Instructors: Howard Besser & Mona Jimenez
 
 

Introduction to Moving Image Archiving & Preservation H72.1800

Sept 23 Perspectives on Collecting, Conservation, and Preservation
see entire syllabus

Assignments due before class:

• Visit: Museum of Television and Radio either Tu 9/16 11AM (when it's closed to the public), or Th 9/18 2:30PM (when it's open to the public)
• Come prepared to report on progress of Case Study of Production History assignment
• Read:
• So You Want to Be an Archivist: An Overview of the Archival Profession
• The Society of American Archivists: Description and Brief History
• A Code of Ethics for Archivists with Commentary
• AIC Code of Ethics and Standards of Practice (American Institute for the Conservation of Artistic and Historic Works)
• Definitions Of Conservation Terminology
• American Library Association Preservation Policy 2001
• Brooks, Connie, "Videotape Preservation: Ethical Considerations", Playback: A Preservation Primer for Video, p. 18-24. On reserve in Bobst Library and study center.
• Come with questions for panelists about archival practice, conservation practice, library preservation practice, and independent preservationist practice.
• Recommended: View video Slow Fires: On the Preservation of the Human Record. Available in Bobst Library and in the Film Study Center.

• What are the basic guiding principles of conservation/preservation coming from different professions and/or communities? How were they shaped?
• How have they been utilized and/or affected by moving image and recorded sound materials, through such factors as multiple copies, "born digital" formats, and changing definitions of appropriate archival mediums?
• Discussion Panel including professionals from different organizations and fields
• What are some of the issues that the archive, conservation, library and independent preservation communities are addressing with regard to moving image and sound preservation?
• What are the role(s) of a moving image specialist in relation to other professionals caring for moving images and sound collections?
• Ray Edmundson, in A philosophy of audiovisual archiving, proposes that moving image archiving is evolving as a synthesis of other archiving and preservation practices. What are the pros and cons of such an approach? What would be aspects of this synthesis from various professions?
• What are ethical considerations are fundamental to our work as moving image archiving and preservation specialists?
• Where do "de facto" archives - those organizations with important materials but untrained as preservationists - fit?
• What is the role of producers in preservation practice?
• Discuss visit to Museum of Television and Radio

• Brief review of readings re: orientations and functions of libraries, archives and museums.
• Panel discussion with:
• Jim Hubbard, independent preservation consultant
• Carol Stringari, Senior Conservator, Contemporary Art, Guggenheim Museum
• Janet Gertz, Director of Preservation, Columbia University Libraries
• Barbara Mathe, Senior Special Collections Librarian,American Museum of Natural History.
• Continuation of discussion of issues raised by panelists (see topics above).
• Review of progress on case studies.

 
• Current Events
• Copyright
• Music File Sharers Keep Sharing Despite Suits, NY Times, Sept 19, 2003
• Setback for Microsoft Ripples Through the World Wide Web, NY Times, Sept 17, 2003
• In Court, Verizon Challenges Music Industry's Subpoenas, NY Times, Sept 17, 2003
• SBC Won't Name Names in File-Sharing Case, NY Times, Sept 16, 2003
• In the News:
• Ashcroft Mocks Librarians and Others Who Oppose Parts of Counterterrorism Law, NY Times, Sept 16, 2003
•  Coming Soon to a Theater Near You: The Moviemercial, NY Times, Sept 21, 2003

• Assignments for next week