastman House already holds the archive of Kodak’s print-advertising collection
and camera technology.
In 2004 Eastman House published with Aperture a
popular book titledColorama: The World’s
Largest Photographs from Kodak and the George Eastman House Collection, which featured 50 Coloramas. The book launch
prompted the museum to host the first-ever reunion of Colorama photographers
and models, which brought together former Kodak co-workers as well as adults
who had served as child models. This included a 20-year reunion of the babies
from the popular "15 Babies” Colorama from 1984. The celebration was
covered byCBS News Sunday Morningand televised nationally. The Colorama
exhibition and tour are generously supported by the Harcourt M. and Virginia W.
Sylvester Foundation, inc. in memory of former Kodak Vice President of Advertising
Pete Potter’s instrumental role in bringing Colorama to life.
• Early Silent Films Return to the United States
The New Zealand Film Archive and the National
Film Preservation Foundation have announced a partnership to preserve and make
available a remarkable collection of 75 American motion pictures that no longer
survive in the United States—and have been unseen anywhere in decades.
Heading the list is John Ford’s full-length
featureUpstream(1927), a backstage romance involving an
aspiring Shakespearian actor and the daring target girl from a knife-throwing
act. Only about 15% of silent-era films by the four-time Academy Award-winning
director are thought to survive. The collection also includes another important
Ford find—a trailer for the director’s lost featureStrong Boy(1929), starring Victor McLaglen.
"Upstreamis a major discovery that illuminates a
previously lost page of John Ford’s early years at Fox,” said Matthew
Bernstein, Chairman of the Emory University’s Film Studies Department and
co-editor ofJohn Ford Made Westerns, "Who would believe that it
would be found complete, in good condition, and with original color tints? And
that is only the tip of the iceberg of this amazing New Zealand collection.”
Among the other important finds areMaytime(1923), an early feature with Clara Bow; the first surviving film
directed by and starring Mabel Normand; an episode of the popular serialThe Active Life of Dolly of the Dailies, starring Mary Fuller as the unstoppable woman
reporter; Westerns made in Tucson, San Antonio, and Yosemite; the only known
narrative feature showcasing the Miller Brothers Wild West Show; comic shorts
starring Charles Puffy, Snub Pollard, and Joe Murphy; an industrial film about
the making of Stetson hats; and a number of documentaries and newsreels. The
films date from as early as 1898. About 70% of the nitrate prints are virtually
complete, and more than two-thirds have color tinting. Taken together, the
films are a time capsule of American film production from the 1910s and 1920s.
The "lost” films will be preserved over the
next three years and accessed through the five major American silent film
archives: the Academy of Motion Picture Arts and Sciences, George Eastman
House, the Library of Congress, the Museum of Modern Art, and the UCLA Film
& Television Archive, which are collaborating with the NFPF on this
project. Copies of the complete films will also be publicly available in New
Zealand and viewable on the NFPF Web site.
Only a fraction of the American films created
during the first four decades of the motion picture still survive in the United
States—probably fewer than 20%. American silent films, however, had a worldwide
popularity, and many works discarded in the United States survive abroad as
distribution prints that were salvaged decades ago at the end of theatrical
runs. The Library of Congress has estimated that roughly one-third of American
silent-era features that survive in complete form exist only in archives in
"We are delighted to collaborate with the
NFPF to preserve and make available these notable films,” said Jamie Lean,
Division Director of the New Zealand Film Archive. "Hundreds of American
motion pictures from the silent era exist in archives outside the United
States. We hope that our example will encourage other international partners
who have safeguarded ‘lost’ American films for decades to share their
long-unseen treasures with the world community.”
The National Film Preservation Foundationis the nonprofit charitable affiliate of the
National Film Preservation Board of the Library of Congress. Since starting
operations in 1997, the NFPF has helped save more than 1,650 films at archives,
libraries, and museums across 48 states, Puerto Rico, and the District of
The New Zealand Film Archive / Ngā Kaitiaki O Ngā Taonga
Whitiāhua, an independent trust established in 1981, preserves and
protects hundreds of thousands of moving images documenting New Zealand, from
its first movies to contemporary television and cutting edge avant-garde. The
NZFA runs an active screening program at its headquarters in Wellington and
sites throughout New Zealand.
• National Film Preservation Foundation Awards
Preservation Grants to 27 Film Archives
Billy Woodberry’s independently producedBless Their Little Hearts(1984), a portrait of an African American father
struggling to support his family in Los Angeles, is among the 57 films
green-lighted for preservation through National Film Preservation Foundation
grants announced on June 16, 2010. The 27 award-winning institutions will
receive preservation funds made available throughThe Library of Congress Sound Recording and Film Preservation
Programs Reauthorization Act of 2008.
