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Cinema Journal Archival News - 52.1
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Archival News

52:1

Edited by Jennifer Peterson



TABLE OF CONTENTS

1. Acquisitions

2. Commercial Acquisitions

3. Legal

4. Institutions and Organizations

5. Exhibitions

6. Awards

7. Online Resources

8. Technology

 

1. ACQUISITIONS

• University of Michigan’s Special Collections Library Adds to Extensive Orson Welles Archive

The most extensive international collection of archives on filmmaker, actor, director and writer Orson Welles is now available to the public and researchers at the Special Collections Library of the University of Michigan.

Welles, who died at age 70 in 1985, is best remembered for his innovative work in radio, theater, television and film. His 1938 broadcast of H.G. Wells’ "The War of the Worlds” and 1941 film Citizen Kane, which he co-wrote, produced, directed and starred in, are among the memorable creative works of the 20th century.

U-M’s Special Collections Library recently added two archival collections to their already substantial Welles holdings. The additional material includes information about different periods of Welles’ career, from his youth to the end of his life. The previously held materials include detailed work for his unfinished projects, including It’s All True, a documentary fictional film about Mexico and Brazil, which he worked on in the early 1940s.

Meticulously catalogued and kept in protective boxes, the collection totals nearly 100 linear feet, including thousands of documents, letters, telegrams, scripts, production and financial statements, photographs, illustrations and audiovisual materials.

"The different versions of scripts with his handwritten notes and sketches in the margins show different stages of his creative process,” said Peggy Daub, curator and outreach librarian at the Special Collections Library.

Among the new items of personal interest donated by Welles’ eldest daughter, Chris Welles Feder, are private photographs of Welles as a child and letters to his first wife, Virginia Nicholson, which coincided with the beginning of his career, as well as materials related to the 1949 film Macbeth, in which Welles Feder played a role.

Other vital additions to the Welles archive come from Alessandro Tasca di Cutò, purchased at an auction in London. Tasca was a producer and longtime friend of Welles. Artifacts include materials related to two films especially important for Welles, Chimes at Midnight (1965, also known as Falstaff), filmed in Spain, and Don Quixote (1955-73, unfinished), filmed in Mexico, Italy and Spain. In many letters, notes and memos, the Tasca collection illuminates Welles’ day-to-day concerns as a filmmaker.

These collections supplement two other Welles collections, the "Orson Welles–Oja Kodar Collection” and the "Richard Wilson–Orson Welles Collection,” both acquired in 2004-05 and available to researchers for several years.

Of particular interest to researchers is the archival documentation on Welles’ cinematographic mission to Brazil and Mexico, where his initial intention was to portray true stories of Latin American cultural life and society during World War II as part of a U.S. "Good Neighbor” propaganda film. Welles went beyond reproducing the clichés of popular culture and simple perceptions of the Rio Carnival. Instead, he showed an incisive and revealing look at Brazilian society, including the historic journey of raftsmen, or jangadeiros, to Rio from the Northeast. The film was ultimately rejected by RKO studio management and the Brazilian government’s Department of Press and Propaganda.

Also included in the archive are photographs, screenplays and other documents from Welles’ major films produced in Hollywood, Mexico, North Africa and Europe from the late 1940s to the early 1970s, screenplays for works-in-progress, as well as materials pertaining to his Mercury theatrical productions in the U.S. and Europe.

Former U-M professor Catherine Benamou, author of It’s All True: Orson Welles’ Pan-American Odyssey and professor at the University of California at Irvine, propelled the acquisition of the first special collections of Welles through connections with his family and close collaborators.

The Special Collections Library at the University of Michigan holds internationally renowned collections of books, serials, ancient and modern manuscripts, posters, playbills, photographs and original artwork. It is home to some of the most historically significant treasures at U-M, and is open to the public. Collections do not circulate; material is retrieved upon request for use in a reading room. A listing of holdings in the Orson Welles collections can be accessed at http://www.lib.umich.edu/special-collections-library.

