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Cinema Journal Archival News - 50.1
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Archival News -50:1

Edited by Jennifer Peterson


1. Acquisitions

2. Preservation

3. Legal

4. Institutions and Organizations

5. Exhibitions

6. Conferences

7. Awards

8. New DVDs

9. On-Line Resources


•Richard Lester’s Papers Donated to BFI National Archive

Director Richard Lester has donated a selection of his papers to the British Film Institute, providing documentation of his entire career in film and television. This donation will enable the exploration of a career spanning his groundbreaking films with the Beatles,A Hard Day’s Night(1964) andHelp!(1965), the Cannes Grand Prix-winningThe Knack…and How to Get It(1965), along with the successes ofThe Three Musketeers(1974) andSuperman II(1980) andIII(1983).

Highlights of the donation include Alun Owen’s early drafts ofA Hard Day’s Nightwhich was then simply titledThe Beatles; shooting scripts forThe Knack…and How to Get ItandThe Three Musketeers; storyboards forSuperman IIandIII; behind-the-scenes stills from Lester’s work in film and television; and letters from Audrey Hepburn, Charlton Heston, Spike Milligan, Harold Pinter, Alastair Sim and Raquel Welch.

Richard Lester stated: "I have had a long association with the BFI going back over 40 years. The organisation has always been very helpful to me in different ways. It is a pleasure for me to be able to offer them the detritus of my working life.”

The BFI will be making Lester’s gift available for consultation in the its National Library for those who wish to explore the director’s career. A selection of materials will be available at BFI Mediatheques around the UK, and the catalogued collection will be available via Screenonline, the BFI’s online educational resource.


•Final Report on Preserving Digital Public Television Released

After seven years of researching, testing, developing, analyzing, promoting and sharing, the Library of Congress-funded NDIIPP projectPreserving Digital Public Televisionhas concluded. This project produced a significant body of reports, published articles in key journals and other publications, and gave presentations at dozens of conferences, symposia and special events in the U.S, Canada and abroad. By promoting the importance of digital preservation to public broadcasting, the project was instrumental in helping to create theAmerican Archive, a new initiative at the Corporation for Public Broadcasting, which is its first genuine investment in long-term preservation and access of U.S. public radio and television programming.

SincePreserving Digital Public Televisionbegan, broadcasting has shed its analog systems and moved completely into a digital universe. This project has been able to impress on the public television system the message that digital preservation is not an optional "add-on” cost, but a requirement for any future use of the materials. In this, the project has been instrumental in transforming an attitude of indifference to one that acknowledges the value of properly managing our collective archival holdings.

The final report can be found here:


•Electronic Frontier Foundation Wins New Legal Protections for Video Artists, Cell Phone Jailbreakers, and Unlockers

The Electronic Frontier Foundation (EFF) won three exemptions to the Digital Millennium Copyright Act (DMCA) anticircumvention provisions on July 26, 2010, carving out new legal protections for consumers who modify their cell phones and artists who remix videos—people who, until now, could have been sued for their non-infringing or fair use activities.

"By granting all of EFF’s applications, the Copyright Office and Librarian of Congress have taken three important steps today to mitigate some of the harms caused by the DMCA,” said Jennifer Granick, EFF’s Civil Liberties Director. "We are thrilled to have helped free jailbreakers, unlockers and vidders from this law’s overbroad reach.”

The exemptions were granted as part of a statutorily prescribed rulemaking process, conducted every three years to mitigate the danger the DMCA poses to legitimate, non-infringing uses of copyrighted materials. The DMCA prohibits "circumventing” digital rights management (DRM) and "other technical protection measures” used to control access to copyrighted works. While the DMCA still chills competition, free speech, and fair use, these exemptions take new strides towards protecting more consumers and artists from its extensive reach.

The first of EFF’s three successful requests clarifies the legality of cell phone "jailbreaking”—software modifications that liberate iPhones and other handsets to run applications from sources other than those approved by the phone maker. More than a million iPhone owners are said to have "jailbroken” their handsets in order to change wireless providers or use applications obtained from sources other than Apple’s own iTunes "App Store,” and many more have expressed a desire to do so. But the threat of DMCA liability had previously endangered these customers and alternate applications stores.

In its reasoning in favor of EFF’s jailbreaking exemption, the Copyright Office rejected Apple’s claim that copyright law prevents people from installing unapproved programs on iPhones: "When one jailbreaks a smartphone in order to make the operating system on that phone interoperable with an independently created application that has not been approved by the maker of the smartphone or the maker of its operating system, the modifications that are made purely for the purpose of such interoperability are fair uses.”

"Copyright law has long held that making programs interoperable is fair use,” confirmed Corynne McSherry, EFF’s Senior Staff Attorney. "It’s gratifying that the Copyright Office acknowledges this right and agrees that the anticircumvention laws should not interfere with interoperability.”

EFF also won a groundbreaking new protection for video remix artists currently thriving on Internet sites like YouTube. The new rule holds that amateur creators do not violate the DMCA when they use short excerpts from DVDs in order to create new, noncommercial works for purposes of criticism or comment if they believe that circumvention is necessary to fulfill that purpose. Hollywood has historically taken the view that "ripping” DVDs is always a violation of the DMCA, no matter the purpose.

"Noncommercial videos are a powerful art form online, and many use short clips from popular movies. Finally the creative people that make those videos won’t have to worry that they are breaking the law in the process, even though their works are clearly fair uses. That benefits everyone—from the artists themselves to those of us who enjoy watching the amazing works they create,” added McSherry.

On EFF’s request, the Librarian of Congress renewed a 2006 rule exempting cell phone unlocking so handsets can be used with other telecommunications carriers. Cell phone unlockers have been successfully sued under the DMCA, even though there is no copyright infringement involved in the unlocking. Digital locks on cell phones make it harder to resell, reuse, or recycle the handset, prompting EFF to ask for renewal of this rule on behalf of its clients, The Wireless Alliance, ReCellular and Flipswap. However, the 2009 rule has been modified so that it only applies to used mobile phones, not new ones.

"The Copyright Office recognizes that the primary purpose of the locks on cell phones is to bind customers to their existing networks, rather than to protect copyrights,” said Granick. "The Copyright Office agrees with EFF that the DMCA shouldn't be used as a barrier to prevent people who purchase phones from keeping those phones when they change carriers. The DMCA also shouldn't be used to interfere with recyclers who want to extend the useful life of a handset.”

