UNIVERSITY OF PITTSBURGH
SCHOOL OF INFORMATION SCIENCES

LIS 2226:  Moving Image and Sound Archives
Summer 2007

Thursdays, 6:00 p.m. to 9:15 p.m.
SIS 406

Instructor:  Karen F. Gracy
Office:  SIS 620
Phone:  (412) 624-7679
E-mail:  kgracy@pitt.edu

Office Hours:  Wednesdays, 1:30-4:00 p.m.


Course purpose and goals | Course format | Course policies | Course requirements

 Deadlines and assignment weighting | Required texts | Course overview


Detailed Class Schedule with Readings:

May 17 | May 24 | May 31 | June 7 | June 14 | June 21

 June 28 | July 5 | July 12 | July 19 | July 26 | August 2


Course purpose and goals

The aim of this course is to introduce archives and preservation students to the issues and challenges of preserving moving image and sound material.  This course has no prerequisites, although those students with backgrounds in preservation, archiving, and/or media studies will find that much of the material covered in this class builds upon and enriches the knowledge gained in previous coursework.

Over the course of the term, we will be focusing on the following topics:
Learning objectives

By the end of this course, you will be able to:
  1. Trace the trajectory of development of moving image and sound recording technologies, and relate the history of technological development to current concerns of moving image and sound preservation practice;
  2. Identify the major players in moving image and sound preservation, and describe their influence on the field;
  3. Differentiate among different formats and genres of moving images and sound recordings;
  4. Recognize and articulate the preservation concerns associated with each major type of moving image and sound recording technology;
  5. Recognize and articulate care and handling procedures for different moving image and sound recording formats;
  6. Apply appraisal criteria to moving image and sound collections, making general recommendations for preservation and restoration based on the characteristics, content, and use of a particular work or collection of works;
  7. Compare and contrast different approaches to documenting moving image and sound collections, and make general recommendations for creating metadata or other surrogates based on the characteristics, content, and use of a particular work or collection of works;
  8. Develop an approach for providing access to audiovisual archives that balances multiple factors, including preservation imperatives, copyright restrictions, and costs of reformatting for use.
  9. Describe the visual and aural qualities of works on film, videotape, and various audio formats, and use that information in making preservation and restoration decisions;
  10. Evaluate the decisions made in preservation and restoration work in terms of meeting standards for visual and aural quality, and maintaining the authenticity and integrity of a work.

Course format

This course will be conducted as a seminar, and will include occasional lectures on historical and institutional contexts of moving image and sound archiving.  Significant periods of time will be devoted to discussion, in-class case studies, and guest lectures from working professionals in the field.  At least one class session will be held off-site.

Course policies

Attendance

Weekly attendance is mandatory (including field trips), and will be factored into your participation grade.  Only medical or family emergencies are considered valid excuses for missing class.  Tardiness and leaving class prior to dismissal in excess of 15 minutes will be counted as absence.   Important:  Students who miss more than two class meetings will fail this course!

In consideration of the instructor and your fellow students ...

Please turn off all electronic devices (cell phones, pagers, and PDAs) while class is in session.  If you will be using a laptop to take notes, please adjust the volume setting so that you do not disturb others.  Thank you.

Written assignments

Students should adhere to the latest edition of the Chicago Manual of Style when preparing papers. 

The instructor expects full and timely completion of all assignments in order to receive full credit.  Assignments will be marked down 1/2 grade for each day that they are turned in past the deadline noted in this syllabus.  Important:  Failure to complete any of the written assignments will result in a failing grade in this course!

Incompletes

The instructor actively discourages students from requesting incompletes.  The only circumstances in which an incomplete will be awarded are medical or family emergencies, or other such unavoidable calamities.

Students with Special Needs

If you have a disability that requires special accommodations or other classroom modifications, you need to notify both the instructor and Disability Resources and Services no later than the second week of the term.  You may be asked to provide documentation of your disability to determine the appropriateness of accommodations.  To notify Disability Resources and Services, call 412-648-7890 (voice or TDD) to schedule an appointment.  The Office is located in 216 William Pitt Union.