2. COMMERCIAL ACQUISITIONS

• Rogers Photo Archive Acquires Documentarian David Hoffman’s Film Archive

The Rogers Photo Archive in North Little Rock, Arkansas announced on July 23, 2012 that it has purchased the film archives of award-winning documentary filmmaker, David Hoffman.

David Hoffman, one of America’s veteran documentary filmmakers, has been capturing history for five decades. The Hoffman Space Archive is a comprehensive collection of rare twentieth century, video and audio resources documenting early space exploration. The archive’s video content totals over 1900 hours and comprises NASA, Cold War and Americana material. This historical archive includes family home movies from Astronauts and Hoffman's personal interviews with key space-race players, such as John Glenn, Alan Shepard, and Buzz Aldrin. "I have spent my career collecting this material from many sources – Russian and American,” said David Hoffman. "I am honored to see it become part of the Rogers collection.”

The purchase also includes Hoffman’s Making Sense of the Sixties, a 6-part primetime television series compiled from 1400 film hours of documentary style material. The series examines era-shaping events of the 1960s, such as the Vietnam War, assassinations of JFK and MLK, and the moon landing. Other complete documentaries acquired include: How Hitler Lost the War, a primetime special made from 25 hours of original footage; Sing Sing Thanksgiving, a 1974 film documenting a B.B. King concert at the Sing Sing prison; and Earl Scruggs: His Family and Friends, a 1973 television special highlighting the legendary folk singer. Rogers Photo Archive will now own copyright to never before seen footage of the Central High crisis; President Kennedy; and original concert footage of Bob Dylan, Elvis Presley, B.B. King and Joan Baez.

John Rogers, owner of the Rogers Photo Archive, has previously acquired photographic archives of publications, such as the Seattle Times, Boston Herald, Chicago Sun Times, Denver Post, Detroit News, Detroit Free Press, St. Petersburg Times and Sporting News. In 2009, the Rogers Photo Archive obtained the complete film archive of The George Michael Sports Machine, a syndicated Sunday-night sports highlights show, which aired from 1984 until 2007.

Rogers began leasing images in 2000 and has recently begun expanding the Rogers Photo Archive to forge partnerships with publications and photographers. Later this year, a new venture is scheduled to be launched by Rogers called ArgentaImages.com. The website’s main purpose will be to license rights to photographs and film footage to businesses and consumers worldwide. Many of the historic images and film clips in the Rogers Photo Archive, including the Hoffman and Sports Machinematerial, will be available for the first time ever by an image licensing agency. For more information about the Rogers Photo Archive see http://rogersphotoarchive.com/.


3. LEGAL

• Orphan Works Directive Proposal Approved in the EU

The topic of "Orphan Works” – films, books, photographs, and so forth, for which no copyright holder can be found – is of great interest to moving image archives. After much debate, in September the European Parliament and the Council reached an agreement on a proposal for a Directive on Orphan Works. The Directive that was approved covers not just books but moving images. In the area of non-profit moving image institutions, the Association des Cinémathèques Européennes (of European Archives, ACE) under the presidency of Claudia Dillmann carried out the bulk of the lobbying work. The text of the Directive will have to be approved formally by the Parliament and the Council before becoming a legally biding document. Once this Directive is approved, all 27 EU Member States will be required to adapt their legislation accordingly within two years.

For more information, see www.europarl.europa.eu/news/en/pressroom/content/20120606IPR46383/html/orphan%20worksand www.europarl.europa.eu/news/en/headlines/content/20120706STO48456/html/Finding-a-good-home-for-orphan-works-online.

 

4. INSTITUTIONS AND ORGANIZATIONS

• George Eastman House Announces New Director

George Eastman House International Museum of Photography and Film has announced the appointent of Dr. Bruce Barnes as the Ron and Donna Fielding Director. Barnes assumes his role as eighth director of the museum—the world’s oldest museum of photography and one of the largest motion-picture archives—in October 2012.