"Bless Their Little Heartshasn't yet found its rightful place as a key
film in the history of cinema, but it has been a great inspiration for those
who have seen it,” said Thom Anderson, who featured clips from the feature in
his documentary about the portrayal of Los Angeles in film,Los Angeles Plays Itself. "Thanks to this grant from the National
Film Preservation Foundation, this important work will be safeguarded and made
available to the national audience it deserves.” UCLA Film & Television
Archive will work with the filmmaker on the project using the original
Among the other films singled out for
preservation areMoney at Work(1933), produced by the American Bankers
Association to restore faith in small-town banks at the height of the Great
Depression;21st Biennial Convention
of the Chinese American Citizen’s Alliance(1950), showing a national civil rights organization that brought
together Chinese American leaders;Twin Peaks Tunnel(1917), documenting the construction of the trolley tunnel that
opened western San Francisco to commuters;In Artificial Light(1982), Curt Royston’s portrait of New York artists, including
Madonna Ciccone before her break-through; shorts by the New York performance
artist Stuart Sherman; George Stoney’s environmental documentaryThe Hudson
Shad(1973), narrated by Pete
Seeger; Kartemquin Films’The Chicago Maternity
Center(1976); a 1934 portrait
of a Civilian Conservation Corps camp in Indiana; and home movies showing the
Flying Concellos (1937), a 1920s hunting expedition to the Arctic, and peanut
picking in Georgia in the 1940s.
The NFPF preservation grants, funded through the
leadership of the Library of Congress, provide support to create a film preservation
master and two access copies of each work. Films saved through the NFPF
programs are made available for on-site research and are seen widely through
screenings, exhibits, DVDs, television broadcasts, and the Internet. Since its
creation by Congress in 1996, the NFPF has supported film preservation in 214
archives, libraries, and museums across 48 states, the District of Columbia,
and Puerto Rico, and has helped save some 1,630 films.
The National Film Preservation Foundation is the
nonprofit organization created by the U.S. Congress to help save America’s film
heritage. The NFPF is the charitable affiliate of the National Film
Preservation Board of the Library of Congress. For the complete list of
projects supported by the NFPF, visit theNFPF
• Pass It On: Personal Archiving Day at the
Library of Congress Offered as Part of National Preservation Week
Memories should last a lifetime and be passed on
to future generations. Advice on how to safeguard precious digital and
traditional photos, documents, recordings and more were presented at Personal
Archiving Day at the Library of Congress.
On May 10, library staff discussed practical
strategies for preserving personal collections. The event was free and open to
the public. The Library’s preservation experts talked directly with individuals
about managing their materials in all formats – everything from e-mail to home
movies to digital photographs and recorded sound. For security reasons,
visitors were asked not to bring their collection materials to the Library; no
appraisals were provided.
Pass It On: Personal Archiving Day at the
Library of Congress celebrated the firstnational
Preservation Week(May 9-15, 2010). It was
sponsored by Library of Congress, the American Library Association (ALA), the
Institute for Museum and Library Services and partner organizations. This joint
initiative highlights libraries and other collecting institutions as good
sources of preservation information. The Library of Congress’ Personal
Archiving Day was co-sponsored by the Library's Office of Strategic Initiatives
and Library Services.
"I am eager for the Library to work with
the public in this area,” said Laura Campbell, associate librarian for
Strategic Initiatives. "Many individuals have important personal digital
information, and we hope this event will provide practical advice about saving
it for the future. In addition to meeting with people directly, we are also
using the web and social media as a way to reach interested parties.”
Deanna Marcum, associate librarian for Library
Services, said "Partnering with ALA for the first national collections
Preservation Week serves the Library's mission by sharing information and
increasing public awareness of preservation's importance. The Library of
Congress’ Library Services is pleased to collaborate in this effort to reach
beyond the staff of our libraries and other cultural heritage collections, and
we look forward to its future.” To learn more and to sign up for free digital
preservation updates, visithere.
3.INSTITUTIONS AND ORGANIZATIONS
•British Film Institute Film Center Plans Canceled
The U.K. government has pulled the plug on £45
million ($67 million) plans for the British Film Institute (BFI) Film Center in
London and has also shelved plans for the £2.5 million ($3.7 million) BFI
archive digital access project.