Course Policy on Academic Integrity

Please familiarize yourself with the School of Information Sciences’ Guidelines on Academic Integrity, found at: http://www2.sis.pitt.edu/academics/integrity.html.  It is the student’s responsibility to carefully document his or her work using the appropriate style of citation.  The instructor will be using Turn It In Software to check all written assignments for evidence of plagiarism.  Be aware that plagiarism will not be tolerated and will result in a failing grade in this course.

Course requirements


Master’s students will be responsible for the following assignments (detailed instructions and grading rubrics for all assignments will be handed out separately):
  1. Participation (10% of final grade):  Each student is expected to complete the required readings on a weekly basis, and to participate regularly in class discussions about the readings, current issues, and case studies.  Students who do not actively participate in class discussions on a regular basis will receive no higher than a “B” for this course.
  2. Physical Condition Report (20% of final grade)
  3. Narrative Report (20% of final grade)
  4. Nomination Paper or Term Paper: outline due June 21, 2007 (10% of final grade); final paper due July 26, 2007 (40% of final grade)
 
Extra-Credit Assignment, may be turned in anytime up to July 19, 2007:

Viewing Report, a.k.a., Developing a Critical Eye and Ear

Deadlines, Assignment Weighting, and Overall Grades for the Course

Assignments and Assessments
 Due Date Percent of Grade
Outline for Nomination or Term Paper June 21, 2007
 10%
Physical Condition Report
 June 28, 2007 20%
Narrative Report July 12, 2007
 20%
Term Paper or Nomination Paper
 July 26, 2007
 40%
Class Participation
 Ongoing
 10%


Grading rubrics for each assignment will be available on the Courseweb site for the class.  Please note that the grading scale for each assignment may vary slightly, and will be attached to the grading rubric.

Grading Scale

Overall course grades will determined according to the following scale:
       
A = 94-100 points
 C+ = 77-79 points
A- = 90-93 points
 C = 73-76 points
B+ = 87-89 points
 C- = 70-72 points
B = 83-86 points
 F = below 70 points
B- = 80-82 points

Required/Recommended Texts

Every week, students will come to class prepared to refer to and discuss the week’s assigned readings.  Readings for this course will be varied, as they reflect the interdisciplinary fields of moving image and sound archiving; some will be historical, theoretical, or otherwise academic in nature, others will be more geared to professionals, and may be technical in nature.  Your task will always be to try to understand the essence of the information and ideas being conveyed.  You may not always understand every nuance, but you should be able to fit what is being discussed into the “big picture.”

The following list includes required texts for the course.  Although these works will be on reserve at the SIS Library (journal articles will be on electronic reserve), I encourage everyone to purchase their own copy if possible.  Supplementary readings that you may find of interest for assignments and the final paper can be found here (please note that these readings have not been put on reserve).