Barnes is the president and founder of American Decorative Art 1900 Foundation (ADA1900), a private foundation based in New York City, that works independently and in collaboration with museums across the United States to foster understanding and appreciation of American decorative art from the period around 1900.

r. Bruce BarnesBarnes is coauthor and editor of The Jewelry and Metalwork of Marie Zimmermann (2011), which was copublished by ADA1900 and Yale University Press. ADA1900 also copublished The Artistic Furniture of Charles Rohlfs (2008), an award-winning scholarly book that accompanied an exhibition of the same title co-organized by ADA1900 and the Milwaukee Art Museum. The exhibition traveled to the Dallas Museum of Art, Carnegie Museum of Art, Huntington Art Collections, and Metropolitan Museum of Art.

Barnes was chief executive officer of Element K, a Rochester-based company and pioneer in online learning, from 2000-2004, overseeing more than 800 employees. Over the course of his career, Barnes has held senior executive positions at Ziff Communications Company, Ziff Brothers Investments, Wasserstein Perella & Co., Reservoir Capital Group, and QFS Asset Management. He received a B.A., magna cum laude, and a Ph.D. in Economics from the University of Pennsylvania.

"I am honored to be selected to serve as the next director of George Eastman House,” said Barnes. "The range of its activities and opportunities is exhilarating. George Eastman House is a vital part of Rochester’s community. The museum’s unparalleled collections—in the areas of photography, cinema, and their technologies—and curators make important contributions on the international cultural scene, and its leading post-graduate programs advance the imperative of photography and film preservation around the world.”

"Having devoted most of the last seven years to collaborating with major museums across the country and furthering art scholarship, I am eager to apply my strategic and management skills to leading George Eastman House,” he said. "The house and a great many of the museum’s objects fall precisely within my longstanding interest in American art, decorative art, and architecture of the period from 1876 to 1940. My background in innovative online education will be invaluable to the creation of a virtual museum that will provide global access to its superb collections. I look forward to returning to Rochester and working with the Eastman House board of trustees and staff to advance the museum’s tradition of excellence and service to the community.”

"George Eastman House is an international treasure, a source of local pride, and a complex organization,” said Thomas H. Jackson, chairman of the George Eastman House Board of Trustees. "In Bruce Barnes, we have found the perfect individual to continue the museum’s progress and build the local, national, and international infrastructure and connections that will be essential to Eastman House’s future.

"Our collections and location, important in themselves, are also the springboard for essential work in preservation and an understanding of how the image can inform as well as reflect society,” Jackson said. "Dr. Barnes understands these interconnections in an impressively deep way and has the vision to take our past accomplishments and turn vision into reality. His extraordinary talents across so many dimensions are matched by his passion for George Eastman House and its potentiality. That’s a wonderful, winning, combination.”

Barnes’s appointment is the outcome of an international search process. He succeeds Dr. Anthony Bannon, who retired from George Eastman House in May after 16 years in the position.

"The Search Committee feels extraordinarily fortunate to have found in Dr. Barnes the combination of skills, experience, and passion needed for the challenges and opportunities that lie ahead for the George Eastman House,” said James A. Locke III, the George Eastman House trustee who chaired the Search Committee. "He is quite a remarkable fit for us with his excellent academic background, financial acumen, with prior positions with top Wall Street financial firms, and tested leadership as a CEO in Rochester.

"He is also an engaged collector with scholarly and passionate interests in the arts and museums,” Locke said. "Dr. Barnes can and will be an energetic and transformational leader who surely will make a great difference at George Eastman House and, in the view of the Search Committee, he will make a great difference in the presence and importance of the museum and its varied missions here and globally. We are thrilled with his appointment.”

