Return to Education and Outreach Task Force Roster
Outreach Task Force
| Members | Assignment |
| Andrea Leigh, Chair | Documenting the Preservation Process |
| Christine Figueroa | Mentoring Program |
| Kelly Graml | Marketing and Promoting Moving Image Archival Collections |
| Karen Spern | Matchmaking Service |
| Kelly Wallace | Lost Films / Found Films |
CHARGE |
| The Outreach Section Task Force covers outreach across audiences (archivists and general public) and should work in coordination with other task forces as necessary. Resources it should consider for inclusion would include: |
* match-making service (to help prospective donors discover and contact the most appropriate archive, based at least in part on queries against the archive directory database) * mentoring program (to match experienced archivists with organizations with archival collections who lack the expertise to preserve and document the collections) * speakers' bureau * marketing and promoting archival collections * outreach to libraries, archives and museums containing “hidden” archival moving image collections (or where preservation of moving image materials is not an area of expertise) * web exhibits * documenting film preservation procedures * "memorial wall" of moving image materials permanently lost * "found" wall for new discoveries |
OVERVIEW |
The Outreach Task Force was less concerned with compiling annotated lists of web resources than it was in conducting preliminary research to meet its objectives. Areas were divided by specific sections of the charge as noted in the assignments above, and not all sections were covered. It is anticipated that outreach efforts to libraries, archives, and museums, the speakers' bureau, matchmaking service, and mentoring program will be more fully realized once the Archive Directory is up and running. Marketing and promoting archival collections will potentially overlap with Access/Programming, so may reside with resources annotated from the Access/Programming Task Force. Documenting the Film Preservation Process and building the Found Wall/Lost Wall are two areas that can be illustrated utilizing resources collected from other task forces, and is anticipated that this will be a major focus for development during MIC's initial phase I for a number of reasons: |
1) Critical studies in film and television lacks a strong foundation of the technical specificity of the medium, how it impedes access, and why it can render a different perspective of the object under scrutiny. 2) The general public is largely unaware of what film preservation, restoration, and conservation means, or how much film has actually been lost due to deterioration and neglect. 3) A web demonstration
of the process of film preservation, as well as an exhibit of what films
are considered lost could be used as a means to secure funding for film
preservation projects. |
| Next steps:
The listing of found films and lost films will be undergoing review by the moving image archival community for accuracy and clarity of resources. After that process, it is perceived that a sampling of the resources will be further annotated to include other forms of accompanying documentation, such as photos or slides before being included in a web exhibit. The Mentoring program needs development in terms of adding areas stipulated more specifically in the original charge. Documenting the Film Preservation Process will also go under a review by members of the archival moving image community in order to adequately document the process in the most general of terms. It is suggested that film restoration be defined distinctly from film preservation, as restoration is commonly personality-driven rather than set by institutions or a set of agreed upon standards. It is assumed that the terms preservation, restoration, and conservation will be defined for MIC by the Preservation Task Force. As MIC develops, it is anticipated that Outreach will be bringing in
additional volunteers, possibly from other task forces, to further develop
its resources. |
| Documenting the Film Preservation Process |
Notes: This is intended as a general outline for the preservation of analog motion picture film. It can be amended to illustrate the process of film preservation (the process of making safety elements from deteriorating or damaged film), which should be distinguished from the more complex process of motion picture restoration |
Introduction |
The most visible process performed by a moving image archive is the preservation or intervention performed on a particular film. Despite this acknowledgement, the actual processes involved remain largely a mystery to the general public. One of the ways that MIC can help remedy the enigma surrounding moving image preservation is to provide a detailed analysis of the film preservation process, focusing on the fact that preservation entails more than the mere copying of elements. An additional benefit to this would be the emphasis on how fragile that analog film formats are, and as a consequence, the inherent technical requirements of the medium can markedly impact on how a film is interpreted. This is especially critical for film scholars who rarely cite the version of the film viewed or even note under what conditions the film studied was presented. Another issue centers primarily on the issue of access. Access is a term that is used for a wide variety of film uses including public exhibition, distribution, footage licensing, and research. It is the latter use of the term that is generally the most difficult aspect for a moving image archive to achieve which makes the MIC project a valuable access tool. |
| A pattern of fragmentation |
| Another issue involves
the lack of documentation, not only in terms of what kind of documentation
accompanies moving image material as it is acquired into an archive, but
the seemingly scant documentation created while working on a specific restoration
project. From a historical perspective, this lack of evidence may relate
most directly to the fact that the motion picture industry itself initially
was not well documented.
Even when the film industry became a financially healthy profession, those that worked behind its ironclad gates did not directly record their own activities unless it related to some marketing or public relations strategy. As a result, what survives are the fan magazines that heightened and embellished the activities of the studios and its stars, leaving behind a historical legacy short on depth and long on falsehoods and misrepresentations, particularly as it relates to the cinema's origins. What manifested from this pattern of fragmentation is a motion picture
legacy mired in secrecy. As a result, most moving image archives possess
material where provenance is sketchy, copyright uncertain, and a fear
that a studio will re-claim back unwanted nitrate once thrown out with
the trash. Therefore, leaving a paper trail behind of an archive's holdings
has the potential of placing an archive at legal risk. |
| Scholarly access secondary |
| As the primary mission
of a moving image archive is in the preservation of its holdings, scholarly
access for research is often considered secondary, regarded as a burden,
and not done without a great deal of caution. Potential conflicts can occur
with depositors and copyright holders as well as the additional workload
that is invariably placed on an already overworked and underpaid staff.