Course Overview


Week
 Date
 Topic/Activity
1
 May 17th
 Introduction to the course;
Logistics and requirements;
The World of Moving Image and Sound Preservation:  Archives, Archivists, and the Archival Community:
  Professional associations, including AMIA, FIAF, ARSC, IASA, SAA, OHA
  Other supporting players, including film laboratories, post-production houses, suppliers
2
 May 24th
 History of the Technology, Pt. 1:  Early Analog Sound and Moving Image Technologies
3
 May 31st
 History of the Technology, Pt. 2:  The Transition from Analog to Digital
Institutional History, Pt. 1:  Film Archives and the Studios, Sound Archives and the Recording Industry
4
 June 7th
 Institutional History, Pt. 2:
  Media Collections within Larger Cultural Institutions
  Media Outside the Mainstream of Cultural Production
5
 June 14th
 The Nitty-Gritty of Care and Handling for Audiovisual Material
  Properties and Formats of Film, Magnetic, and Optical Recording Media
6
 June 21st
 Appraisal of Moving Image and Sound Archival Material
**Outline for Term Paper or Nomination Paper Due**
7
 June 28th
 Access to Moving Image and Sound Archives:
  How to provide it, including rules for client handling of material;  
  Limitations on access due to conflict with preservation imperatives or because of legal restrictions;
  Copyright and the public domain;
  Public vs. private ownership of culture;
  Exhibition and the need for contextualizing moving image/sound material
**Physical Condition Report Due**
8
 July 5th
 Documentation of Moving Image and Sound Archives:
  Representation, metadata, standards, and relationship of AV material with other related materials in the archive;
  Media asset management systems (how to integrate analog and digital collections)
9
 July 12th
 Preservation of Moving Image and Sound Formats
  Refreshing, Reformatting, and Restoration Work
  Costs of Preservation Work
  Funding Sources
**Narrative Report Due**
10
 July 19th
 Exploring Relationships with Film Laboratories and Audio Post-Production Specialists
Ethics of Restoration
11
 July 26th
 Oral History
  Guest speaker:  Ron Baraff, Rivers of Steel
**Final Paper Due**


Suggested Viewing

The following films and videos will supplement course readings and content.  Clips will be screened in class; students may borrow DVDs and videos from instructor following class to view material in entirety afterward (or view at the Media Resource Center).  Other titles may be added at the discretion of the instructor.

(Schedule subject to change, based on availability)

1
 May 17th
 "Save Our Sounds" (approximately 40 minutes, 2002,part of the History Channel's Save Our History series)
2
 May 24th
 Lyrical Nitrate, 1905-1915 (50 minutes, 1996);  Selections of early motion pictures from the Treasures from American Film Archives DVDs
3
 May 31st
 Keepers of the Frame (Randy Gitsch, 1999; 70 minutes); Selections from Folkway's Anthology of American Folk Music
4
 June 7th
 The Atomic Cafe (Kevin Rafferty, Jayne Loader, Pierce Rafferty, 1982; 88 minutes); Hell's Highway:  The True Story of Highway Safety Films (Brett Wood, 2002; 91 minutes); Signal 30 (1959; 28 minutes); Private Snafu:  "Spies" (1943, 4 minutes); Japanese-American Communities (1927-1932, 7 minutes)
5
 June 14th
 Considerations in Preparation and Printing of Deteriorated Film (12.5 minutes)
6
 June 21st
 TBA
7
 June 28th
 This is Prelinger Archives; WGBH Media Archives and Preservation Center Presentation Reel; others TBA
8
 July 5th
 In-class viewing of short films illustrating challenges in audiovisual cataloging (TBA)
9
 July 12th
 The Eternal Frame (1976; 24 minutes); Restoration of The Eternal Frame; Vertigo restoration featurette; others TBA
10
 July 19th
 Metropolis (Fritz Lang, 2002 (originally released in 1927); 124 minutes); Moving Images for the Future (Film Technology; 20 minutes); others TBA
11
 July 26th
 No screenings.

Detailed Class Schedule with Assigned Readings


May 17:

Introduction to the course; Logistics and requirements;
The World of Moving Image and Sound Preservation:  Archives, Archivists, and the Archival Community

The Film Preservation Guide:  The Basics for Libraries, Archives, and Museums.  San Francisco:  National Film Preservation Foundation, 2004. http://www.filmpreservation.org/  pp. 1-5  TR 886.3 F58 2003

Marlow, Eugene, and Eugene Secunda.  Shifting Time & Space: The Story of Videotape. New York: Praeger, 1991.  Ch. 2 (pp. 13-24).  HD 9697 V542 M37 1991

McWilliams, Jerry.  The Preservation and Restoration of Sound Recordings. Nashville, TN: American Association for State and Local History, 1979.  Ch. 1, "History of Sound Recording," (pp. 3-21).  TS 2301 P3M22

Rushin, Don.  “Five Decades of Magnetic Tape.”  Broadcast Engineering 31.5 (1989):  36-50.