About George Eastman House International Museum of Photography and Film:

George Eastman House International Museum of Photography and Film combines world-class collections of photography and film with an active program of exhibitions, lectures, film screenings, and the National Historic Landmark house and gardens of George Eastman, the philanthropist and father of popular photography and motion picture film. Eastman House is also a leader in film preservation and photograph conservation, educating archivists and conservators from around the world through historic-process workshops and two graduate schools, the L. Jeffrey Selznick School of Film Preservation and the Photographic Preservation and Collections Management master’s degree program. Eastman House, which was established as an independent non-profit museum in 1947, is one of the world’s foremost museums of photography and the third largest motion-picture archive in the United States. The museum intertwines unparalleled collections, totaling more than 4 million objects, of photography, motion pictures, and cameras and technology, as well as literature of these fields of study. Learn more at eastmanhouse.org

• BFI Reuben Library Now Open at BFI Southbank

On September 21, 2012, the BFI Reuben Library officially opened in its new home in a specially designed space at BFI Southbank. BFI CEO Amanda Nevill, BFI Chair Greg Dyke and London Mayor Boris Johnson marked the opening at an event at BFI Southbank, attended by King’s Speech director Tom Hooper, Sir Christopher Frayling and Kevin Brownlow.

With generous support from principal funders The Reuben Foundation, the new library provides one of the biggest collections of printed materials relating to film and television in the world and is already proving a resounding success, with visitor numbers increasing by 200% during its trial period from June–August 2012.

Neighboring the library is the ultimate destination for film books and DVDs, previously known as the Filmstore, it has an improved layout and has been renamed BFI Shop. With over five years of successful trading and now established as London’s ultimate film specialist shop, BFI Shop will continue to cater for film fans as well as academics and film students. Luminaries who have dropped by both the Library and BFI Shop are a who’s who of the film industry and include Michael Caine, Kevin Brownlow, Keanu Reeves, Kevin Spacey, Danny Boyle, Edgar Wright, John Walters, John Landis, Mike Leigh, Terence Stamp and John Carpenter.

Greg Dyke, BFI Chair said, "The BFI looks after the world’s greatest collections of film and television material and we opened this new library at BFI Southbank to inspire more people about the future of film. It is a vital hub and resource for everybody from filmmakers, academic researchers, students and the industry itself, or anyone with an interest in film and we are indebted to The Reuben Foundation along with our other benefactors for their incredible support.”

The Mayor of London, Boris Johnson, said: "This is a tremendous initiative, providing an exciting resource for Londoners that will also be a huge attraction to film fans, students and curious tourists from far and wide. I thank The Reuben Foundation for its support with this fantastic example of philanthropy in culture. London has provided an iconic backdrop for so many famous films, be it Harry Potter or James Bond and it’s only right that we have such a fitting tribute to our great film heritage.”

As well as The Reuben Foundation, the BFI is also delighted to announce that the BFI Reuben Library has received generous support from major benefactors The Edwin Fox Foundation and The Dr. Mortimer and Theresa Sackler Foundation and additional support from The Hintze Family Charitable Foundation.

The BFI Reuben Library is now free to access and has longer regular opening hours including a new Saturday service. The library provides a broader appeal than ever before for everyone from casual visitors and students, to serious academic researchers. At a time of austerity during which many libraries have sadly been forced to close, the success of the library proves it is a vital resource and valuable addition to the BFI Southbank. It joins the venue’s 4 cinemas, Mediatheque and Mezzanine Gallery Space, reflecting the BFI’s commitment to putting its collection and knowledge at the heart of its offer.

The library provides all of the BFI’s contemporary book stock and current journals as well as collections on filmmakers and film theory. State of the art equipment is now available for self-service scanning of paper and microform material, and the BFI’s unique and heavily-used collection of press cuttings (covering film and television from the 1930s up to 2010) has now been digitized and is available in the new library.

With 30% more books and journals on open access display than in the previous reading room, the new library has increased its offering significantly, and initial increases in visitor numbers reflect this. Designed by award-winning Coffey Architects, the BFI Reuben Library combines a bespoke, hanging bronze coated mesh curtain suspending from the ceiling to filter light and sound, oak timber bookcases, subtle new lighting, and traditionally inspired, contemporary furniture, all of which create a rich, vibrant yet welcoming and calm space, which serves all manner of visitors.