Along with the exemptions that EFF championed, several other DMCA exemptions were expanded, granted or narrowed including one for documentary filmmakers and college-level educators, as well as some for security researchers. For the full rulemaking order, see: For more on the DMCA rulemaking, see:


•National Recording Registry’s 2009 Selections Announced by Library of Congress

The lyrics of a rapper whose message transcended conflict to embrace love, the 1970 song that immortalized a country legend, and battle sounds from World War II are among the aural treasures that have been selected for preservation by the Library of Congress. On June 23, 2010, Librarian of Congress James H. Billington named the 25 new additions to the eighth annual National Recording Registry of the Library of Congress, which will ensure that these cultural, artistic and historical recordings are always available to the American public.

Under the terms of the National Recording Preservation Act of 2000, the Librarian, with advice from the Library’s National Recording Preservation Board (NRPB), is tasked with selecting 25 recordings that are "culturally, historically, or aesthetically significant” and are at least 10 years old. The selections for the 2009 registry bring the total number of recordings to 300.

"It is time to once again celebrate the nation’s rich sonic history and the importance of sound recordings in our lives,” said Billington. "This latest list of selections showcases the diverse beauty, humanity and artistry found in the American soundscape. The Library’s Packard Campus for Audio Visual Conservation will partner with many individuals and organizations to preserve and sustain these significant examples of our creative spirit so that they can inform and enrich the lives of modern and future generations.”

The list of recordings named to the registry features a diverse selection of spoken word and musical recordings that span the years 1913-1995. They cover a wide range of sounds and music, attesting to the vast imagination and creativity flowing through the cultural stream of the nation’s aural heritage. Selections cross musical types ranging from klezmer to blues, pop and rap, but also include comedy, radio broadcasts, field recordings, Broadway cast recordings and lab experiments.

Among the selections are hip-hop icon Tupac Shakur, who paid homage to mothers struggling to survive in "Dear Mama”; Loretta Lynn’s biographical hit, "Coal Miner’s Daughter”; Bill Cosby’s second album, "I Started Out As a Child,” of short vignettes drawn mainly from his childhood; the 1923 recording, "Canal Street Blues,” by King Oliver’s Creole Jazz Band that epitomizes the New Orleans sound; the last sessions by the 1961 lineup of the Bill Evans Trio and possibly the greatest live recordings in the history of jazz; and the Marine Corps Combat Field Recording Collection of the second battle of Guam, which vividly documents rare battle sounds and personal accounts by troops before, during and after the battle. Additions to the registry also feature notable performances by Little Richard, Willie Nelson, The Band, The Staple Singers, Eddie Palmieri, Ethel Merman and Patti Smith.

Nominations were gathered from online submissions from the public and from the NRPB, which comprises leaders in the fields of music, recorded sound and preservation. The Library is currently accepting nominations for the next registry atthe NRPB website.

As part of its congressional mandate, the Library is identifying and preserving the best existing versions of the recordings on the registry. These recordings will be housed in the Packard Campus for Audio Visual Conservation in Culpeper, Va., a state-of-the-art facility that was made possible through the generosity of David Woodley Packard and the Packard Humanities Institute, with benefaction from the U.S. Congress. The Library’s Motion Picture, Broadcasting and Recorded Sound Division’s collections include more than 6 million items, including nearly 3 million sound recordings.

Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. The Library seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its magnificent collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website atwww.loc.govand via interactive exhibitions on a personalized website

2009 National Recording Registry:

1. Fon der Choope (From the Wedding) - Abe Elenkrig’s Yidishe Orchestra (April 4, 1913)

Barber and trumpeter Abraham Elenkrig recorded this lively number for Columbia Records in the spring of 1913 and the 10 songs from the session were among the first klezmer recordings made in America. Columbia had been increasingly marketing to Eastern European immigrant communities where klezmer music had been popular since 1890s. While chiefly colored by Romanian musical influences, the cornet and trombone on "Fon der Choope” lend it a brassy sound typical of John Philip Sousa, Arthur Pryor and other popular military bands of the time. It was a sound characteristic of early klezmer recordings in the United States.

2. "Canal Street Blues,” King Oliver’s Creole Jazz Band (April 5, 1923)

Made for Gennett Records in Richmond, Ind., this recording is the second title recorded by King Oliver’s ensemble, which included Oliver, first trumpet; Louis Armstrong, second trumpet; Johnny Dodds, clarinet; Honore Dutrey, trombone; and Baby Dodds, drums, among others. In his "Early Jazz,” author Gunther Schuller wrote that the glory of the Creole Jazz Band sums up "all that went into the New Orleans way of making music: its joy, its warmth of expression, its Old World pre-war charm, its polyphonic complexity, its easy relaxed swing ... its lovely textures, and its discipline and logic."

3. "Tristan und Isolde,” Metropolitan Opera, featuring Kirsten Flagstad and Lauritz Melchior, NBC Broadcast (March 9, 1935)

This recording captures Wagnerian singing at its dramatic best by two of the greatest voices of the 20th century and the prime interpreters of the lead roles. The beauty and purity of Kirsten Flagstad’s singing, captured at the beginning of her worldwide fame, combined with Melchior’s heroic scale and nobility creates an unsurpassed performance in this profoundly influential opera. This is an early example of Metropolitan Opera Saturday matinee broadcasts, which have brought "live” performances of complete operas into homes throughout the world for more than 75 years.

4. "When You Wish Upon a Star,” Cliff Edwards (recorded 1938; released 1940)

Cliff Edwards ("Ukulele Ike”) was an enormously popular singer in the 1920s and early 1930s. He was a star in vaudeville, musical comedy and early sound films, but his career was on the decline at the time he was chosen to voice Jiminy Cricket in Walt Disney’s second animated feature, "Pinocchio.” He is now most remembered for the song "When You Wish Upon a Star.” The beauty of the composition, written by Ned Washington and Leigh Harline, and Edwards’ natural tenor and clear falsetto make the song a classic. The recording was one of the very first derived directly from a film soundtrack to be issued commercially.

5. "America’s Town Meeting of the Air: Should Our Ships Convoy Materials to England?” (May 8, 1941)

"America’s Town Meeting of the Air” was a lively public affairs program, broadcast live from Town Hall near Times Square in New York over the NBC radio network from the 1930s to the 1950s. This program aired seven months before America’s entry into World War II, when most of the country opposed the nation joining the war effort. The featured speakers were American theologian Reinhold Niebuhr, chairman of the Union for Democratic Action and creator of the Serenity Prayer; and John Flynn, New York chairman and a founder of the America First Committee. Niebuhr supported U.S. aid to Britain while Flynn opposed it. This is a lively debate moderated by "Town Meeting” founder George V. Denny.

