preservation audiovisual film motion picture training education masters degree digital copyright conservation
The Moving Image Archiving and Preservation program cannot function without the many people involved in various capacities. Here are some of them.
Professor and Chair
Author of "Digital Longevity" in Handbook for Digital Projects, a Management Tool for Preservation and Access (Northeast Document Conservation Center, 2000); co-authored "The Digital Dilemma: Intellectual Property in the Information Age" (National Academy Press, 2000) "Defining the Problem of Our Vanishing Memory: Background, Current Status, Models for Resolution" in Time and Bits: Managing Digital Continuity (Getty Information Institute and Getty Conservation Institute, 1998). Articles in The Moving Image, First Monday, Processed World, Art Libraries Journal 25, Cinema Journal, Journal of the American Society of Information Science, Museum Studies Journal. Awarded the Outstanding Information Studies Teacher of the Year, American Society for Information Science, 1995. Member of the National Archives Electronic Records Preservation Review Panel, National Research Council, National Academy of Sciences, 2002-present; on the Preservation Committee, Electronic Literature Organization, 2002-present. Recipient of grants from Mellon Foundation, Pacific Bell, and Intel Research.
Watch Professor Besser discuss the preservation of our cultural record.
Associate Arts Professor/Associate Director
Mona Jimenez is a recognized advocate and organizer for the preservation of independent media and media art, and with Howard Besser, was a founding faculty member for MIAP. She was the founding director of the US national consortium Independent Media Arts Preservation, and as Moving Image Preservation Specialist/Research Scholar, organized NYU's first film and media preservation center at the Elmer Holmes Bobst Library. Jimenez has worked on key symposia in advancing North American media preservation practice, including TechArcheology: Installation Art Preservation (2000), and Looking Back/Looking Forward, a symposium on video re-mastering (2002). She has also contributed substantially to the development of the Video History Project, co-wrote the Videotape Identification and Assessment Guide, and was a participating researcher for DOCAM, a Canadian initiative for media art documentation and conservation. In 2003, she was Researcher-in-Residence at the Daniel Langlois Foundation for Art, Science and Technology, where she developed a cataloging template and methodology for describing electronic devices used by media artists. She founded Audiovisual Preservation Exchange (APEX), and has led teams of audiovisual archivists to work with colleagues in Ghana since 2008. She is also currently working on a history of 1970s custom-built electronic art tools, incorporating dialogues between "pioneers" of tool development and current practitioners.
Watch Professor Jimenez call for the urgent need for film preservation.
Professor and Associate Chair
Dan Streible joined the NYU Cinema Studies faculty as associate professor in 2006. He teaches courses in film history, archiving, curating, and documentary and serves as associate director of the MIAP program. His publications include the books Fight Pictures: A History of Boxing and Early Cinema (U of California Press, 2008) and Emile de Antonio: A Reader (2000, co-edited with Douglas Kellner). Streible has published research on the history of movie exhibition, early cinema, amateur filmmaking, nontheatrical film, and moving image preservation, in anthologies and in journals such as Cinema Journal, Film History, and The Velvet Light Trap. He serves as a founding member of the editorial boards of The Moving Image and the Journal of E-Media Studies. Since 1999, he has organized the biannual Orphan Film Symposium, bringing together archivists, academics and artists to save, screen and study neglected artifacts from the history of film and television. Streible was elected to the Board of Directors of the Association of Moving Image Archivists (2004-06) and appointed to the National Film Preservation Board (2005-09).