BFI Shop is stocked and staffed by experts, some of whom have worked there since it first opened five years ago. Offering the widest range of film merchandise in London, it sells books covering every film and TV-related subject, DVDs from around 100 different labels, magazines, posters, cards, bags, t-shirts and calendars. The shop has customers from all over the UK and around the world, who use its mail order service by phone or internet (www.bfi.org.uk/shop) and continues to be an invaluable resource for the wider film community.

AMPAS and the Mary Pickford Foundation Launch Multi-Year Partnership Promoting the Silent Film Era

The Academy of Motion Picture Arts and Sciences and the Mary Pickford Foundation have partnered on a multi-year initiative to promote the legacy of Mary Pickford and the silent film era. The partnership includes an annual silent film screening, silent film preservation initiatives and the digitization of components of the Academy’s Mary Pickford Collection.

To kick off this partnership, and to celebrate the 10th anniversary of the Academy’s Pickford Center for Motion Picture Study, the Academy and the Foundation hosted a special "Inside the Vaults” event on September 11, 2012 at the Pickford Center in Hollywood. The evening included behind-the-scenes tours of the vaults, a screening of a rare Mary Pickford short The New York Hat (1912), the Los Angeles premiere of the Academy Film Archive’s newly restored print of The Mark of Zorro (1920), starring Douglas Fairbanks, and a display of select items from the Academy’s Mary Pickford Collection.

"We are thrilled that together with the Mary Pickford Foundation, we will bring the groundbreaking work of Mary Pickford and the pioneers of the silent film era to the attention of a new generation,” said Academy CEO Dawn Hudson. "She was a founding member of the Academy as well as a film visionary, hands-on philanthropist, business leader and educator.”

"This partnership between the Academy and Mary’s foundation is her legacy coming full circle,” said Henry Stotsenberg, chairman and CEO of the Mary Pickford Foundation. "We are particularly pleased to be collaborating on the annual Mary Pickford Celebration of Silent Films. We are also looking forward to working with the Academy to share Mary’s commitment to her craft and her community, and to enhancing the Academy’s educational programs and vast permanent collection.”

The Mary Pickford Foundation will work in partnership with the Academy’s Margaret Herrick Library to augment its existing collection of Pickford papers, photographs and ephemera with newly found items from the silent film star’s personal collection. In addition, the Library will digitize a selection of historically significant items in the Mary Pickford Collection. Under this initiative, the Academy Film Archive will preserve silent films and furnish prints to be shown at the annual silent film screening.

The "Inside the Vaults” tours, conducted by the Academy’s preservation, research and technical staff, will showcased the Academy’s collections as well as the preservation and research work of its Film Archive, Margaret Herrick Library, and Science and Technology Council. Visitors got a firsthand look at climate-controlled storage vaults for rare film materials, library holdings and motion picture artifacts; film preservation and restoration facilities; exhibition prep and object conservation areas; and studio and laboratory facilities for advancing motion picture technology.

• Albanian Cinema Project Partners with the San Francisco Media Archive to Help Save Albania’s National Film Heritage

The Albanian Cinema Project has partnered with the San Francisco Media Archive to help save Albania’s national film heritage. As in the rest of the Balkans, Albania’s post-WWII narrative is of a communist partisan struggle against foreign occupation and, ultimately, of a communist takeover. Yet, Albania's story is unique among Eastern European countries. Dictator Enver Hoxha’s schism first with Yugoslavia and later with the Soviet Union led him to proclaim that the Albanian version of Marxist-Leninism was the only true path to communism. Practicing a strenuous form of Stalinism for nearly 50 years,Albania denounced most Eastern European socialist countries as revisionists, and maintained a strict observance of Hoxha’s own brand of socialist realism. As a result, foreign influence on Albanian cinema was limited to minute cracks in the thick curtain that separated Albania from the rest of the world. Television broadcasts from neighboring countries (especially from Italy), or rare personal journeys of foreign film professionals to the country were the only moments of rupture. The almost complete reliance on socialist realism in filmmaking during communism has caused many Albanians to reject their own cinematic history as mere ideological indoctrination.