6. The Library of Congress Marine Corps Combat Field Recording Collection, Second Battle of Guam (July 20 - August 11, 1944)

This collection of recordings owes its existence to the collaboration of Harold Spivacke, former chief of the Library of Congress Music Division, and Brigadier General Robert L. Denig to provide war correspondents with recording machines to interview soldiers, record their songs, and document actual battles in the Pacific theater during World War II. While the larger collection includes battle coverage of Iwo Jima, Saipan and Guadalcanal, the recordings made in Guam feature the most immediate coverage of the battle. Among the dozens of recordings made on Guam, listeners can hear firsthand coverage of an officer’s briefing before the invasion; reportage and battle sounds on the morning of the invasion; rare recordings of tank communications during the fighting; an awards ceremony after the fighting has ended; native opinions of the Japanese occupation; and the personal reactions of the enlisted troops before, during, and after the battle.

7. "Evangeline Special” and "Love Bridge Waltz,” Iry LeJeune (1948)

The post-World War II revival of traditional Cajun music began with accordionist Iry LeJeune’s first single, his influential recordings of "Evangeline Special” and "Love Bridge Waltz.” Le Jeune’s emotional and deeply personal style was immensely popular with Louisiana Cajuns returning home from the war, eager to hear their own music again. His recordings marked a distinct move away from the style influenced by Western Swing that had dominated commercial Cajun recordings for over a decade and a return to the older sound of Cajun music. This sound featured the accordion, prominently and unrestrained, and a blues-influenced singing in French. LeJeune is regarded as one of the best Cajun accordionists and singers of all time.

8. "The Little Engine That Could,” narrated by Paul Wing (1949)

This classic story of optimism and determination is beloved by several generations of Americans. The charming story is climaxed by the mantra, "I think I can – I think I can – I think I can,” chanted in a chugging rhythm as the little blue engine successfully climbs over the mountain to bring a train full of toys to the children waiting on the other side. Paul Wing’s cheerful reading and the rich sound effects make this version of the story the most fondly remembered of many recorded interpretations.

9. Leon Metcalf Collection of recordings of the First People of Western Washington State (1950-1954)

Leon Metcalf—a logger, musician and music instructor with a lifelong interest in languages—documented songs, stories and other narratives from Native speakers in the Puget Sound region and neighboring areas. He used one of the early commercially available tape recorders. The Metcalf recordings not only document the voices of many of the last Native speakers, they also include unique content because Metcalf allowed the narrators free rein during recording sessions. They often recorded personal messages to one another, providing a rare aural documentation of conversational practice, along with lengthy narratives of local mythology. The revival of interest in Lushootseed language and literature and the work of Upper Skagit elder Vi Hilbert owes much to this collection, which has been the source of material for language-instruction projects and numerous publications since the 1970s. The collection is located at the Burke Museum of Natural History and Culture at the University of Washington in Seattle.

10. "Tutti Frutti,” Little Richard (1955)

In 1955, 22-year-old "Little Richard” Penniman was a seasoned rhythm-and-blues performer, but an unsuccessful recording artist in search of a breakthrough as he entered Cosimo Matassa’s New Orleans studio to record his first sides for Specialty Records. There seemed to be little rapport between Little Richard and the musicians hired for the date until Richard started extemporizing verses of "Tutti-Frutti,” a risqué feature of his club sets. Even in the less-suggestive version that was eventually released, Little Richard’s unique vocalizing over the irresistible beat announced a new era in music, punctuated by his immortal exclamation "A-wop-bop-a-loo-bop-a-lop-bam-boom!”

11. "Smokestack Lightning,” Howlin’ Wolf (1956)

The derivation of Chester Arthur Burnett’s stage name, "Howlin’ Wolf,” is evident in "Smokestack Lightning.” The blues lyric has no narrative; instead Wolf howls as he grasps for words to express his romantic torment. Guitarist and collaborator Hubert Sumlin plays the song’s signature bending, sliding riff. "Smokestack Lightning” influenced the swampy sound of Dale Hawkins’ "Susie Q” and, later, music of Creedence Clearwater Revival. Critic Cub Koda observed, Howlin’ Wolf could " ... rock the house down to the foundation while ... scaring its patrons out of [their] wits.” No song better exhibits this than "Smokestack Lightning.”

12. "Gypsy,” original cast recording (1959)

Gypsy is considered by many to be the apotheosis of the original Broadway cast recording. It boasts a spectacular score, thrilling orchestrations and star power in the form of Ethel Merman. Jule Styne’s music includes pitch-perfect pastiches of vaudeville and burlesque songs, tender ballads, and what is generally agreed to be the most exciting Broadway overture in the history of the form. The lyrics by Stephen Sondheim are funny, clever and perfectly suited to the dramatic characters singing them and the variety-theater setting of the show. Much of the score was tailored to Merman, and rarely have a score and a voice complimented each other so well and been so masterfully preserved on record.

13. The Complete Village Vanguard Recordings, Bill Evans Trio (June 25, 1961)

All five sets performed by the Bill Evans Trio on June 25, 1961, at the Village Vanguard club in New York City were recorded, resulting in what are recognized as some of the greatest live recordings in the history of jazz. The trio, consisting of Bill Evans (piano), Paul Motian (drums) and Scott LaFaro (bass), has been credited with redefining jazz piano trios by including the bass and drums as equal partners rather than a rhythm section accompanying a piano soloist. The performances were the last by this lineup of the trio because LaFaro was tragically killed in a car crash ten days later. Producer Orrin Keepnews has recalled, "I remember listening to the tapes and saying, ‘There's nothing bad here!’” Complete recordings of all five sets were released in 2005.

14. "Daisy Bell (Bicycle Built for Two),” Max Mathews (1961)

This recording, made at Bell Laboratories on an IBM 704 mainframe computer, is the earliest known recording of a computer-synthesized voice singing a song. The recording was created by John L. Kelly, Jr., and featured musical accompaniment written by Max Mathews. Arthur C. Clarke, who witnessed a demonstration of the piece while visiting friend and Bell Laboratories employee John Pierce, was so impressed that he incorporated it in the novel and film script for2001: A Space Odyssey.When Clarke’s fictional HAL 9000 computer is being involuntarily disconnected near the end of the story, it sings "Daisy Bell” as it devolves.