Explore the following websites:

    Association of Moving Image Archivists, http://www.amianet.org

    Association of Recorded Sound Collections, http://www.arsc-audio.org/

    International Association of Sound and Audiovisual Archives, http://www.iasa-web.org/

    International Federation of Film Archives, http://www.fiafnet.org

    International Federation of Television Archives, http://fiatifta.org/

    International Oral History Association, http://www.ioha.fgv.br/

    Oral History Association, http://omega.dickinson.edu/organizations/oha/

    National Film Preservation Foundation, http://www.filmpreservation.org

    National Television and Video Preservation Foundation, http://www.ntvpf.tv/


Additional Recommended Background Reading


May 24:  History of the Technology, Pt. 1  (Analog):  Early Analog Sound and Moving Image Technologies

The Film Preservation Guide:  The Basics for Libraries, Archives, and Museums.  San Francisco:  National Film Preservation Foundation, 2004. http://www.filmpreservation.org/  pp. 6-18.  TR 886.3 F58 2003

Enticknap, Leo.  Moving Image Technology:  From Zoetrope to Digital. London:  Wallflower Press, 2005.  Introduction, chapters 1-4 (pp. 1-131).  TR882 .E58 2005

Morton, David L. Jr.  Sound Recording:  The Life Story of a Technology (Baltimore:  Johns Hopkins University Press, 2004).  Chapters 1-11 (pp. 1-127). TK7881.4 .M674 2004

Additional Recommended Background Reading


May 31:  History of the Technology, Pt. 2  (Late Analog to Digital)

Enticknap, Leo.  Moving Image Technology:  From Zoetrope to Digital. London:  Wallflower Press, 2005.  Chapters 6, 8 (pp. 159-186; 202-231). TR882 .E58 2005

Kefauver, Alan P.  Fundamentals of Digital Audio.   Madison, WI : A-R Editions, 1999.  TK7881.4 .K4323 1998  Read Ch. 1, skim other chapters of interest.

Morton, David L. Jr.  Sound Recording:  The Life Story of a Technology (Baltimore:  Johns Hopkins University Press, 2004).  Chapters 10-17 (pp. 129-195).  TK7881.4 .M674 2004

Read, Paul and Mark-Paul Meyer, eds.  Restoration of Motion Picture Film.  Butterworth-Heinemann, 2000.  Ch. 9-10, Glossary (pp. 53-79, 317-341).  TR  886.3 R47 2000

Roosa, Mark.  "Video Analysis and Evaluation."  Playback: A Preservation Primer for Video.  Sally Jo Fifer, et al., eds. San Francisco: Bay Area Video Coalition, 1998. 5-10.

Schubin, Mark.  "A Digital Primer, Schubin-Style."  Creating Digital Content:  Video Production for Web, Broadcast, and Cinema.  Ed. by John Rice and Brian McKernan.  McGraw-Hill, 2002. Read Ch. 1 (pp. 1-32), skim other chapters of interest.  Available electronically through PittCat.

Texas Commission on the Arts.  "Videotape Identification and Assessment Guide."  Available online at:  http://www.arts.state.tx.us/video/


Institutional History, Pt. 1:  Film Archives and the Studios, Sound Archives and the Recording Industry

Barry, Iris. “The Film Library and How It Grew.” Film Quarterly 22.4 (1969): 19-27.

Gracy, Karen F.  Film Preservation:  Competing Definitions of Value, Use, and Practice (Chicago:  Society of American Archivists, 2007).  Chapter 2:  "Birth and Development of Film Archives and the Film Preservation Movement" (pp. 17-43).

Schuursma, Rolf. "Approaches to the National Organisation of Sound Archives." Sound Archives: A Guide to their Establishment and Development. David Lance, ed. Vienna, Austria: International Association of Sound Archives, 1983.  pp. 1-9.

