MIAP

MIAP Internship Summaries:

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IMLS

Chris Banuelos, Internship at the Whitney Museum of American Art, Spring 2012 IMLS

During the Spring 2012 Semester, I interned for Carol Rusk and Kristen Leipert at the Frances Mulhall Achilles Library of the Whitney Museum of American Art. Although the library is located in West Chelsea and not in the Museum's main Breuer Building, it still houses many unique items and collections. The collection I worked with was the Performance Collection which contained 424 individual items in 17 separate boxes.

Dan Erdman, Internship at The Explorers Club, Spring 2012, IMLS

At the Explorers Club, I found myself continuing and completing a project begin in the previous semester to bring that organization's film collection under some manner of intellectual control. I inspected, rehoused and inventoried each item in that archive, much of which consists of original footage shot by the members on various expeditions over the years.

Federica Liberi, Internship at NYU - Bobst Library, Barbara Goldsmith Preservation and Conservation Department, Spring 2012, IMLS

I worked on the preservation project involving the Nick Zedd Film Collection, which includes original film elements on 16mm, 8mm, and Super 8 shot by avant-guard filmmaker Nick Zedd between the 1970s and the 1990s. Tasks performed: film inspection, basic film cleaning, edge/perforation repairing, re-housing of film reels.

Juana Suárez, Internship at New York Public Library - Library for the Performing Arts, Spring 2012, IMLS

During the spring 2012 semester I was an intern at the New York Public Library for the Performing Arts at Lincoln Center. I worked closely with Tom Christie and Natiba Guy. Under their supervision, I was involved in projects related to the library Service Films, the Jerry Ames collection and the Marylou Williams Collection.

Erica Titkemeyer, Internship at NYPL Reserve Film and Video Collection, Spring 2012, IMLS

My internship involved a wide array of projects and tasks. I worked to sketch out a more comprehensive processing plan for future accessions, that would standardize factors such as leader order, metadata capturing, and cataloging. Through the internship I gained more practice handling and inspecting 16mm materials, and acquired a beneficial understanding of what it takes for an institution to continue providing preservation and access to circulating 16mm films.

Jieun An, Internship at New York Public Library, Fall 2011, IMLS

During fall semester 2011, I worked at Special Formats Processing Audio-Visual group of the New York Public Library for the Performing Arts (LPA) in Lincoln Center which has wide-ranging collections including music, dance, theater, and recorded sound. The Internship was conducted under the supervision and support of Thomas Christie who is Supervising Librarian of AV media group at Collection Strategy/Special Formats, and Tanisha Jones, Director of Moving Image Archive for Jerome Robbins Dance Division.

Seth Anderson, Internship at American Museum of Natural History, Fall 2011, IMLS

As an audiovisual intern at the American Museum of Natural History, I spent the semester planning and implementing a digitization project for the museum's Research Library. In the 1980s, the library made U-matic video copies of its large moving image collection. With the cooperation of the museum's Science Bulletins department, these tapes will be transferred to digital formats early next year.

Marie Lascu, Internship at Laguardia Community College, Fall 2011, IMLS

My primary duty was recording descriptive metadata for the Middle College High School audiovisual collection, as well as miscellaneous newly created DVDs. I used a simple template that proceeding interns could easily continue with, which will greatly aid the archive and catalogers. I am also in the process of completing a digital preservation plan which will help in making a case for the audiovisual material in the archive, and possibly facilitate future digitization of audiovisual materials.

Benedict Salazar Olgado, Internship at The Explorers Club, Fall 2011, IMLS

Through the generous support of IMLS, The Explorers Club had me as its archive assistant for its film and media collection during the Fall of 2011. It was an enriching internship. For the most part of the program, I had the opportunity to work on the initial key steps towards getting better control of a truly rich collection while also laying the grounds towards establishing a fully functional film and media archive for the Club.