15. "I Started Out As a Child,” Bill Cosby (1964)

Recorded live at Mr. Kelly’s in Chicago, Bill Cosby’s second album is made of up short vignettes on a wide range of topics, drawing mainly from his childhood in Philadelphia. Cosby’s delivery is intimate in style, but utilizes the microphone and public address system of the venue to create humorous and evocative effects, and to conjure up the world perceived through the eyes and ears of a young boy.

16. "Azucar Pa Ti,” Eddie Palmieri (1965)

This breakthrough album was the result of a conscious effort by pianist and bandleader Eddie Palmieri to recreate on record the new Latin sounds that he and his eight-piece "La Perfecta” band were playing nightly in New York nightclubs and ballrooms in the early 1960s, and it set trends for years to come. Though steeped in the earlier Afro-Cuban styles that he loved, Palmieri led a band that represented several Latin music traditions and was particularly distinguished by the contributions of the hard-charging, Bronx-born trombonist Barry Rogers.

17. "Today!,” "Mississippi” John Hurt (1966)

In 1963, 35 years after his last recording session, "Mississippi” John Hurt was rediscovered near Avalon, Miss., by Tom Hoskins, who had correctly guessed Hurt’s location from geographical clues in his 1920s recordings. Hurt was coaxed out of retirement and a series of folk revival concerts led to a recording contract and "Today!,” his first studio recording since 1928. "Today!” demonstrates that Hurt’s musical gifts, like his voice, had deepened over the years. Hurt was the antithesis of a blues shouter. His gentle, soft-spoken delivery won him a legion of fans in his twilight years.

18. "Silver Apples of the Moon,” Morton Subotnick (1967)

Morton Subotnick composed "Silver Apples of the Moon” entirely on the Buchla Electronic Music Box, a modular analogue synthesizer designed by electrical engineer Don Buchla in 1963. Subotnick collaborated with Ramon Sender and others associated with the San Francisco Tape Music Center. One of the unique features of Buchla’s instrument was its use of the electronic sequencer, a device capable of creating repeating, rhythmic sequences of musical notes or timbres. Subotnick uses the sequencer extensively and effectively in the creation of many repeated figures in the recording, creating a canonical statement for this pioneering technology.

19. "Soul Folk in Action,” The Staple Singers (1968)

The Staple Singers—then consisting of father Roebuck and children Cleotha, Pervis and Mavis—established themselves as a top gospel act in the 1950s, but began reaching out to a broader audience in the 1960s by playing folk festivals and recording protest songs. This 1968 release, their first on the legendary Stax label and the last to feature the group’s original lineup, did not achieve the crossover success of their work in the 1970s for that label, but it is the pivotal album of their career. "Soul Folk in Action” is spiritually informed, socially aware and, as its title suggests, equally soulful and stirring. The album contains such timeless tracks as "Long Walk to DC,” "Slow Train,” "Top of the Mountain,” and covers of Otis Redding’s "(Sittin’ on) the Dock of the Bay” and The Band’s "The Weight.”

20. "The Band,” The Band (1969)

The Band’s debut album, "Music from Big Pink,” was a shot across the bow of popular music. "We were rebelling against the rebellion,” declared guitarist Robbie Robertson. Ignoring the prevailing "hard rock,” their second, self-titled LP (colloquially known as "the Brown Album”) continued their emphasis on Americana, but featured even better songwriting and ensemble playing than that in "Music from Big Pink.” The Band mixed rock ‘n’ roll with country, bluegrass, rhythm-and-blues, and even gospel. Robertson cited the influence of The Staple Singers on their vocals. Even the sound was deliberately against the grain, from touches such as the mouth bow harp-like Clavinet of "Up on Cripple Creek” to the overall woody sound of the album. "The Band” presented an image of America largely absent in the popular music of its time.

21. "Coal Miner’s Daughter,” Loretta Lynn (1970)

Loretta Lynn’s signature song lovingly recalls her hardscrabble upbringing in Butcher Hollow, a poor coal-mining community in Kentucky. With an upbeat melody and arrangement, the song warmly recounts a financially impoverished childhood filled with love. Lynn writes songs that are realistic and plainspoken, portraying strong and independent women.

22. "Red Headed Stranger,” Willie Nelson (1975)

At the time composer and performer Willie Nelson recorded "Red Headed Stranger,” he had just moved to Columbia Records with a contract that gave him complete artistic control. The new freedom allowed him to compose an album of uncommon elegance and power, one built primarily of his own compositions, but including older country songs like Fred Rose’s "Blue Eyes Crying in the Rain.” Set in the Old West, it told the tale of a tormented preacher on the run from killing his wife and her lover. In the studio, Nelson relied on extremely spare arrangements that emphasized guitar, harmonica and piano. At times the only accompaniment was Nelson’s nylon-string guitar. The resulting album was met with considerable skepticism from Columbia’s executives, but Nelson’s instincts proved prescient and "Red Headed Stranger” resonated with an audience weary of the elaborate production techniques associated with Nashville studios, setting a new course for country and popular music.

23. "Horses,” Patti Smith (1975)

Before recording this poetic proto-punk classic, Patti Smith and her band had honed the tunes in a triumphant run of shows at New York’s iconic venue, CBGB. In the studio, producer John Cale helped the band to further refine the selections in a process that Smith remembers as not always pleasant, but greatly beneficial to the final product. Smith’s background as a rock critic and poet is equally in evidence on this record, which includes re-imaginings of such oldies as "Gloria” and "Land of 1000 Dances,” with the addition of Smith’s provocative and unflinching lyrics.

24. "Radio Free Europe,” R.E.M. (1981)

The original Hib-Tone single of this song set the pattern for later indie rock releases by breaking through on college radio in the face of mainstream radio’s general indifference. Although a more elaborately produced version of the song appeared on the band’s first album "Murmur,” the original—recorded by Let’s Active frontman Mitch Easter—maintains a raw immediacy that undoubtedly contributed to its overwhelmingly favorable critical reception. Singer Michael Stipe’s elliptical lyrics and guitarist Peter Buck’s arpeggiated open chords would not only become signatures of the band’s future output, but they added greatly to the song’s enigmatic appeal.