Additional Recommended Background Reading


June 7:  Institutional History, Pt. 2
  Media Collections within Larger Cultural Institutions
  Media Outside the Mainstream of Cultural Production

Becker, Snowden.  “Family in a Can:  The Presentation and Preservation of Home Movies in Museums.”  The Moving Image 1.2 (Fall 2001):  89-106.

Dick, Ernest J. "Corporate Memory in Sound and Visual Records." The Records of American Business.  Ed. James O'Toole.  Chicago:  Society of American Archivists, 1997. HF 5736 R3625 1997 pp.  275-295.

Marlow, Eugene, and Eugene Secunda.  Shifting Time & Space: The Story of Videotape. New York: Praeger, 1991.  Ch. 5 and 6 (pp. 81-136).  HD 9697 V542 M37 1991

Prelinger, Rick.  The Field Guide to Sponsored Films (San Francisco:  National Film Preservation Foundation, 2006).  Read introduction (pp. vi-xi) and browse rest of guide.  http://www.filmpreservation.org/projects/sponsored.pdf

Smith, Abby, David Randal Allen, and Karen Allen.  Survey of the State of Audio Collections in Academic Libraries (Washington, D.C.:  Council on Library and Information Resources, 2006). http://www.clir.org/pubs/reports/pub128/pub128.pdf

Additional Recommended Background Reading


June 14:  The Nitty-Gritty of Care and Handling for Audiovisual Material:
  Properties and Formats of Film, Magnetic, and Optical Recording Media

Class will meet off-site at the Pittsburgh Regional History Center

Adelstein, Peter Z.  "Videotape Storage."  Playback: A Preservation Primer for Video.  Sally Jo Fifer, et al., eds. San Francisco: Bay Area Video Coalition, 1998. 11-17.

Enticknap, Leo.  Moving Image Technology:  From Zoetrope to Digital. London:  Wallflower Press, 2005.  Chapters 7 (pp. 187-201). TR882 .E58 2005

The Film Preservation Guide:  The Basics for Libraries, Archives, and Museums.  San Francisco:  National Film Preservation Foundation, 2004. http://www.filmpreservation.org/  pp. 19-33; 59-69.  TR 886.3 F58 2003

Hincha, Richard.  (1992).  “Crisis in Celluloid: Color Fading and Film Base Deterioration.” Archival Issues.  17(2): 125-135.

Paton, Christopher Ann.  “Preservation of Acetate Disc Sound Recordings at Georgia State University.”  Midwestern Archivist 16.1 (1991):  11-20.

Reilly, James.  IPI Storage Guide for Acetate Film.  Rochester, NY:  Image Permanence Institute, 1993.  Z 692 M5I43 1993

St.-Laurent, Gilles.  The Care and Handling of Recorded Sound Materials.  Washington, D.C.: Commission on Preservation and Access, 1991. http://palimpsest.stanford.edu/byauth/st-laurent/care.html

Van Bogart, John.  Magnetic Tape Storage and Handling:  A Guide for Libraries and Archives.  Washington, DC:  Commission on Preservation and Access; St. Paul, MN:  National Media Laboratory, 1995. Z692 M25V35 1995  http://www.clir.org/pubs/reports/pub54/index.html

Ward, Alan.  A Manual of Sound Archive Administration.  Aldershot, England:  Ashgate, 1990.  Ch. 5-6, pp. 80-191. CD 950 W36 1990 (AIS Reference)

Wheeler, Jim.  “Increasing the Life of Your Audio Tape.”  Journal of the Audio Engineering Society 36.4 (1988):  232-36.