Crystal Sanchez, Internship at NYU Bobst Library, Fall 2011, IMLS

My internship at the Barbara Goldsmith Preservation and Conservation Department Media Preservation Unit at NYU Bobst Library during the Fall of 2011 provided me with hands-on supervised experience in film inspection and preparation. The Media Preservation Unit handles all preservation and conservation needs for the unique film, video, and audio materials in the Library's Special Collections. This semester, most of my time was spent processing film materials from the Larry Rivers collection at Fales Library and Special Collections.

Jieun An, Internship at Texas State University Libraries, Summer 2011, IMLS

The Internship at Texas State University (TSU) and Austin Film Festival (AFF) was conducted under the support of the Institute of Museum and Library Services since August 25, 2011, for 10 weeks. The AFF is an international cultural organization cultivating and inspiring filmmakers, screenwriters, and artists. The audio and video collections of the festival such as event documentations, trailers, recordings for film showings and AFF conference, are located in the AFF office in Austin, Texas. The AFF is trying to establish organized archive system for their AV collections, and to digitize audio and video tapes and other media formats cooperating with TSU.

Seth Anderson, Internship at Harvard University Library, Summer 2011, IMLS

This summer, I interned with two institutions at Harvard University: the Schlesinger Library of the Radcliffe Institute of Advanced Study and the Harvard Film Archive. At the Schlesinger Library, I prepared data related to the Radcliffe College Archives audio collection for inclusion in a finding aid. This project required me to collect contextual metadata on this large collection and organize it for efficient use by students and researchers. In collaboration with the Harvard Film Archive, I worked on a project preparing a portion of the Harvard Business SchoolÕs 16mm film collection for preservation storage. The collection, consisting of industrial, educational and home movie films, was re-housed and technical metadata was recorded for later preservation work and cataloging.

Caitlin Hammer, Internship at University of South Carolina Libraries, Summer 2011, IMLS

As an intern at the University of South Carolina's Moving Image Collections (MIRC), I gained hands-on experience in traditional nitrate and acetate 35mm film preservation techniques while learning state-of-the-art film scanning practices. Under the supervision of curator Greg Wilsbacher I undertook a mini film-to-digital restoration project for an orphan film from 1922. Starting with the nitrate print, I inspected, cleaned, and repaired the film and then scanned it using the Kinetta 2K color scanner. I then preformed preliminary digital restoration work and created reports on digital preservation issues to supplement my understanding of the lifecycle of the digitized object. This experience allowed me to apply many of the principles that I have learned in the MIAP program in real-life scenarios while pushing me to explore new avenues of inquiry such as the developing technologies of film scanning and digital restoration.

Marie Lascu, Internship at Arizona State Library, Summer 2011, IMLS

I processed the audiovisual portion of the Ernest W. McFarland collection under the supervision of Linda Reib, Electronic Records Archivist at the Arizona State Archives History and Archives Division. I began with an item level inventory in excel of all of the media materials, which included 16mm film, 35mm film, electrical transcription discs, vinyl LPs, 3/4" open reel audio tape, 2" video tape, VHS, and 1/4" Umatics. After appropriate metadata was captured and information was compared to a previous inventory, I was able to re-house most of the materials.

Crystal Sanchez, Internship at University of Buffalo Library, Summer 2011, IMLS

This summer I was fortunate to work in Buffalo, NY with at-risk video housed at the Poetry Collection, a Special Collection at the University of Buffalo. The Poetry Collection houses the world's largest collection of Anglophone poetry first editions and other titles, including valuable audiovisual material from many regional organizations including the Just Buffalo Literary Center and the Hallwalls Contemporary Arts Center. In partnership with the Poetry Collection and Hallwalls, audiovisual collections, mostly composed of video items, were cataloged and assessed, preservation priorities were created, tape selection was conducted, and selected items were migrated to digital files for archiving and access through the Migrating Media project.