More than twenty years have passed since the fall of Hoxha’s regime, yet there is still much resistance to a re-examination of Albania’s state sponsored film productions. For this reason, many have languished in inadequate vaults and are now in danger of being lost forever. The Albanian Cinema Project is working to preserve and restore these films and to open up an international public dialogue that will encourage a global audience to view these films in a different light. Albanian film history is virtually absent from film and media studies curricula worldwide, yet the first images of Albania on screen date to 1914. Albania has 100 years of cinematic history that has yet to be fully acknowledged.

As the Balkans region continues to move forward by making strides to come to terms with a complicated past, the Albanian Cinema Project believes the time is ripe to understand the role of cinema in building and upholding consensus and to reexamine the archives of Albanian cinema to initiate a public dialogue on the powerful role that film and media continue to play in shaping our global culture. Working with the support of the Albanian Ministry of Culture, the US Embassy in Tirana, the Albanian National Center of Cinematography, the Albanian Film

Commission, the Association of Moving Image Archivists and concerned members of the international film and film archives community, the Albanian Cinema Project is dedicated to preserving, restoring and promoting Albanian film heritage.

The campaign to relocate the collections of the archives to a new, mold free facility is at the heart of the mission. Most Albanian films made before 1991 were never translated into another

language and were rarely screened outside of Albania. The Albanian Cinema Project’s newly launched preservation initiative aims to change this fact, bringing a "new” national cinema to international screens.

For more information see www.thealbaniancinemaproject.org

Contact: Regina Longo, Director
The Albanian Cinema Project
rlongo@ucsc.edu
+1-202-365-6863

 

5. EXHIBITIONS

• AMPAS Launches First "Film-to-Film” Festival

In celebration of its recent film preservation efforts, the Academy of Motion Picture Arts and Sciences launched the first-ever "Film-to-Film” Festival, which ran September 27 through September 29, 2012 in the Academy’s Samuel Goldwyn Theater in Beverly Hills and the Linwood Dunn Theater in Hollywood.

A year ago the Academy Film Archive launched an ambitious effort called "Project Film-to-Film,” aimed at preserving as many films on film as possible over a two-year period. The initiative’s main goal is to take advantage of the current, but threatened, availability of film stock to create new prints of a diverse range of motion pictures, encompassing the whole history of the art form.

More than 390 new prints have already been created from the best available film elements, covering significant narrative features and documentaries, as well as experimental, animated and short film titles. The wide variety of titles range from Navajo, the only film to receive Oscar® nominations for both Documentary Feature and Cinematography, to Naked Yoga, a short once presumed lost, and Carnival of Souls, a cult favorite that has been rescued from late-night television and restored to the big screen.

The complete schedule can be viewed at www.oscars.org/press/pressreleases/2012/20120919.html.

• Paris Police Archives Document Notorious World War II Vel’d’Hiv Raid

A new exhibition called "The Vel d’Hiv raid: the police archives” opened at city hall in Paris’s third arrondissement on July 16, 2012, to mark the 70th anniversary of the largest roundup of foreign Jews organized in occupied France during World War Two. It is the first time the Paris police have opened up a vault of historical archives to shed light on one of the darkest periods of French history.

Read the full story atwww.france24.com/en/20120714-france-police-history-archives-world-war-two-deportation-jews-vel-dhiv-holocaust.


6. AWARDS

• National Film Preservation Foundation Awards Summer Preservation Grants

The Boy Mayor(1914), a Hollywood-produced short made in Portland, Oregon; the Tinsel town satireHollywouldn’t (1925); Exploratorium (1974), the Academy Award-nominated short about San Francisco’s innovative science museum; early campaign footage of Harvey Milk and George Wallace; Lost Ceremonies of the Hopi Cliff Dwellers (1958), documenting the Native American troupe that helped secure federal protection of sacred Hopi dance ceremonies; Rainbow Black: Poet Sarah W. Fabio (1976); and Punish or Train (1937), about California’s juvenile correction system, are among 27 films green-lighted for preservation through grants announced on September 18, 2012 by the National Film Preservation Foundation. Awards went to 20 institutions.

