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.
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.
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.
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.
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. Especially, I worked for the Schomburg Center which has extensive collection about African culture and history.
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.
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 School’s 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.
The ultimate goal of this project is to create database for the digitized files from the original tape formats to make them accessible and to store the copies of the files at the Wittliff Collections at TSU. During the summer internship, the main task assigned to me was managing the media and other materials in the archive closet at the AFF office by creating database for the collection, relabeling the entire media formats, setting digital system for transferring process. In the internship period at TSU library, I had opportunities to learn how to deal with FileMakerPro and CONTENTdm for their digital collections, and also to practice transferring audio and VHS tapes to digital formats.
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, ¼” open reel audio tape, 2” video tape, VHS, and ¾” Umatics. After appropriate metadata was captured and information was compared to a previous inventory, I was able to re-house most of the materials.
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 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.
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.
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 task at hand is to understand media storage requirements and to balance ideal practices with situational realities.
The field of digital preservation is no longer the Wild West, but for some institutions it is unfamiliar territory.
The Media Preservation Unit of the Barbara Goldsmith Preservation and Conservation Department at Bobst Library works to preserve the library’s A/V materials, particularly those from Fales and the Tamiment/Wagner Archive. I worked in the Media Lab for ten weeks throughout the Fall 2010 semester.
As an intern at the Rodgers and Hammerstein Archives of Recorded Sound, which is a part of the New York Library for the Performing Arts at Lincoln Center, I worked on several projects. The majority of my internship focused on creating an item-level inventory for two recently acquired collections.
The collection at the Center for Labor Education and Research (CLEAR) at the University of Hawaii West Oahu is extremely valuable from a historic and cultural standpoint. It includes all of the raw material, elements and complete programs from the Rice and Roses series, shot by Chris Conybeare and Joy Chong-Stannard over the last 30 years for PBS, as well as oral history interviews related to program themes.
For my summer internship I worked at the Alaska Film Archive. The archive collects films and video with content particular to Alaska. Collections include dog sledding, gold mining, and native culture.
This summer I received an IMLS grant for work in film preservation at the University of South Carolina’s Moving Image Research Collections. The work for this grant focused specifically on the C.E. Feltner collection, which contains a large percentage of Pathé newsreel material, early travelogue films, and other noteworthy items.
During the course of her summer internship with the Academy of Motion Picture Arts and Sciences, the MIAP intern, Ashley Swinnerton, learned to properly care for, store, and catalogue archival audio materials, including most formats of tape and disc recordings.
To be sure, each collection has particular needs, and preservation actions must be determined with respect to the capabilities and limitations of individual institutions. But we must also be asking: What are our common goals and how can we connect and share resources? How can we collaborate collectively and expansively?
With a growing number of research institutions realizing the cultural significance of their moving image collections, it is increasingly important that our field promotes the call for audiovisual specialists in libraries.
This collection clearly pointed to one bottleneck created by the lack of an archival specialist.
My time as an intern at the Mertz Library has offered me a great opportunity to see how cultural institutions that are not moving image specific deal with collections of audiovisual materials.
During the course of her internship at the Barnard College Archives, Ashley Swinnerton worked under the supervision of the College's Image Archivist, Astrid Cravens.
Samantha Oddi interned at Brooklyn College Library in the Archives and Special Collections department under Associate Archivist Marianne LaBatto.