Seth Anderson, Internship at Jewish Theological Seminary, Spring 2011, IMLS

The internship at the Library of the Jewish Theological Seminary involved an in-depth assessment of the moving image materials in the Library's Johanna Spector Collection. Bequeathed by former faculty member Johanna Spector in 2008, these moving image materials consist of production elements from Spector's eight documentaries on the religious and cultural traditions of under-represented Jewish communities. The internship involved the creation of a comprehensive inventory of the collection's many items and a in-depth assessment of preservation priorities and approaches. Together with Director of Library Services Naomi Steinberger and the Administrative Librarian for Technical Services Sara Spiegel, I determined a plan of action for preservation of and acces to Spector's remarkable moving images.

Rufus de Rham, American Joint Jewish Distribution Committee, Spring 2011, IMLS

I worked for the American Joint Jewish Distribution Committee, a non-profit organization providing humanitarian support around the world. They have a video collection that covers both organizational history and their work around the world. Over the course of the semester I worked with the archives department to get physical and intellectual control over their collection. When I began the internship JDC believed that they had about 600 items in their video collection. As of now, there are still uningested boxes of tapes that arrived towards the end of my internship, there are 1,400 items in their collection.

Marie Lascu, Internship at City College Archives, Spring 2011, IMLS

I have conducted an item level inventory of the City College Archive's unprocessed audiovisual collection under the supervision of Professor Sydney Van Nort (Chief, Division of Archives and Special Collections). I also interacted with a full-time student worker, Samuel Sanchez, who aids Professor Van Nort with multiple tasks. My inventory was conducted with a simple excel spreadsheet. It became clear early on that I would not be able to capture all of the metadata I wanted because many of the items were either poorly labeled or not at all. Much of the material was already separated into multiple archival boxes, though not necessarily by format.

Taylor McBride, Internship at New York Public Library Film and Video Reserve Center, Spring 2011, IMLS

Since January 26, 2011, I have been working two days a week at the Film and Video Reserve Center at the New York Public Library for the Performing Arts. Though I engaged in various activities over the course of the semester, my focus was primarily on two large projects, which both stemmed from the need to process and properly store the backlog of film prints and preservation elements that were sitting in the basement at LPA. The first was a de-accessioning project in which I identified and recalled from ReCAP, NYPL's off-site storage facility, all rejected preservation elements from past preservation projects in order to de-accession them and free up space in ReCAP for approved elements. The second big project I worked on, which was just completed in the past week, was the processing, re-housing, labeling, and barcoding of about 60 newly generated film preservation elements that have been sitting in the basement since the Donnell Media Center became the RFVC and moved into t he LPA building. In addition to these larger projects, I have inspected many films that came back from circulation or use at film festivals, some of which required cleaning.I had a great deal of experience with NYPL's Millennium cataloging system as well as working with the Cinescan and RTI inspecting machine and also had a chance to project and screen a number of films the RFVC has preserved so I was also able to build a connection to the collection and practice my projection skills.

Crystal Sanchez, Internship at NYPL Special Formats, Spring 2011, IMLS

The New York Public Library for the Performing Arts (LPA) in Lincoln Center is home to four divisions that each have extensive audio-visual collections: Music, Dance, Theater, and Recorded Sound. The internship placement was in LPA's Special Formats Processing Audio-Visual Group. Internship supervisors were Tom Christie, Head Librarian for Special Formats Processing, and Tanisha Jones, Director of the Archive of the Recorded Moving Image, Jerome Robbins Dance Division at LPA. Additionally, the Preservation Department at LPA was consulted regularly and close relationships were formed with the head Sound Engineer and Film Preservation Specialist.