Additional Recommended Background Reading


June 21:  Appraisal of Moving Image and Sound Archival Material

**Outline for Term Paper or Nomination Paper Due**

Dick, Ernest J.  "Appraisal of Collections."  The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual.  Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  pp. 32-48.  Z 675 N4 A36 1997 (AIS Reference)

Harrison, Harriet W.. "Archival Appraisal." Audiovisual Archives: A Practical Reader.  Paris:  UNESCO, 1997.
http://unesdoc.unesco.org/images/0010/001096/109612eo.pdf#xml=http://unesdoc.unesco.org/ulis/cgi-bin/ulis.pl?database=ged&set=3EA1C82E_2_113&hits_rec=2&hits_lng=eng

Kula, Sam. Appraising Moving Images:  Assessing the Archival and Monetary Value of Film and Video Records.  Lanham, MD:  Scarecrow Press, 2002.  Skim, particularly chapter on monetary value. PN 1993.4 K79 2003

Norris, Debbie Hess.  "Videotape Collections:  Establishing Priorities for Preservation."  Playback: A Preservation Primer for Video.  Sally Jo Fifer, et al., eds. San Francisco: Bay Area Video Coalition, 1998. 60-68.

Paton, Christopher Ann.  "Appraisal of Sound Recordings for Textual Archivists."  Archival Issues 22.2 (1997):  117-132.

Ward, Alan.  A Manual of Sound Archive Administration.  Aldershot, England:  Ashgate, 1990.  Ch. 2, pp. 14-32. CD 950 W36 1990 (AIS Reference)

Additional Recommended Background Reading


June 28:  Access to Moving Image and Sound Archives
    How to provide it, including rules for client handling of material;
    Imitations on access because of conflict with preservation or because of legal restrictions; copyright and the public domain;
    Public vs. private ownership of culture;
    Exhibition, and the need to contextualize moving image/sound material

Class will meet off-site at the Pittsburgh Regional History Center

**Physical Condition Report Due**

Belton, John, and et al. “Statement on the Use of Video in the Classroom by the Society for Cinema Studies Task Force on Film Integrity.” Cinema Journal 30.4 (1991): 3-6.

Danielson, Virginia.  "Stating the Obvious:  Lessons Learned Attempting Access to Archival Audio Collections."  Folk Heritage Collections in Crisis.  Washington, DC:  Council on Library and Information Resources, 2001.  http://www.clir.org/pubs/reports/pub96/contents.html

Den Bleyker, Dan.  "Research and Reference Service."  The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual.  Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  pp. 166-175. Z 675 N4 A36 1997 (AIS Reference)

Enticknap, Leo.  Moving Image Technology:  From Zoetrope to Digital. London:  Wallflower Press, 2005.  Chapter 5 (pp. 132-158). TR882 .E58 2005

The Film Preservation Guide:  The Basics for Libraries, Archives, and Museums.  San Francisco:  National Film Preservation Foundation, 2004. http://www.filmpreservation.org/  pp. 77-92.  TR 886.3 F58 2003

Lukow, Gregory. "The Politics of Orphanage:  The Rise and Impact of the Orphan Film Metaphor on Contemporary Preservation Practice." Orphans of the Storm I, University of South Carolina, 1999 Sept. 23. http://www.sc.edu/filmsymposium/archive/orphans2001/lukow.html.

Rabin, Kenn.  "Licensing Footage:  A Researcher's Perspective."  The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual.  Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  pp. 178-182. Z 675 N4 A36 1997 (AIS Reference)

Rose, Brian.  "Television Archives and the Academic."  The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual.  Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  pp. 194-197. Z 675 N4 A36 1997 (AIS Reference)

Sheldon, Karan.  "Outreach."  The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual.  Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  pp. 200-220. Z 675 N4 A36 1997 (AIS Reference)

Seeger, Anthony.  "Intellectual Property and Audiovisual Archives and Collections."   Folk Heritage Collections in Crisis.  Washington, DC:  Council on Library and Information Resources, 2001.  http://www.clir.org/pubs/reports/pub96/rights.html.