25. "Dear Mama,” Tupac Shakur (1995)

In this moving and eloquent homage to both his own mother and all mothers struggling to maintain a family in the face of addiction, poverty and societal indifference, Tupac Shakur unflinchingly forgives his mother who, despite a cocaine habit, "never kept a secret, always stayed real.” The song displays further evidence of hip-hop as a musically sophisticated and varied genre that can artfully encompass a wide variety of themes and musical influences.

2009 National Recording Registry (Listing in Chronological Order):

1. "Fon der Choope” (From the Wedding), Abe Elenkrig’s Yidishe Orchestra (1913)

2. "Canal Street Blues,” King Oliver’s Creole Jazz Band (1923)

3. "Tristan und Isolde,” Metropolitan Opera, featuring Kirsten Flagstad and Lauritz Melchior, NBC Broadcast of March 9, 1935

4. "When You Wish Upon a Star,” Cliff Edwards (recorded, 1938; released, 1940)

5. "America’s Town Meeting of the Air: Should Our Ships Convoy Materials to England?” (May 8, 1941)

6. The Library of Congress Marine Corps Combat Field Recording Collection, Second Battle of Guam (July 20-August 11, 1944)

7. "Evangeline Special” and "Love Bridge Waltz,” Iry LeJeune (1948)

8. "The Little Engine That Could,” narrated by Paul Wing (1949)

9. Leon Metcalf Collection of recordings of the First People of Western Washington State (1950-1954)

10. "Tutti Frutti,” Little Richard (1955)

11. "Smokestack Lightning,” Howlin’ Wolf (1956)

12. "Gypsy,” original cast recording (1959)

13. The Complete Village Vanguard Recordings, Bill Evans Trio (June 25, 1961)

14. "Daisy Bell (Bicycle Built for Two),” Max Mathews (1961)

15. "I Started Out As a Child,” Bill Cosby (1964)

16. "Azucar Pa Ti,” Eddie Palmieri (1965)

17. "Today!,” Mississippi John Hurt (1966))

18. "Silver Apples of the Moon,” Morton Subotnick (1967)

19. "Soul Folk in Action,” The Staple Singers (1968)

20. "The Band,” The Band (1969)

21. "Coal Miner’s Daughter,” Loretta Lynn (1970)

22. "Red Headed Stranger,” Willie Nelson (1975)

23. "Horses,” Patti Smith (1975)

24. "Radio Free Europe” R.E.M. (1981))

25. "Dear Mama,” Tupac Shakur (1995)

•Library of Congress Launches National Digital Stewardship Alliance

On August 3, 2010, the Library of Congress announced the formation of the National Digital Stewardship Alliance (NDSA), a partnership of institutions and organizations dedicated to preserving and providing access to selected databases, web pages, video, audio and other digital content with enduring value.

The alliance is an outgrowth of the National Digital Information Infrastructure and Preservation Program (NDIIPP), which the Library has administered since 2000. In establishing the program, Congress directed the Library to work with other federal agencies and a variety of additional communities to develop a national approach to digital preservation. NDIIPP has achieved substantial success though partnering with more than 170 institutions to provide access to a diverse national collection of digital content. This work demonstrates that a collective effort can achieve far more than individual institutions working alone.

The NDSA will build on this accomplishment by focusing on several goals. It will develop improved preservation standards and practices; work with experts to identify categories of digital information that are most worthy of preservation; and take steps to incorporate content into a national collection. It will provide national leadership for digital-preservation education and training. The new organization will also provide communication and outreach for all aspects of digital preservation.

"It is clear that collective action is needed to preserve valuable digital information that our nation needs to support economic, scientific and cultural innovation,” said Laura Campbell, associate librarian for strategic initiatives. "The Library of Congress is committed to leading a distributed approach to digital stewardship. This is the best way to sustain and extend the Library’s historic mission to make resources available and useful to the Congress and the American people. It is also the best way for all cultural-heritage institutions to sustain and extend their missions in the midst of a revolution in how knowledge and creativity is created and disseminated.”

The NDSA will launch with a core set of founding members drawn from current NDIIPP project partners. Those members will develop a roadmap for immediate action, including a process for expanding membership. For more information,

Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its magnificent collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website atwww.loc.govand via interactive exhibitions on a personalized website

•European Film Commission Report Addresses Digitization Issues

A report published on July 6, 2010 by the European Commission’s Information Society and Media Directorate General sounds the alarm over the survival of Europe's film heritage. 80% of silent films are estimated to have been lost already but even new digital era films are at risk. Although the digital era provides new means of making and presenting films, it also imposes new challenges to the traditional ways of collecting and preserving films. Digital technologies are constantly evolving and what seems cutting-edge today may be as obsolete as cassette tapes or video recorders in 2020. Film heritage institutions need to keep up, take up and advance new technologies to preserve Europe's films.

Commission Vice-President for the Digital Agenda, Neelie Kroes, said, "Films should remain available to everyone forever: Europe’s film production is one of the cultural treasures of our time. Digital technologies are riding to the rescue of our fragile film heritage, but we need to ensure that best practice examples are applied in the preservation process in order to achieve optimum results across the EU.”

The report released today, compiled by the Commission’s Information Society and Media Directorate General, stresses that Europe’s film heritage institutions should take a new approach to the way they safeguard and provide access to Europe’s film heritage. The traditional model—conserving fragile film materials in sealed boxes in vaults—cannot guarantee their preservation for posterity or accessibility. The report suggests that in the digital age, a new access model is needed so that future filmmakers and audiences can continue to enjoy European film culture.

The Digital Agenda for Europe as part of its actions foreseen to promote cultural diversity and creative content online, calls for film heritage institutions to continue their efforts to increase the amount of film and related film material available through Europeana, the EU’s public digital library.

Digital technologies completely change the means to collect, restore and preserve Europe’s film heritage in the long term. They also have an impact on the way film heritage can be made available, both on-line and through digital projection. One of the difficulties for fully exploiting the potential of new technologies, however, is the lack of legal mechanisms permitting the cultural and educational use of the films and related film material in an efficient manner. Often administrative costs, and the time needed to clear rights, prevent film heritage institutions from providing cultural and educational access to their precious archive material.

The report highlights Member States’ best practices for dealing with the challenges of analogue and digital film heritage. For instance, certain national and regional funding schemes for film production include a clause requesting the beneficiary producer to grant rights for non-commercial uses for the EU to the funding authority or to a public film heritage institution. Spain and Denmark are examples of good practices in this area: the Danish Film Institute has the right to screen subsidized films in its own cinemas and put on-line subsidized documentaries and shorts. Spain can organize cultural screenings of subsidized films two years after the first release.