Walter Forsberg, Elmer Holmes Bobst Library, New York University, Spring 2009, IMLS

In the Library’s Preservation Department, Walter Forsberg worked with both analog and digital video and JPEG2000 digital files from the Library’s valuable art and social history collections, creating preservation masters and the necessary access copies for researchers. Using a new survey tool designed by the Preservation Department, Forsburg inspected over 500 audiotapes to determine their condition and whether they could be preserved in-house. He also processed 16mm and 8 mm film for off-site storage, learning the technical and logistical procedures for managing multiple archival storage locations.

Jonah Volk, Internship at New York Public Library for the Performing Arts, Jerome Robbins Dance Division, Spring 2009, IMLS

Jonah Volk’s background in dance from previous work at the Simon & Goodman Picture Company prepared him well for his tasks at the Dance Division, who was engaged in a major project to move their portions of their audiovisual collection from storage with a vendor to a regional non-profit space, ReCAP. Volk identified, re-housed, barcoded, and created complex accession and item-level records for multiple film elements that required relationship to be maintained.

NEH

Rufus de Rham, Internship at Bronxnet, Spring 2011, NEH

As part of MIAP's Collection Management class I preformed a series level collection assessment of BronxNet. BronxNet is a non-profit cable access production company in the Bronx and provides content by the people of the Bronx for the people of the Bronx. They are now a digital based studio, but they have a legacy tape collection that they wish to digitize to provide online access to the public.

Jennifer Blaylock, Internship at WITNESS, Brooklyn, NY, Spring 2009, NEH

WITNESS, an media organization focusing on human rights, partnered with the Burma Humanitarian Mission in 2002 to bring to light the suffering of Burmese civilians and ethnic minorities through the video Fueling Abuse. Responding to a request from the Burma Humanitarian Mission, Jennifer Blaylock processed a collection of camera originals from the production, inspecting and logging the tapes, and updating and correcting database entries. She also digitized the tapes, coordinated their transfer to the Mission, and selected clips for streaming on the HUB, the WITNESS web video site.

Stefan Elnabli, Internship at WNET/Thirteen, New York, NY, Spring 2009, NEH

Stefan Elnabi’s internship focused on workflows for archiving and preservation of "born digital" in a public television environment. Working on World Focus, the first WNET/Thirteen program using a tapeless production process, Elnalbi gained direct experience with an integrated file cataloging tool and a digital asset management system. He also had hands-on time in the station’s Conversion Lab, and worked to restore moving image files that had developed errors in the process of moving from the field to the archive.

Sandra Gibson, Internship at Orphan Film Symposium, Spring 2009, NEH

A highlight of Sandra Gibson’s work in preparation for the Orphan Film Symposium (http://www.nyu.edu/orphanfilm/orphans7/) was managing the pro bono preservation of Another Pilgrim by independent filmmaker Elaine Summers. Gibson inspected over 100 of Summers' films, created a new database and assisted the filmmaker in discussions with NY area archives on exhibition and preservation.

Siobhan Hagan, Internship at Transit Museum, Spring 2009, NEH

Working in the Transit Museum’s Special Collections, Soibhan Hagan cataloged 250 videotapes contained in the Government and Community Relations Collection of the Transit Authority.

Miwa Yokoyama, Intenship at Unicef, Fall 2006, NEH

Shibuyama Loni, Intenship at Rodgers & Hammerstein, NYPL, Fall 2006, NEH

Margaret Mello, Intenship at Sacramento Archives, KCRA tv archive, Fall 2006, NEH

Tanisha Jones, Intenship at NYPL– LPA, Robert Wilson , Summer 2004, NEH

Natalia Fidelholtz, Intenship at MoMI, Spring 2005, NEH

Brad Champbell, Intenship at Jewish Museum, Fall 2004, NEH

Caroline Rubens, Intenship at Appalshop, NEH

Kimm Tarr, Intenship at NE Historic, NEH

John Migliore, Intenship at Chicago Film Archive, Summer 2008, NEH

Walter Forsberg, Intenship at Country Music Hall of Fame, Summer 2009, NEH

Brittan Dunham, Intenship at MOMA, Fall 2009, NEH

Samantha Losben, Intenship at Hadassah, Fall 2009, NEH

AMPAS

Kathryn Gronsbell, Internship at Anthology Film Archives, Spring 2012, AMPAS

The 14-week internship at Anthology allowed for a deeper understanding of digital preservation and the value of avant-garde collections in archives and programming. I was trained in the practical application of analog and digital preservation at Anthology. I honed my technological and theoretical research skills by being responsible for developing tests and executing them for measurable outcomes. Digital preservation concepts were introduced to me, from basic notions of responsible file naming conventions to the complexities of transcoding digital files.