In an attempt at a silver lining to the cloud of cuts announced Thursday June
17, 2010 by the Department for Culture, Media and Sport, the freshly anointed
government said it would still fund the building of a film store to safeguard
the National Film Archive.
The Culture, Olympics, Media and Sport minister Jeremy Hunt said the cuts are
part of wide-ranging plans to help reduce the fiscal deficit. "We are
facing an unprecedented financial situation in this country, and it is
essential that we act now to reduce the country’s debt,” Hunt said. He also
said that his department looked at a slew of plans with value for money and
affordability in mind, saying, "This has involved some incredibly
difficult decisions, but the cultural and sporting worlds, like everyone else,
urgently need the country's finances to be returned to a sustainable position.”
Creative Industries minister Ed Vaizey also said the government plans to
"fundamentally reassess how the Government supports film in this country,”
while admitting it simply could not commit to large scale capital investment
projects such as the BFI Film Center. "I want to make sure that we are
supporting the film industry so that it is ready for the challenges it will
face in the decade to come, and that we make sure every pound of public money
we spend gives the maximum benefit,” Vaizey said.
The reassessment will take account of the impact of Government financial
support for film including National Lottery funding as well as the impact of
film tax relief.
•Law Library of Congress Leads Effort to Restore Haiti’s Legal
As Haiti rebuilds after last January’s massive
earthquake, the need for access to its statutes and other law-related materials
has become paramount to the nation and its people, and organizations helping
with the recovery effort.
In the interest of providing greater access to
Haitian legal materials, the Law Library of Congress is embarking on a project
to digitize Haitian law titles that are in the public domain. The goal of this
project is to offer an easily accessible, comprehensive legal collection for
"This is a wonderful opportunity for the
Law Library of Congress to share its collections in direct support of a
humanitarian effort,” said Law Librarian of Congress Roberta Shaffer. "By
combining our rich collection of Haitian law with collections of law libraries
all over the world, we can provide the Haitian people, other governments and
nonprofit organizations with access to most of the legal materials that were
lost in the devastating earthquake. As Haiti begins to rebuild, it will be
building on the strong foundation of the rule of law.”
The Law Library of Congress’s collection
contains more than 800 Haitian law titles that have been made available through
various sources, including the Library of Congress online catalog. Public
access to summaries of and related information about the Law Library’s Haitian
law holdings is available through theGlobal Legal
Information Network (GLIN). GLIN is a public database of official
texts of laws, regulations, judicial decisions, and other complementary legal
sources contributed by governmental agencies and international organizations.
To date, more than 370 Haitian legal materials
have been organized and prepared for digitization.
"The Law Library looks forward to
digitizing and providing global access to its entire historical Haitian legal
collection,” said Mark Strattner, chief of the Law Library’s Collections
For more than 40 years, beginning with the
effort to restore the National Library in Florence following the devastating
floods in that city in 1966, the Library of Congress has assisted at home and
abroad in the aftermath of natural and man-made disasters. In the wake of
hurricanes Katrina and Rita, the Library initiated book donations, preservation
and recovery efforts of library materials and a collaborative project to
collect and archive websites pertaining to the events. In 2002, the Law Library
helped reconstruct Afghanistan’s laws that were destroyed during the period of
Taliban rule. In addition to the Law Library’s efforts in Haiti, the American
Folklife Center in the Library of Congress recently digitized and repatriated
to Haiti 50 hours of field recordings and six moving pictures featuring
traditional Haitian culture collected by ethnomusicologist Alan Lomax in the
Founded in 1832, the mission of the Law Library
is to make its resources available to members of Congress, the Supreme Court,
other branches of the U.S. Government and the global legal community, and to
sustain and preserve a universal collection of law for future generations. With
more than 2.6 million volumes, the Law Library contains the world’s largest
collection of law books and other resources from all countries and provides
online databases and guides to legal information worldwide through itsweb site.
• The Magic Lantern Society of the US and Canada
The Magic Lantern Society of the United States
and Canada held a conference in Bloomington, Indiana on May 20-23, 2010. The
conference featured six presentation sessions, along with silent film
screenings and an exhibition of magic lantern slides and projectors. For more
information about the society and the conference, visit the society'swebsite.
• HistoryMakers Digital Archive of African
American Oral History Interviews Now Available Online
HistoryMakers Digital Archive of 400 African American video oral history
interviews are now available online on a test basis to registered users.
Founded in July 1999,The HistoryMakershas grown into the
nation’s largest African American video oral history archive. Its collection
includes the interviews of President Barack Obama (then an Illinois State
Senator), civil rights leader Julian Bond, and children’s advocate Marion
Wright Edelman, to name a few.