The results presented in this report are only a first evaluation of the challenges and opportunities of the digital era for European film heritage. The Commission has launched an independent study, which will look in further detail into this issue. After reviewing the results of the study, the Commission will consider whether a revision of the Film Heritage Recommendation could be an appropriate means of addressing this issue.

Background: This analysis is the second implementation report on the Recommendation on Film Heritage. The Recommendation was adopted by the European Parliament and the Council in 2005 and calls for Europe’s film heritage to be methodically collected, cataloged, preserved and restored so that it can be passed on to future generations. EU Member States are asked to inform the Commission every two years of what they have done in this connection.

In its bi-annual reports, the Commission’s Information Society Directorate General assesses the extent to which the measures set out in the Recommendation are working effectively, and considers the need for further action. The first report was adopted in August 2008.

This year’s analysis is based on the responses to a questionnaire covering all the aspects of the Film Heritage Recommendation. In addition, it raised two other issues: challenges and opportunities for European film heritage arising from the transition from the analogue to the digital area as well as the link between film funding policies and film heritage.

For more information, see:

•BFI Funding Cut by U.K. Government

In an effort to cut the U.K.’s fiscal deficit, plans to build the £45 million ($67 million) British Film Institute Film Center in London have been scrapped. "We are facing an unprecedented financial situation in this country, and it is essential that we act now to reduce debt,” Jeremy Hunt, the Secretary of State for Culture, Olympics, Media and Sport, said. Plans for the $3.7 million BFI archive digital access project have also been axed, but work on a building to house the National Film Archive will continue. Creative Industries Minister Ed Vaizey said it was disappointing that the country’s "severe financial problems” had affected the BFI. "I am planning to fundamentally reassess how the government supports film in this country.” A statement from the BFI said it was "concerned that film is bearing the brunt” of government cuts. "Over 50% of the department’s cuts that have been announced are coming from film,” it said. "Film is a critical component of Britain’s future cultural and economic prosperity, so we welcome the minister’s commitment to reviewing government's support for film. Our one plea is that this is done very quickly.” the complete BFI statement.

•Library of Congress Repatriates Lost British TV Treasures

The British gave Americans the Beatles, James Bond and Shakespeare. The Library of Congress is returning the favor by repatriating a treasure trove of TV programs that represent Britain’s "golden age of television.” Considered lost for more than 40 years, the programs include footage of some of the biggest names in entertainment, including Sean Connery, Maggie Smith, John Gielgud, Robert Shaw, David Hemmings and Susannah York.

In an unprecedented collaboration between the Library of Congress and British Film Institute (BFI), the two largest archives of film and television in the world, more than 68 rare recordings from 1957 to 1969 will be returned to the United Kingdom. This marks the Library’s first-ever repatriation of television programs to another country and the largest such repatriation in history. These programs represent a key period in British television.

The vintage television programs were discovered in the Library’s National Educational Television (NET) Collection. NET was the forerunner of the Public Broadcasting Service (PBS), which donated its film and video holdings to the Library via flagship station WNET/Thirteen in New York. For many years, NET imported a host of British teleplays and comedies, which were included in more than 20,000 reels donated to the Library.

"In the archival world, television repatriations are exceedingly rare,” said Mike Mashon, head of the Library’s Moving Image Section. "We’re delighted to make high-quality preservation copies of these programs at the Library of Congress Packard Campus for Audio Visual Conservation and share them with the BFI and the British public. In the meantime, we’ll keep looking for more lost shows.”

"The BFI’s ‘Missing, Believed Wiped’ campaign to recover the lost treasures of British television history has been going for 17 years now, but this is by far the largest and most significant collection of programs we have found, both in terms of the quality and the vintage of the titles concerned,” said BFI senior curator Steve Bryant. "We are very grateful to WNET-TV for having the foresight to donate them to the Library of Congress, to the Library for preserving them and now making them available.”

Many of the programs reflect adaptations of literary classics, including works by Shakespeare, Ibsen and Chekhov. Highlights include Sean Connery and Dorothy Tutin in a rare BBC production ofColombe(1960) by Jean Anouilh; Maggie Smith and Robert Stephens inMuch Ado About Nothing, stage-directed by Franco Zeffirelli (1967); Leonard Rossiter and John Le Mesurier inDr. Knock(1966); and Rudolph Cartier’s dramaRembrandt(1969). The earliest production among the programs was Ibsen’sThe Wild Duckin 1957. The roster of recovered dramas also includes episodes ofThe Wednesday Play, Thursday TheatreandPlay of the Month.

The Library of Congress Packard Campus for Audio Visual Conservation is a state-of-the-art facility funded as a gift to the nation by the Packard Humanities Institute. The Packard Campus is the site where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of motion pictures, television programs, radio broadcasts and sound The Packard Campus is home to more than 6 million collection items. It provides staff support for the Library of Congress National Film Preservation Board, the National Recording Preservation Board, and the national registries for film and recorded sound.

Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. The Library seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its magnificent collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website atwww.loc.govand via interactive exhibitions on a personalized website

•Professor Steven Hill, 1936-2010

Associate Professor of Slavic Literature and Languages at the University of Illinois, Steven P. Hill, 74, of Bloomington and Urbana, died of cancer on June 20, 2010, at Heritage Manor, Bloomington.

Professor Hill was born on April 25, 1936, in Estherville, Iowa, the son of Mary and Charles Hill. He and his longtime companion and wife, Professor Barbara Bowman, Illinois Wesleyan University, met in 1985. He is survived by his wife, Barbara Bowman, Bloomington; his brother, Seth Hill, Los Angeles; one niece; and two nephews.

He taught Russian language courses from first-year grammar to third-year conversation and translation; Slavic linguistics (Contemporary Russian Phonetics, Old Church Slavonic, History of Russian); Russian literature and culture (Russian drama, short stories, memoirs); Russian film (100-level survey, 300-level "topics”); East European film (Poland, Hungary, former Czechoslovakia, former Yugoslavia); Russian emigre film (one of only two such courses taught in the Western Hemisphere, the other being at Stanford); and Hungarian transnational film and Polish transnational film.

Professor Hill, who received his bachelor of arts in Russian from Stanford University, earned his master’s and doctorate at the University of Michigan, and began teaching Slavic languages as an instructor in 1961. He was promoted to assistant professor in 1965 and associate professor in 1968.