Usai, Paolo Cherchi. "What is an Orphan Film?:  Definition, Rationale, and Controversy."  Orphans of the Storm I, University of South Carolina, 1999 Sept. 23. http://www.sc.edu/filmsymposium/archive/orphans2001/usai.html.

Waffen, Leslie. "Public Access and Dissemination." Sound Archives: A Guide to their Establishment and Development. David Lance, ed. Vienna, Austria: International Association of Sound Archives, 1983.  pp. 53-66.

Additional Recommended Background Reading

July 5:  Documentation of Moving Image and Sound Archives
    Representation, metadata, standards, relationship of AV material with other related materials in the archive);
    Media asset management systems (how to integrate analog and digital collections)

The Film Preservation Guide:  The Basics for Libraries, Archives, and Museums.  San Francisco:  National Film Preservation Foundation, 2004. http://www.filmpreservation.org/  pp. 70-76.  TR 886.3 F58 2003

Harrison, Harriet W.. "The Special Problems of Cataloguing Moving Images in an Archive." Audiovisual Archives: A Practical Reader.  Paris:  UNESCO, 1997.  http://unesdoc.unesco.org/images/0010/001096/109612eo.pdf#xml=http://unesdoc.unesco.org/ulis/cgi-bin/ulis.pl?database=ged&set=3943ED2F_0_145&hits_rec=3&hits_lng=eng (pp 184-191).

Johnson, Jane Dunbar.  "Cataloging." The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual.  Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  pp. 149-163. Z 675 N4 A36 1997 (AIS Reference)

Schroeder, Kim. "The Basics of DAM [Digital Asset Management]." AMIA Newsletter 51 (2001): 39-40.

Turner, James M., Michèle Hudon, and Yves Devin.  “Organizing Moving Image Collections for the Digital Era.”  Information Outlook 6.8 (2002):  14-25.

Vernon, R. David and Oya Y. Rieger.  “Digital Asset Management:  An Introduction to Key Issues.”  Available online at: http://www.cit.cornell.edu/oit/Arch-Init/DigAssetMgmt.pdf.

Whitson, Helene and Gerry Yeager.  "Arrangement and Description."  The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual.  Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  pp. 127-147. Z 675 N4 A36 1997 (AIS Reference)

Standards and Guides for Moving Image and Sound Archives Documentation (acquaint yourselves with these resources)

Anglo-American Cataloging Rules.  2nd ed., 1988 rev.  Available through Cataloger's Desktop via PittCat.  See Ch. 6-7.  

Archival Moving Image Materials: A Cataloging Manual. 2nd ed.  Washington, DC: Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division, 2000.  Current edition available at Hillman Gov. Docs. or through Cataloger's Desktop.
IASA Cataloguing Rules.  Stockholm: International Association of Sound and Audiovisual Archives, 1999. http://www.iasa-web.org/icat/00_0.htm

Martin, Abigail Leab, ed. AMIA Compendium of Moving Image Cataloging Practice. Chicago: Society of American Archivists; Los Angeles:  Association of Moving Image Archivists, 2001.  Appendices available online at http://www.amianet.org.

Rules for Archival Cataloging of Sound Recordings. Annapolis, MD: Association for Recorded Sound Collections, 1995.  Available at the Stephen Foster Library.

Taves, Brian et al. (comp.)  The Moving Image Genre-Form Guide.  Library of Congress, 1998.  http://www.loc.gov/rr/mopic/migintro.html

Additional Recommended Background Reading


July 12:  Preservation of Moving Image and Sound Formats:
  Refreshing, Reformatting, and Restoration Work
  Costs of Preservation/Restoration Work
  Funding Sources

**Narrative Report Due**

Besser, Howard. “Digital Preservation of Moving Image Material?” The Moving Image 1.2 (2001):  39-55.