"We are thrilled to be able to save The Boy Mayor documenting Portland’s progressive-era experiment to give teenagers a say in local government,” said Michelle Kribs, the film preservationist of the Oregon Historical Society. "Our copy—which is thought to be the only print to survive—was donated to us by the late Bill O’Farrell, who headed film preservation operations at the National Archives of Canada for many years. Thanks to Bill and the NFPF, this fascinating piece of Oregon history will once again be seen by the public.”

The NFPF preservation grants target newsreels, silent-era films, documentaries, culturally important home movies, avant-garde films, and endangered independent productions that fall under the radar of commercial preservation programs. The awards provide support to create a film preservation master and two access copies of each work. Films saved through the NFPF programs are made available to the public for on-site research and are widely exhibited through screenings, museum installations, DVDs, television broadcasts, and the Internet.

Since created by Congress in 1996, the NFPF has helped save more than 1,975 films through grants and project funding to 253 institutions across all 50 states, the District of Columbia, and Puerto Rico. The NFPF also publishes the award-winning Treasures from American Film Archives DVD series and organizes international projects to preserve and make available copies of "lost” American silent era films found abroad. The NFPF receives federal money through the Library of Congress to distribute as grants but raises all operating and project funding from other sources.

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 the NFPF Web site: www.filmpreservation.org.

• Association for Recorded Sound Collections Announces 2012 Recipients

The Association for Recorded Sound Collections (ARSC) Research Grants Program supports scholarship and publication in the fields of sound recording research and audio preservation. (This program is separate from the ARSC Preservation Grants Program, which encourages and supports the preservation of historically significant sound recordings of Western Art Music.) Project categories eligible for consideration include: discography, bibliography, historical studies of the sound recording industry and its products, and any other subject likely to increase the public's understanding and appreciation of the lasting importance of recorded sound.

The ARSC Grants Committee has announced the recipients of the 2012 Research Grants:

Meghan Forsyth, Memorial University of Newfoundland
For her project on the impact of sound recordings on Acadian music traditions of Les ÃŽles-de-la-Madeleine, Meghan Forsyth receives $1000 to fund travel and lodging to Moncton, New Brunswick and the Magdalen Islands. There she will study important sources, including historical information and recordings of musicians of older generations, and interview culture-bearers, local recording artists and engineers, and arts administrators.

Jane K. Mathieu, University of Texas at Austin
Jane Mathieu receives $1000 to fund travel and lodging to New York City and Washington, D.C. for her project "‘Over There’ Over Here: Performing the American Home Front During World War I.” The project will contribute to her dissertation in Historical Musicology, on the topic of redefining Tin Pan Alley, in relation to American collective identity from 1890 to 1920.Applications for the next grant cycle must be received by February 28, 2013. For more information, visit: http://www.arsc-audio.org/researchgrants.html.


7. ONLINE RESOURCES

• Internet Archive Announces "TV News Search and Borrow” Online Resource

On September 17, 2012 the Internet Archive announced the launch of its new service, "TV News Search and Borrow,” designed to help engaged citizens better understand the issues and candidates in the 2012 U.S. elections by allowing them to search closed captioning transcripts to borrow relevant television news programs.

The collection now contains 350,000 news programs collected over 3 years from national U.S. networks and stations in San Francisco and Washington D.C. The archive is updated with new broadcasts 24 hours after they are aired.Older materials are also being added.

Read the full story at: http://blog.archive.org/2012/09/17/launch-of-tv-news-search-borrow-with-350000-broadcasts/.