Caitlin Hammer, Internship at The Film-Maker's Coop, Fall 2011, AMPAS

The primary goal of my work at the Film-makers' Coop was to provide functional support and recommendations as the institution prepares to expand its preservation efforts and establish an institutional preservation program with special attention towards the needs of the 8mm and Super 8 materials.

Benedict Olgado, Internship at Anthology Film Archives, Spring 2011, AMPAS

I had the pleasure of working and learning at Anthology Film Archives during the Spring of 2011. I was under the supervision of the then newly hired associate archivist Amy Jo Damitz who was truly a great mentor and colleague throughout the program. I primarily assisted in the day-to-day operations of the preservation department of the archive while also working on two particular projects:(1) the assessment of the Maya Deren collection and (2) the reorganization and management of the video vault. Throughout the internship I honed my skills in film handling as I processed, inspected, repaired and prepped prints and elements for storage, transport and projection. I handled film acquisition and loans while also assisting in database management and digitization activities. The main project I worked on was the assessment of the 170,000 feet worth of film elements that comprise the Maya Deren collection.

HFPA

Shira Peltzman, Internship at the Film-Makers' Cooperative, Spring 2012, HFP

My principal task at the Film-Makers' Cooperative will be to inspect, clean, and repair the FMC's non-circulating collection of rare 8mm and Super 8 films. This is a very exciting collection to work with because it represents some of the rarest material at the FMC, in addition to being the FMC's most at risk collection. The collection consists of approximately 260 films, some of which are camera reversal originals.

Taylor McBride, Internship at Museum of the Moving Image, Summer 2011, HFPA

Over the 10-week period during which I worked at Museum of the Moving Image, I aided in a wide variety of projects that spanned different departments within the Museum. Though my primary department was the Film Department and I spent the majority of my time in the office space working on film programming-related projects, I also worked on projects for the Project Director and the Education Department. Since the office spaces at the Museum are constructed as open and door-free to foster a more collaborative work environment, I was able to both sit in on and listen to the all-staff meetings as well as many meetings of the curatorial committee and even some job interviews. All of these factors have allowed me to cultivate a comprehensive understanding of the inner workings of the Museum and how cultural institutions of this size and type operate.

Seth Anderson, Internship at American Academy of Dramatic Arts, Spring 2011, HFPA

The archive at the American Academy of Dramatic Arts holds an amazing collection of materials, chronicling the history of the acting profession since the school's founding in 1884. In the last year, the archives were relocated to a specially designated room for study, but the many documents, photos, and audiovisual materials are rarely accessed. During my internship, I researched standards and strategies AADA can adopt to better manage their archives. I also compiled a finding aid for the audiovisual materials assessed by my classmate Caitlin Hammer. Our efforts in the archive are first steps towards revealing the value of the archive to the students at AADA and the public.

Caitlin Hammer, Internship at American Academy of Dramatic Arts, Spring 2011, HFPA

As an intern at the American Academy of Dramatic Arts, I gained valuable hands-on experience in the assessment and management of moving image and audio collections. Over the course of the semester I inventoried all media elements in the AADA collection, assessed content value and physical condition, and created recommendations for the reformatting and preservation of the collection. This experience has taught me that that one of the most crucial aspects of media preservation is being able to clearly communicate the importance of our work and ensure that non-specialists have all the tools they need to effectively pass that knowledge on to other stakeholders. With this in mind, I supplemented my assessment work with extensive format stability and obsolescence research as well as preliminary grant writing work to ensure that by the end of the semester, the AADA had all the tools it needed to make the preservation of its media collection a reality.