Brylawski, Samuel. "Preservation of Digitally Recorded Sound."  Building a National Strategy for Preservation: Issues in Digital Media Archiving.  Washington, DC: Council on Library and Information Resources, 2002. Available: http://www.clir.org/pubs/reports/pub106/sound.html

Capturing Analog Sound for Digital Preservation: Report of a Roundtable Discussion of Best Practices for Transferring Analog Discs and Tapes.  Washington, D.C.:  Council on Library and Information Resources, 2006.  http://www.clir.org/pubs/reports/pub137/pub137.pdf

Cohen, Elizabeth.  "Preservation of Audio."  Folk Heritage Collections in Crisis.  Washington, DC:  Council on Library and Information Resources, 2001.  http://www.clir.org/pubs/reports/pub96/contents.html

Davidson, Steven  "Videotape Issues and Concerns." The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual. Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  111-116.  Z 675 N4 A36 1997 (AIS Reference)

The Film Preservation Guide:  The Basics for Libraries, Archives, and Museums.  San Francisco:  National Film Preservation Foundation, 2004. http://www.filmpreservation.org/  pp. 34-58.  TR 886.3 F58 2003

Gracy, Karen F.  Film Preservation:  Competing Definitions of Value, Use, and Practice (Chicago:  Society of American Archivists, 2007).  Chapter 6:  "Documenting the Process of Film Preservation" (pp. 97-139) and Chapter 7:  "The Definition of Preservation" (pp. 141-167).

Ide, Mary, Dave MacCarn, Thom Shepard, and Leah Weisse. "Understanding the Preservation Challenge of Digital Television."  Building a National Strategy for Preservation: Issues in Digital Media Archiving. Washington, DC: Council on Library and Information Resources, 2002. Available: http://www.clir.org/pubs/reports/pub106/television.html

Messier, Paul.  "Criteria for Assessing Digital Video as a Preservation Medium."  Playback: A Preservation Primer for Video.  Sally Jo Fifer, et al., eds. San Francisco: Bay Area Video Coalition, 1998.  25-38.

Murphy, William T.  "The Preservation of News and Documentary Film." The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual. Steven Davidson and Gregory Lukow, eds.  Los Angeles:  American Film Institute; Miami:  Louis Wolfson II Media History Center, 1997.  Z 675 N4 A36 1997 (AIS Reference)

Nelson-Strauss, Brenda. "Preservation Policies and Priorities for Recorded Sound Collections." Notes 48. 2 (Dec. 1991): 425-436.

Paton, Christopher Ann. “Preservation Re-Recording of Audio Recordings in Archives:  Problems, Priorities, Technologies, and Recommendations.” American Archivist 61 (1998): 188-219.

Schüller, Dietrich.  “Ethics of Preservation, Restoration, and Reissue of Historical Sound Recordings.”  Journal of the Audio Engineering Society 31.12 (1991):  1014-16.

Additional Recommended Background Reading


July 19:  Exploring Relationships with Film Laboratories and Audio Post-Production Specialists

 Gracy, Karen F.  Film Preservation:  Competing Definitions of Value, Use, and Practice (Chicago:  Society of American Archivists, 2007).  Chapter 8, "Power and Authority in Film Preservation" (pp. 169-202).

Read, Paul and Mark-Paul Meyer, eds.  Restoration of Motion Picture Film.  Butterworth-Heinemann, 2000.  Ch. 13-14, pp. 126-157.  TR  886.3 F58 2003

Ethics of Restoration

Bowser, Eileen.  "Some Principles of Film Restoration."  Griffithiana 13.38/39 (Oct. 1990):  172-173.

Cherchi Usai, Paolo.  Silent Cinema:  An Introduction.  London:  BFI Publishing, 2000.  Ch. 1-3 (pp. 1-76).  PN 1995.75 C4613 2000

Lipman, Ross.  "Problems of Independent Film Preservation."  AMIA Newsletter 33 (1996):  24-30.

Additional Recommended Background Reading


July 26:  Oral History

Guest Speaker:  Ron Baraff, Rivers of Steel

**Final Paper Due**

Additional Readings TBA

August 2:  No Class--Papers Returned