• Google Partners with Cinecittà Luce to Digitize more than 100,000 Films

U.S. Internet giant Google and Cinecittà Luce, Italy’s largest film archive, have unveiled an ambitious collaboration project aiming to digitalize all of Luce’s more than 100,000 films and 3 million photos and making them available cost free. Around 30,000 of the films, which date back to the 1920s, are already available on a special YouTube channel, which is a Google subsidiary.

Read the full story at www.hollywoodreporter.com/news/google-italy-luce-archives-cinecitta-youtube-345623.

• Chicago Film Archives Collections Now Available Online

Chicago Film Archives (CFA) is a regional film archive dedicated to collecting, preserving and providing access to films that represent the Midwest. Its purpose is to serve institutions and filmmakers of this region and elsewhere by establishing a repository for institutional and private film collections; to serve a variety of cultural, academic and artistic communities by making the films available locally, nationally, and internationally for exhibition, research, and production; and to restore and preserve films that are rare or not in existence elsewhere. CFA has now made its collections available online. See www.chicagofilmarchives.org/.

• Database of Historical Film Colors Continues to Expand

The Database of Historical Film Colors has added three new detail pages. On the Handschiegl process, see: http://zauberklang.ch/details_2.php?id=21. On Pathécolor (stencil color), see http://zauberklang.ch/details_2.php?id=7. On two-color Kodachrome (1915), see http://zauberklang.ch/details_2.php?id=20. Each page includes the following information (when available): a short description, list of films shot with the process, downloads of papers, links, quotes from primary sources, quotes from secondary sources, and a gallery with up to 14 images (stills and diagrams) to illustrate the process. More detail pages will be added in the coming months. See www.indiegogo.com/colorprocessesfor an overview of the project.

• Corporation for Public Broadcasting to Digitize American Archive Content

The Corporation for Public Broadcasting (CPB) announced on September 25, 2012 that it has selected Atlanta-based Crawford Media Services to conduct the digitization of audio and video content that will be part of the American Archive, a CBP initiative to inventory, digitize and preserve local and national public media content produced over the last six decades.

During the last two years of the project, more than 100 public television and radio stations across the country have identified 2.5 million records—approximately one million hours of content—including completed local and national programs, raw footage, unedited interviews, recorded speeches, scripts and photos. From this inventory, stations will submit roughly 40,000 hours of content—mostly in obsolete analog formats—to be preserved as part of the American Archive project.

CPB selected Crawford based on its experience and expertise in handling archival and other media projects of similar size and scope for CNN, the U.S. Holocaust Memorial Museum, the United States Marine Corps and The Coca-Cola Company. Crawford will handle inspecting, cleaning and digitizing the American Archive’s selected video and audio content to ensure its long-term preservation. In addition, the company, working with AudioVisual Preservation Solutions, a New York firm developing the Archive’s central database and metadata management system, will ensure that the digitized content is searchable once the Archive is transferred to a permanent repository, which CPB is currently in the process of selecting.

Once complete, the American Archive will ensure that the public investment in non-commercial media, totaling billions of dollars over the years, is fully protected for, and accessible to, generations to come.

About CPB: The Corporation for Public Broadcasting (CPB), a private, nonprofit corporation created by Congress in 1967, is the steward of the federal government's investment in public broadcasting. It helps support the operations of more than 1,300 locally-owned and -operated public television and radio stations nationwide, and is the largest single source of funding for research, technology, and program development for public radio, television and related online services. For more information, see http://cpb.org/.


8. TECHNOLOGY

• BFI Announces Web Player Featuring 10,000 Archival Films

The British Film Institute has announced it will digitize 10,000 films and make them available online via a new "BFIPlayer.” This is one part of the BFI’s £500 million "Film Forever” investment, to be made over the next five years.

Read the full story at www.wired.co.uk/news/archive/2012-10/03/bfi-film-archive-online.




"Archival News” reports recent news highlights from the media archive community for the Cinema Journal readership. 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 at www.AMIANewsbriefs.com. 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; email: jennifer.l.peterson@colorado.edu.

 

 

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