Professor Hill created the first course in Russian and Eastern European film at the University of Illinois in 1972, and over a distinguished career he published numerous articles, book reviews and translations on Soviet and U.S. films. Some of his better-known articles include "Soviet Film Today” (Film Quarterly, 1967), "Beginnings of Soviet Broadcasting and Role of Lenin” (Journalism MonographsNo. 26, 1972) and "Russian Drama after Chekhov” (a long annotated index to Russian 20th-century stage plays in English translation, published inTheatre Documentation, ed. by W. Kuhlke, 1969).

The archival community knew Professor Hill as a regular participant on AMIA-L. He was an active board member of the UI Film Society and also served the university as treasurer for the UI faculty union during the 1990s, and as executive secretary of UI’s Phi Beta Kappa chapter for most of the 1980s. A longtime volunteer contributor to the Internet Movie and, Professor Hill was a member of the Society for Cinema Studies, the American Association for Advancement of Slavic Studies, American Association of Teachers of Slavic/Eastern European Languages, and the American Council of Teachers of Russian.

•Sam Kula, 1933-2010

Sam Kula, a leading figure in the field of audiovisual archives internationally, died at the Ottawa General Hospital on Wednesday, September 8, 2010, at the age of 77. Mr. Kula was an author of many publications on the subject of film archiving, and was a mentor to many in the field. He was President of AMIA for two terms (2001-2004) and was the AMIA Silver Light Award recipient in 2006. His highly regarded book,Appraising Moving Images: Assessing the Archival and Monetary Value of Film and Video Records,was published by Scarecrow Press in 2002. His groundbreaking 1983 UNESCO report, "The Archival Appraisal of Moving Images: A RAMP Study with Guidelines,” can be downloaded from this webpage:


•Cinecon 46 Screens Newly Discovered Films Featuring Charlie Chaplin and Stan Laurel

Newly discovered films featuring appearances by Charlie Chaplin and Stan Laurel were screened at Cinecon 46, an annual film festival that shows rarely seen motion pictures as well as classic chestnuts of the screen.

The newly discovered 1914 Keystone ComedyA Thief Catcher, featuring Ford Sterling, Edgar Kennedy and Mack Swain, has revealed an appearance by Charlie Chaplin that has never before been documented. The Mack Sennett short made its west coast re-premiere at the historic Egyptian Theater during Cinecon 46. Chaplin filmed this appearance early during his tenure with Sennett, and it has never been included in any Chaplin filmography. Film historian Paul Gierucki, who didn’t know of Chaplin’s inclusion until he screened it for himself a few months after his purchase, found the print.

Also on hand was the final film footage taken of Stan Laurel. Filmed just weeks before his death, this color home movie shows Stan at home with his wife at their Oceana Apartment in Santa Monica. The film was included as part of a program hosted by Laurel & Hardy authority Tyler St. Mark, who acquired the film and has taken steps to insure its preservation.

Cinecon 46 also screened the only surviving reel ofFlaming Youth,the lost Colleen Moore feature that helped usher in the age of the "flapper.” Charley Chase was seen in the newly restored short subject,From Bad To Worse; this film had not been screened since its original release nearly seventy-five years earlier. These and other rarities were seen over the five-day event in Hollywood. For more information, see


•Northeast Historic Film’s Summer Symposium held in Bucksport, Maine July 22-24

The 11th Annual Northeast Historic Film Summer Symposium was held July 22-24, 2010 in Bucksport, Maine. The Symposium topic was "Filmic Representations of Indigenous Peoples.” Twelve presentations explored how amateur and noncommercial filmmakers around the world have created a wide range of representations of Indigenous peoples and cultures.

Presenters included AMIA-list associates Jennifer Jenkins (University of Arizona), Janna Jones (Northern Arizona University), Ross Lipman (UCLA Film & Television Archive), J. Fred MacDonald (Professor Emeritus of History Northeastern Illinois University), and Paul Spehr (Independent Scholar and retired archivist at Library of Congress), and Albert Steg (Center for Home Movies).

The NHF Summer Symposium is a multi-disciplinary gathering devoted to the history, theory, and preservation of moving images. Registration is open to the public and to media professionals, teachers, and students. The evening programs and daylong sessions provide the opportunity to exchange opinions and insights with participants from all over North America, including students from the NYU Moving Image Archiving and Preservation Program. The complete symposium program, along with past programs, can be found

•Association for Recorded Sound Collections 2011 Conference CFP

The Association for Recorded Sound Collections invites proposals for presentations at its 45thannual conference, to be held May 11-14, 2011 at the Wilshire Grand in downtown Los Angeles, California. The conference will be hosted by the UCLA Ethnomusicology Archive, in honor of its 50th anniversary.

The conference host, the UCLA Ethnomusicology Archive, is among the largest ethnographic archives of its kind in North America, with over 100,000 sound and audiovisual recordings. Its collections include non-commercial field recordings and commercially produced recordings of traditional, folk, popular, and art musics from Africa, Asia, Australia and the Pacific Islands, Europe, the Middle East, and the Americas, on a variety of audiovisual formats.

ARSC welcomes papers on the preservation and study of sound recordings—in all genres of music and speech, in all formats, and from all periods. We seek papers and panels that are informative, display a passion for their subjects, and include compelling audio and visual content. For this conference, presentations related to recording in the West are encouraged.

The deadline for presentation proposals is January 3, 2011. For more information and the Call for Presentations form, visit:

More information about the 2011 conference will be posted at:

The Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings—in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals—everyone with a serious interest in recorded sound.


•2010 ARSC Preservation Grants Awards Announced

The ARSC Preservation Grants Committee has announced the recipients of the Grants for Preservation of Classical Music Historical Recordings. The program for these grants was founded in 2004 by Al Schlachtmeyer and the ARSC Board of Directors, to encourage and support the preservation of historically significant sound recordings of Western Art Music by individuals and organizations.

Columbia University Libraries: A grant of $5000 was awarded to Columbia University Libraries, to assist in preserving and making accessible unique recordings selected from the Composers Forum Collection. The collection includes over 600 hours on reel-to-reel tape, recorded at concerts between 1952 and 1968 at Columbia University’s McMillan Theater (now Miller Theater) and the New York Public Library’s Donnell Library. These concerts were designed particularly to support young and adventurous composers and showcase works by William Bolcolm, George Edwards, John Harbison, Lejaren Hiller, and Otto Luening. On the recordings, Virgil Thomson, Milton Babbitt, Otto Luening, and others moderate question-and-answer periods.