Bill Brand, professor of Film and Photography at Hampshire College, holds a B.A. in art from Antioch College and an M.F.A. in film from the School of the Art Institute of Chicago. He has taught at Sarah Lawrence College and Hunter College and was awarded the MacArthur Chair at Hampshire for the years 1994–97. Since 2005 he has taught film restoration in the graduate Moving Image Archiving and Preservation program at New York University. Since 1973, his films, videos and installations have exhibited extensively in the US and abroad in museums, microcinemas, and on television. They have been featured at major film festivals including the Berlin Film Festival and New Directors/New Films Festival. The work is written about in cinema history books and in articles by Erik Barnouw, David James, Janet Maslin, Paul Arthur, J. Hoberman, B. Ruby Rich, and Noel Carroll, among others. His 1981 Masstransiscope, a mural installed in the subway system of New York City which is animated by the movement of passing trains, is a widely regarded work of public art. In 1973 he founded Chicago Filmmakers, the showcase and workshop and until 1991 served on the Board of Directors of the Collective for Living Cinema in New York City. He is currently an Artistic Director of Parabola Arts Foundation which he co-found in 1981. Since 1976 he has operated BB Optics, an optical printing service specializing in 8mm blow-ups and archival preservation. In 2006 he was named an Anthology Film Archives film preservation honoree and given a month long retrospective to celebrate BB Optics' 30th anniversary.
Chris Lacinak, founder of AudioVisual Preservation Solutions, has several years experience assisting University, Nonprofit, Government, and Corporate archives on a wide array of moving image and sound preservation and access issues. Chris has been an Adjunct Professor in the NYU Moving Image Archiving and Preservation Program since 2004. His teaching focus has been oriented toward the pragmatic side of preservation, teaching students what happens when the "rubber meets the road". Chris has worked with organizations including the Library of Congress, Stanford University, Witness, and the Image Permanence Institute. His projects have addressed all aspects of audiovisual preservation, including high efficiency reformatting, facility design, collection management, metadata development, workflow design, and digital asset management. As a passionate advocate for the advancement of the field Chris also lectures, sits on advisory boards, chairs committees and is active in standards forming and relevant organizations including the Audio Engineering Society, The Society of Motion Picture and Television Engineers, Association for Moving Image Archivist, International Organization for Standardization, and Moving Image Collections.
Rina Elster Pantalony obtained her undergraduate degree from Dalhousie University at Halifax, Canada and her Law Degree from Dalhousie Law School. She is admitted as a member of the Law Society of Upper Canada and practiced commercial law in Toronto. After a year of study in Paris, Ms. Elster Pantalony joined the Canadian government as a policy analyst in copyright law and from 1997 to 2000, Ms. Pantalony was Senior Policy Advisor on intellectual property matters to the Canadian Heritage Information Network and the Virtual Museum of Canada. In 2000, she was appointed intellectual property counsel to a joint Internet venture between the Tate and The Museum of Modern Art. In 2002, Ms. Pantalony joined the Canadian Justice Department to represent the Virtual Museum of Canada and then the Library and Archives of Canada as their Legal Counsel, carrying out her responsibilities from New York. She is also adjunct faculty at the Tisch School for the Arts, New York University where she teaches in the Department of Cinema Studies. Her most recent publication, "The WIPO Guide on Managing Intellectual Property for Museums", published by the World Intellectual Property Organization in 2007, is available on-line in English and in print in Spanish, English and French at http://www.wipo.int/copyright/en/museums_ip/.
Linda Tadic consults and lectures in the areas of digital asset management, audiovisual and digital preservation, and metadata. She is the past Director of Operations for ARTstor, a subscription-based digital library of over 700,000 images of art, architecture, and cultural objects with contributions from around the globe. Ms. Tadic’s over 25 years experience working with and managing film, digital, and broadcasting collections includes the positions of Manager of the Digital Library at Home Box Office (HBO); and Director of the Media Archives and Peabody Awards Collection at the University of Georgia, one of the largest collections of broadcasting in the United States. She was Principal Investigator for writing the business plan for the Audiovisual Archive Network, funded by the Andrew W. Mellon Foundation.
Ms. Tadic was President of the Association of Moving Image Archivists (AMIA) from 1998-1999, and is past chair of its Digital Initiatives Committee and Cataloging Committee. Ms. Tadic is co-author of the book Descriptive Metadata for Television: an End-to-End Introduction (Focal Press, 2006). Ms. Tadic is also an independent filmmaker, with screenings at the Museum of Modern Art, Filmforum (Los Angeles), Pacific Film Archive, and the San Francisco Cinematheque.