Digital Archive has been available at select locations since 2005, garnering
rave reviews both for the richness of its searching and viewing tools and for
the quality of its oral history content. The new, web-based archive may be
accessed online, and offers unparalleled search capacities based on recent work
performed by The HistoryMakers andCarnegie
Mellon University’s Informedia Digital Video Library.
Registered users of the
new web-based archive will be able to:
- Search the spoken text of over 900 hours of
video divided into 18,254 story segments.
- Filter searches by geography, time period, and the
gender, occupation and birth year of the interviewee.
- View search results as 3-5 minute video story segments,
each aligned with a running transcript below a Flash video player
(compatible with most browsers).
- Save video story segments of interest and return to
them through web site bookmarking.
- Search dozens of historical topics, biographical themes
and interview qualities, newly coded to interview segments through
thousands of hours of human indexing.
To give one example,
using the interface’s new 143-term coding tree one could search for
"neighborhood” stories on "finding opportunities” and view Nikki
Giovanni’s story about promoting her book party at Birdland in Harlem in
Digital Archive allows searching at an unprecedented level of detail and
efficiency, setting a standard for video oral history description and access.
This web-based digital archive is only the second stage of testing for The
HistoryMakers Digital Archive of African American oral histories; the ultimate
goal is to license these oral histories to libraries nationwide. Users are
encouraged to join in providing greater access to an invaluable heritage.Follow
this link to join the archive >
• Silent-Era Animation Now Online from the UCLA
Film & Television Archive
The UCLA Film and Television Archive has
produced Silent Animation, a section of its website which offers eleven
animation films from the silent era for viewing online or download. The films
cover all kinds of silent animation productions, including lightning sketches
(a ‘lightning’ artist filmed drawing a caricature), hand-drawn animation,
stop-frame animation, cut-out animation, animated letters, and films which
integrate live action with animation. Visit the websitehere:
• Library of Congress Unveils Redesigned Prints
and Photographs Online Catalog
The Library of Congress’ extensivePrints and Photographs Online Catalog (PPOC)now has a new look and many new features. A
dynamic redesign offers clean and visually inviting pages, with easy-to-use
features for searching, browsing and sharing. The new catalog brings the
pictures to the forefront of the web pages. The original version, established
in 1996, was more text-oriented and in need of an upgrade.
PPOC is a heavily used resource, with more than
16 million searches conducted in 2009. The catalog provides access through
group or item records to P&P’s holdings, which consist of more than 14
million pictures, including the 1.25 million digitized images.
PPOC offers access to 1.25 million digital
images and to more than 600,000 records describing the collections in the
Library’s Prints and Photographs Division (P&P). The search option has been
improved to be available on almost every page of the catalog, allowing for easy
modification of searches—no need to click back to a search page to conduct a
new search. The search engine is more robust, bringing up all applicable items.
There are no limits to the amount of records that can be retrieved.
Visitors can now browse by alphabetical lists of
subjects, formats and creators across the entire catalog as well as for
individual collections. Colorful banner images highlight the "learn more
about it” essays for major collections, such as the popularRussian Empire photographsby Sergei M. Prokudin-Gorskii, which can be
viewed at . The "view all” feature for major collections opens the door tointeresting visual explorations.
Viewing options, in general, are greatly
expanded and now include gallery, grid and slideshow features. The gallery
format displays 20 images on a page, four rows of five pictures. The grid
format shows 100 images on a page, 10 rows of 10 pictures. Slideshows can be
seen in two speeds, slow and fast, with an option to include item descriptions.
The Works Progress Administration (WPA)posters from the Great Depressionare especially interesting in this format.
Another new feature is the share/save tool. With
stable and durable URLs, the searches and images can be shared quickly with
one’s social network.
The Prints and Photographs Division at the
Library of Congress includes more than 14 million photographs, drawings and
prints from the 15th century to the present day. International in scope, these
visual collections represent a uniquely rich source of human experience,
knowledge, creativity and achievement, touching on almost every realm of
endeavor: science, art, invention, government and political struggle, and the
recording of history. For more information about the division, visitwww.loc.gov/rr/print/. For access to the catalog,
• Canyon Cinema Debuts New Website and Logo
San Francisco-based Film
Distributor Canyon Cinema, Inc. has launched a new website and new logo design.