H. W. Marston and Company: To assist with the first stage of The Bell Telephone Laboratories Project, H. W. Marston and Company was awarded a grant of $5000. The project will preserve, as "flat transfers” in digital format, the earliest Hi-Fi and Stereo recordings of Bell Telephone Laboratories, made in 1931 and 1932. The materials to be transferred include discs of the first "live” recordings of the Philadelphia Orchestra, conducted by Leopold Stokowski at the Academy of Music in Philadelphia, as well as recordings made at the Riverside Church (organ and carillon), Princeton University (organ), and the Roxy Theater in New York. The preservation copies will later be edited in a format suitable for distribution to appropriate sound archives and for publication of the best and most important examples on CD.

For more information about the Grants for Preservation of Classical Music Historical Recordings, The deadline for receipt of applications for the next grant cycle is December 15, 2010.

The Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings—in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals—everyone with a serious interest in recorded sound.


•A Century of Sound, Part 1 released on DVD by the UCLA Film & Television Archive

A Century Of Sound—The History of Sound in Motion Pictures—The Beginning: 1876-1932is Part 1 of an educational DVD series featuring world-renowned preservationist Robert Gitt, Preservation Officer, UCLA Film & Television Archive. First presented in 1992 and at special events thereafter,A Century of Soundis a "tour de force” in its collection of unique and memorable films documenting the introduction of sound for motion pictures.

This educational DVD is now available free of charge ($10 shipping and handling fee) to qualifying institutions, schools, historians, researchers, scholars and other non-profit organizations. For ordering information,

•Sony Begins Releasing "Screen Classics by Request” on DVD

Sony Pictures Home Entertainment unveiled its new Screen Classics by Request program on September 13, 2010. Effectively opening the Columbia Pictures film vault, the Sony home-entertainment unit offers consumers a wide selection of films never before released on DVD. DVDs of more than 100 classic Columbia titles covering a 75-year span will be available for purchase.

Additional titles will be made available monthly via the program’s website at "Screen Classics by Request” discs will sell for $19.94, plus shipping. Sony will manufacture DVDs ordered through the program on demand; no Blu-ray versions will be available.

The strategy roughly mimics the venture launched by Warner Home Video last year. Such on-demand programs minimize manufacturing costs on lower-volume titles while offering a means of getting more titles before the public. Distributors have been struggling with a shrinking availability of retail shelf space following scores of store closures by traditional disc outlets. Sometime in the next 12 months, SPHE also plans to begin offering some of the Screen Classics titles for digital sell-through.

Among the first disc titles to be offered areThe Pumpkin Eater(1964), with Anne Bancroft and Peter Finch;Footsteps in the Fog(1955), starring Stewart Granger and Jean Simmons; Sam Wanamaker’sThe Executioner(1970), with George Peppard;The Juggler(1953), starring Kirk Douglas; Sherlock Holmes mysteryA Study in Terror(1965);I Never Sang for My Father(1970), with Melvyn Douglas and Gene Hackman;Genghis Kahn(1965), with Omar Sharif; andLes Voleurs(1996), with Catherine Deneuve.


•Library of Congress Places William P. Gottlieb’s Iconic Jazz Images on Flickr

In the late 1930s, a Golden Age of Jazz started to emerge, as hard economic times began to fade. Airwaves were pulsating with jazz and record sales were rising. Legends like Billie Holliday, Louis Armstrong, Duke Ellington, Charlie Parker, Dizzy Gillespie, Ella Fitzgerald, and many more were on the scene—a and so was William Gottlieb. Equipped with a bulky Speed Graphic camera, Gottlieb, a young columnist for theWashington Postand later a writer forDown Beatmagazine, photographed jazz musicians and performers, capturing classic images that are well known today. Gottlieb photographed the jazz greats from 1938 to 1948.

Now that copyright restrictions on these images have been lifted, a set of these iconic images, part of the Library of Congress William P. Gottlieb Collection, has been uploaded to Flickr, the image and video hosting website, at: The Library of Congress will continue to add more photos each month, until all 1,600 from the collection are included.

The initial 200 images show the photographs alongside Gottlieb’s personal recollections that were published in his bookThe Golden Age of Jazz. The Music Division has loaded the original, un-cropped photographs on Flickr. Gottlieb’s cropped versions of the images can be viewed in the Library’s Performing Arts Encyclopedia, giving viewers a unique insight into Gottlieb’s creative process. See

The photographs in the Library’s William P. Gottlieb Collection entered into the public domain on Feb. 16, 2010, in accordance with Gottlieb’s wishes. Gottlieb died at age 89 in 2006. Although copyright restrictions are lifted, rights of privacy and publicity may apply. Users of photographs in the Gottlieb collection are responsible for clearing any privacy or publicity rights associated with the use of the images.

Born in 1917, Gottlieb began working for theWashington Postin 1938 in his last year at Lehigh University. For the Post, he wrote and illustrated a weekly jazz column, perhaps the first in a major newspaper. When the Post decided it couldn’t afford to pay a photographer to shoot photos for the column, Gottlieb bought his own press camera and began taking pictures. Gottlieb was drafted into the Army Air Corps in 1943. After World War II, he worked as a writer-photographer forDown Beatmagazine. His work also appeared frequently inRecord Changer, theSaturday ReviewandCollier’s.

After Gottlieb leftDown Beat, he was offered a job at Curriculum Films, an educational filmstrip company. He then founded his own filmstrip company, which was later bought by McGraw-Hill. Many of his filmstrips won awards from the Canadian Film Board and the Educational Film Librarians Association. From the 1950s to the 1970s, the filmstrip, now obsolete, was a common form of still-image instructional multimedia technology, a precursor to PowerPoint presentations.

Previous sets of Library of Congress photos uploaded to Flickr,, include Baseball Americana, Farm Security Administration Favorites, Abraham Lincoln, News in the 1910s, World War I Panoramas and more. The Library of Congress started to place images on Flickr in January 2008.


"Archival News” reports recent news highlights from the media archive community for theCinema Journalreadership. Some information in this column comes courtesy of the Association of Moving Image Archivists (AMIA) listserv, along with institutional newsletters, websites and press releases. This column is updated quarterly. Readers seeking more frequent news updates are encouraged to visit the AMIA news blog Contributions to this column are welcomed. Information should be sent to Jennifer Peterson, Assistant Professor, Film Studies Program, 316 UCB, University of Colorado at Boulder, Boulder, CO, 80309-0316; phone 303-735-2694;

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