Mellon Foundation

Kristin MacDonough, Bobst Library - Video At Risk, Spring 2012, Mellon Foundation

The main internship responsibility was searching items deemed uniquely held by the NYU Avery Fisher Center on the OCLC WorldCat database. Their uniqueness was determined by the title's availability through other universities or institutions in VHS format. Other internships tasks with this collection included the editing of a Video at Risk legal document regarding guidelines for reformatting circulating video collections.

Taylor McBride, Internship at NYU Bobst Library, Video at Risk Project, Fall 2011, Mellon Foundation

The Video at Risk (VAR) project is a Mellon-funded project that focuses on establishing preservation strategies for commercial video collections in University libraries. Since copyright exemptions for libraries and archives have very specific stipulations under Section 108(c) of United States copyright law, one of the goals of this project is to establish uniqueness and determine replaceability so that the libraries can defend themselves in any preservation reformatting efforts. For this reason, one of my first tasks as a Video at Risk intern was to do uniqueness searches in the OCLC database to ensure that all the "unique" titles held within AFC are indeed unique (meaning no other libraries hold that title).

Rufus de Rham, Internship at NYU Bobst Library, Summer 2011, Mellon Foundation

This summer I worked on the Mellon funded Video at Risk project at NYU's Bobst Library under the supervision of Walter Forsberg. I spent the summer parsing OCLC data to enable more systematic provenance, scarcity, and replaceability research. I also spent time in the Barbara Goldsmith Preservation and Conservation Department working on tape digitization. There I also worked on machine profiles, researched metadata standards for digital collections, did further research into extracting closed captions using ccextractor, and conducted qualitative subjective codec tests all under the supervision of Ben Moskowitz and Alice Moscoso. I also was able to work on side projects for the Orphan's DVD, Flaherty Film Seminar, and WBAI.

Jieun An, Internship at NYU Bobst Library, Spring 2011, Mellon Foundation

My internship for the project, Video at Risk: Strategies for Preserving Commercial Video Collections in Research Libraries, was conducted with the support of the Mellon Foundation in the spring semester of 2011. During the internship period, two main tasks were assigned to interns: 1) research into the preservation of analog video closed captioning; and, 2) working with Barbara Goldsmith Preservation and Conservation DepartmentÍs video lab, in a variety of support roles towards the digitization process of video tapes.

Caitlin Hammer, Internship at NYU Bobst Library, Spring 2011, Mellon Foundation

As an intern on the Video at Risk project, I had the opportunity to participate in a Mellon-funded research project that will ultimately impact the preservation of video collections in libraries across the United States. Unlike most MIAP internships, which typically focus on ways to utilize existing standards to carry out preservation projects within a specific collection, Video At Risk allowed me the opportunity to participate in the creation of much-needed new standards for the next era of moving image preservation. Over the course of the semester, I learned about unique challenges of preserving circulating video collections, conducted research that will aid in the creation of a sample RFP, assisted in basic preservation reformatting tasks, and explored ways copyright law may be used to support this project.

Crystal Rangel, Internship at Elmer Holmes Bobst Library, New York University, Spring 2008, Mellon Foundation

Crystal Rangel participated in the Preservation Department's beta-testing of a new system for video digitization - the SAMMA Solo - that automates the process of making preservation masters.

Audrey Young, Internship at Elmer Holmes Bobst Library, New York University, Spring 2008, Mellon Foundation

Audrey Young spent the majority of her internship in the Film Lab of the Barbara Goldsmith Department for Conservation and Preservation, inspecting, repairing ad re-housing film materials from the Library's various special collections.