Resources onwww.canyoncinema.cominclude enhanced
search options, increased information available on films and filmmakers, online
reservation forms, as well as filmmaker member resources. The newly redesigned
web site aims to extend the reach of Canyon’s current users by serving a broad
audience of filmmaker-members, curators, educators, micro-cinemas as well as
and members of the general public interested in art, experimental film
education, conservation, and scholarship. The redesign incorporates bold,
simple graphics, an easy-to use interface with navigational tools, robust
search functions as well as the opportunity to browse and discover the
"hidden gems” in the collection.
In addition to a
catalogue of more than 3,000 films, the new website offers users biographies of
filmmakers, artist statements, film stills and artist-written film
descriptions. The site is organized to provide quick and direct access to all
of these resources for all audiences. If a user is not sure exactly where to
look for specific information on canyoncinema.com, the newly developed
site-wide search engine will help. Among the features on canyoncinema.com’s
homepage, "Spotlight” provides images and information on Canyon’s
Collection, generated at random on each page refresh.
Canyon Cinema’s new logo
was commissioned and created by local Bay Area talent,The Small
Stakes, otherwise known as Jason Munn. Canyon Cinema’s Web team
Interactiveas well as a Board of Directors website committee
led by Maïa Cybelle Carpenter, supported by Thad Povey, Michelle Silva, David
Warren, Dominic Angerame (Executive Director), Lauren Sorensen (Assistant
Director), and Canyon Cinema interns and volunteers. Image editing and data
entry were provided by Meghan Curran, Ava Jancar, and Jordon Zorker. This team
has been developing the new website over the past 3 years. Canyon Cinema wishes
to thank Lucasfilm Foundation for their generous support of this project.
unrivaled collection of more than 3,000 films traces the history of the experimental
and avant-garde filmmaking movement from the 1930s to the present. Canyon’s
primary activity is the rental distribution of Super 8mm, 16mm, and 35mm films
by independent film artists. Canyon also leases these films and hundreds of
other DVDs from its member filmmakers. Independent filmmakers, unlike
commercial filmmakers or studio artists, rarely receive financial compensation
for their work. The money that Canyon Cinema returns to the artists helps them
continue making their films.
• National Film Preservation Foundation Website
Redesign Includes Films for Online Viewing
National Film Preservation Foundation has recently redesigned its website. One
of the site’s new features is a Screening Room
(www.filmpreservation.org/preserved-films/screening-room), which allows viewers
to watch longer excerpts and complete films. Nine films have been recently
added to the "Treasures DVDs” and "Saved Through the NFPF” sections,
along with easy-to-read program notes. See www.filmpreservation.org/.
• Open Images Website Aims to Encourage Creative Reuse of Archival
Netherlands Institute for Sound and Vision has launchedOpen Images,
an open media platform that offers access to a selection of archive material
with the aim to stimulate creative reuse. Footage from audiovisual collections
can be downloaded and remixed into new works. Users of Open Images also have
the opportunity to add their own material to the platform and thus expand the
Access provision to the
material on Open Images is based on the Creative Commons licensing model. The
"open” nature of Open Images is underscored by the use of open video
formats (Ogg Theora), open standards (HTML5, OAI-PHM) and open software components.
The platform is based on the MMBase open source multi media publishing system.
Furthermore, all software that is developed as a result from Open Images is
released under an open source license.
Besides remixing archive materials, Open Images
offers the possibility of interlinking with other data sources. Within the
project, dozens of "Polygoon” newsreels have been added to existing
textual entries of the Dutch Wikipedia. For example, in the entry about
"Almere,” the textual description of the city’s history is enriched with
an audiovisual illustration about its first inhabitants. In cooperation with
Wikimedia Netherlands it is now being investigated how Open Images can
contribute audiovisual content to Wikipedia on a more structural basis.
As the API to the data is published, Sound and Vision hopes programmers will
use the data in the creation of mashups. For instance, students of INHOLLAND
University are currently working on a mashup of Open Images content with the
OpenStreetMap, the free editable map of the world.
Open Images offers access to over 200 "Polygoon” items from the Sound and
Vision archives. The collection will grow substantially over the coming years,
as new items are uploaded continuously. Everybody is more than welcome to add
material to the platform: not only collection institutes and producers, but all
"netizens” creating new programs based on Open Images fragments and items
from other online repositories of archive material.
Open Images is an initiative of theNetherlands
Institute for Sound and Visionin cooperation with theNetherlands
Knowledgeland Foundation. Open Images has been developed as part of
for the Future project, which enables digitization and provision of
audiovisual heritage on a large scale. More information:www.openimages.eu/.en.