Jude Kiernan, Internship at Elmer Holmes Bobst Library, New York University, Spring 2007, Mellon Foundation

Jude Kiernan, working in the Preservation Department’s Film Lab, reported that he and other MIAP interns “made great progress in improving the preservation status of the collection of 356 films” in the Communist Party USA collection of the Tamiment Library/Wagner Labor Archives.

Ben Moskowitz, Internship at Elmer Holmes Bobst Library, New York University, Spring 2007, Mellon Foundation

At the time of Ben Moskowitz’s internship, the Preservation Department was in development on a new surveying tool for audiovisual collections, ViPERS. Moskowitz contributed as part of the development team by researching playback issues and assessment practices for video and audio, and developing a methodology for random sampling of special collection materials.

Yvonne Ng, Internship at Elmer Holmes Bobst Library, New York University, Spring 2007, Mellon Foundation

Yvonne Ng sharpened her skills in film identification, inspection, repair, and re-housing, affecting over 43,000 feet of film from the Communist Party USA collection of the Tamiment Library/Wagner Labor Archives.

Other

Rebecca Fraimow, New York Public Library - Library for the Performing Arts, Dance Division, Spring 2012

All of my experiences at the New York Public Library were incredibly valuable to me. I learned a great deal in practical terms about handling film and video materials, cataloging within the MARC standard, and negotiating different kinds of institutional and archival metadata. I assisted in processing complex donation projects, such as the Welland Lathrop Collection, a series of works generated throughout Welland Lathrop's career that had been preserved by the donor in some non-intuitive fashions, and the Charles Weidman Collection, a collection of production materials for the documentary On His Own, some of which were copies of material the library already possessed.

Pawarisa Nipawattanapong, Internship at Fox Movietone, Spring 2012

As an intern at the Fox Movietone News, I had a great opportunity to learn many things. My primary duties consisted of: 1) searching for information in the online database as well as the microfilm and paper archives, 2) editing digital clips within the Fox News and Fox Business Networks Ardome system to create temporary viewing files, which will then be delivered to independent production companies, 3) ingesting materials from the tape archive, and 4) transferring materials from analog to digital format.

Kelly Haydon, Internship at Anthology Film Archives, Fall 2011

Anthology Film Archives is a forty-year old institution dedicated to programming and the preservation of new, classic, and avante-garde cinema. With 20,000 films in the vaults - more arriving each day - and the expectations of the public to be provided with some online access to materials at hand, the institution has taken the first steps towards the development of an online library to stream shorter works in the collection. While previous internships involved inventory, inspection, and writing condition reports on incoming film and video materials, the Summer/Fall 2011 internship is focused on testing and implementing the Collective Access database, a collection management software that will serve as both a tool for internal cataloging ad external access.

Benny Olgado, Internship at Appalshop, Summer 2011

Internships are geared towards professional development. In our field, that primarily translates to gaining and honing technical archival skills and at times includes improving management capabilities in administration and organization. And though I certainly got both of that during my ten week internship at Appalshop, my summer program up in the mountains of Eastern Kentucky has strongly reaffirmed while also greatly influencing my perception of the archivist’s and the archive’s role in community development. And how, in return, the community enriches and sustains the archive as it enables it to truly "live."

Marie Lascu, Internship at New York Public Library, Spring 2011

Joe Gallucci, Internship at Women’s Film Preservation Fund, Spring 2009

Under the auspices of NY Women in Film and Television, Joe Gallucci was engaged with all aspects of managing a fund for audiovisual preservation; in 2009 seven works were chosen, including the work of filmmakers Alice Guy Blache and Julie Dash, and animator Jane Aaron. He not only work closely with the Awards Committee throughout the selection process, but also Gallucci inspected and organized NYFWT’s film and media holdings, consulted on preservation strategies, updated and revised the WFPF web site, and created profiles of filmmakers for past and current awards.

John Migliore, Internship at Electronic Arts Intermix, Spring 2008

As a media arts organization and distributor, Electronic Arts Intermix (EAI) offered John Migliore an opportunity to work with a collection of video art.

Peter Oleksik, Internship at David Byrne Archive, Spring 2008

David Byrne’s prolific output as a recording, performance and visual artist is complied into a personal archive that is actively accessed. Peter Oleksik worked alongside Sarah Resnick (MIAP ’07) organizing and cataloging everything from analog audio cassettes and digital audio tape (DAT) to posters and the print materials from Byrne’s Luaka Bop label from the late 1980s.

John Passmore, Internship at Standby/Mercer Media, Spring 2008

Digitization of vinyl records and analog video formats – such as 1/2" open reel and 3/4" – was the primary focus of John Passmore’s internship at Standby/Mercer Media. The internship exposed Passmore to best practices for audio and video preservation services from the perspective of a private/public partnership of Standby and Mercer Media.

Kimberly Tarr, Internship at Museum of Modern Art, Spring 2008

The collections of two key persons in American film history — filmmaker Stan Brackage and gallerist Julien Levy — occupied Kimberly Tarr in her internship at the Museum of Modern Art’s Circulating Film Library.

Steven Villereal, Internship at New York Public Library for the Performing Arts, Jerome Robbins Dance Division, Spring 2008

Steven Villereal gained experience preparing films from the Dance Division for off-site storage, which involved not only physical preparation, but also comparing and sometimes correcting metadata from the item to the database.

Leah Churner, Internship at Anthology Film Archives, Spring 2007

Anthology’s archive of experimental and avant-garde film proved to the perfect match for Leah Churner. Through mentoring by archivist Andy Lampert and a good deal of trial and error, she discovered first-hand the differences between Hollywood production and the work of artists and independent producers, in her words, making “a number of mistakes” that were “very instructive.”

Lisa Fehsenfeld, Internship at ARTstor, Spring 2007

ARTstor is a large-scale respository of digital image collections from cultural institutions and individuals that is accessed by scholars, educators, students and the public. Lisa Feshenfeld assisted a client who had a collection of architectural photographs to understand the purpose and services of ARTstor, learning the human and technical side of digital libraries.

Kathleen Maguire, Internship at Guggenheim Museum, Library and Archives, Spring 2007

Working with two archival collections in the Guggenheim Library and Archives, Kathleen Maguire created processing plans (plans for how a collection is organized, arranged and described) and finding aids (guides to the collection for researchers).

Nicole Martin, Internship at Mercer Media, Spring 2007

Mercer Media, as one of the only facilities in the Northeast to re-format videotapes, gave Nicole Martin hands-on experience with making preservation masters for tapes made in the 1970s, on the first portable video format.

Jennifer Pondo, Internship at MTV, Spring 2007

At MTV, Jennifer Pondo gained experience with the operations and culture of a busy corporate video library where individual producers need items quickly and the holdings are important as company assets.

Manuel Santini, Internship at FOX Movietone News, Spring 2006

At FOX Movietone News, the focus is primarily on access – licensing the collection to a variety of users. Manuel Santini became one of the staff who worked to locate the video or films – using multiple databases – and created screeners to enable clients to select the clips they needed.

Miwa Yokoyama, Intenship at Thirteen/WNET, Spring 2006

The organization of video assets within a television station is unique to the broadcast environment, and Miwa Yokoyama’s internship at the public television station Thirteen/WNET gave her direct experience with the daily practice of managing their archive.

Taylor Irene, Internship at WU, Summer 2004

Martin Jeff, Internship at U. Georgia, Summer 2004

Moving Image Archiving and Preservation - Department of Cinema Studies - 721 Broadway, Room 600 New York NY 10003

+1 212 998 1600 phone +1 212 995 4061 fax tisch.preservation@nyu.edu

Department of Cinema Studies - Tisch School of the Arts - New York University