To place an archive's catalog up on the web is an invitation for anyone,
and most archives cannot financially handle just anyone without disrupting
the work of preservation.
Even despite the obstacles, it is recognized that providing and guaranteeing
access is a goal of the majority of moving image archives. As it has been
stated in the 1993 report to Congress on the state of film preservation
in the United States, "preservation without access is pointless"
(<http://www.cinemaweb.com/access/pre_stmt.htm>) |
Obstacles encountered |
|
| Traditionally moving image archives have focused on the process of preserving the film medium itself. Accompanying documentation or artifacts that may provide essential clues regarding a particular film's context, exhibition history, or cast and crew are intellectually or physically stored separately, usually at different institutions. This further complicates the process of moving image preservation/restoration as research must be conducted at various and often remote locations. |
Forms of related documentation may include: 1) Scripts |
| Steps involved during the preservation process |
| Even though decision-making during the process of film preservation is complex and can be highly subjective, the outline below can be referred to as a convenient method of summarizing the generalities involved: |
| v Select the film to be preserved |
|
| Conclusion |
| Part of the misconception surrounding moving image preservation and restoration is that much of the work that is accomplished is invisible to the majority of users, particularly if the film restored has not been seen in its original manifestation for generations. Since access to moving image materials is difficult, audiences are forced to rely on their own faulty memories as to what actually constituted the original achievement. Differences in extent are difficult to ascertain and sometimes cannot be deciphered without conducting a shot-by-shot analysis. Film research can be erroneous or suspect as researchers often refer to a video release of a film without noting which version of the film was primarily viewed. It is, therefore, vital that moving image archives take a stronger role in documenting their preservation work and making it accessible. The original achievement is restored by understanding and responding to both the aesthetic and technical aspects of the medium. Cinematic specificity is important and documenting the process essential so that researchers are aware of any deviations from the original manifestation. One of the ways access can be provided in addition to an online catalog is through the creation of a website illustrating the processes involved during a particular restoration project. Documentation is also vital in that it is not unusual today for a film preservationist to return to an older restoration work when elements believed to be missing turn up in some obscure manner or additional funding becomes available to re-do a sequence once thought to be too expensive. It saves time in the long run as preservation staff will not be placed in the position of re-inventing the wheel or having to rely on the memory of a senior staff member who may or may not be still with the institution. Documentation is essential for future scholars, particularly at a time when analog film will most likely disappear in favor of digital technologies. Without documenting the work of restoration, then the mysterious machinations will never cease to be an enigma for it will be that much more difficult to piece together the fragments left behind that will inevitably provide clues as to how analog restoration had been accomplished.
|
| MENTORING PROGRAM |
| Introduction |
| A major concern among
students who desire to become moving image archival professionals is a perceived
lack of support from the community at large for the various skill sets necessary
to become the next generation of moving image archival professionals. Instead
of a proactive or progressive stance, the moving image archival community
has been, for the most part, particularly silent in telling its secrets
outside of its own institutional structure. Part of the reason for this
may be that the moving image archival profession grew out of the competitive
nature of motion picture production, which traditionally lacks a strong
foundation in knowledge sharing. Another reason is in grappling with the
concept of what constitutes a profession within a profession that lacks
a body of literature or tradition of standards that can be passed along
with confidence.
With the incorporation of AMIA in 1991 and with dedicated moving image archival programs springing up in Rochester, New York and Los Angeles, this perspective is slowly changing. |
| What is mentorship? |
| Mentorship means more than making students aware that there are employment opportunities once they complete their studies; it means creating a positive impact on the profession. This can translate into a variety of ways such as information sharing, technological advances, educated decision-making processes, and mutual understanding of professional expectations. Each one of these facets positively enhances the profession, but requires both time and energy. With limited resources, this form of commitment may seem low on the list of priorities. However, as professionals, it is our responsibility to create an environment that is as progressive and dynamic as the materials in our custody. |
| Students need to connect with professionals |
| As a variety of students
enter programs, whether academic, technical, or managerial, they need to
feel that their investment is appreciated and appropriate. That is to say,
that the profession they have chosen needs them. This concept is particularly
important for students that have chosen a second career or an advanced course
of study. Mentorship provides the venue for this connection, as mentors
can offer insight, guidance, and navigational assistance to the new course
of study. Furthermore, they can help “make sense” of courses
that seem inapplicable.
Through the exchange of knowledge, mentors also learn how scholarship is educating their future peers. Mentors can then advise and guide students to other resources, perhaps unknown or unused in scholarship, other specialized professionals, and ways of learning the necessary skills for their post-graduate experience. Once students feel they are a part of their community, they will excel
in their studies and acquire new skills applicable to their field. In
addition, they are offered the opportunity to make contact with their
future co-workers and speak the language of their peers, laying the groundwork
for their growth and contribution to the profession. |
| Progression and advancement of the profession |
The communication and relationship of mentors and students presents an opportunity for two-way communication: mentors learn of emerging foci in the scholastic environment, while students learn of advancement in the pragmatic aspects of the profession. This relationship is of particular importance in the dynamic atmosphere that archivists must navigate. As students in the various programs learn of the concerns and limitations within the field, they can help search for greater resources and information, giving their mentors further resources from which to choose. In addition, the professionals in the field have a greater connection
and understanding between the generations of professionals entering the
field and the application of new technology and innovative thinking associated
to such technology. For instance, while professionals may be grappling
with a particular problem, students may be conducting research on the
same concern and work together to find an answer. The appropriate application
of education and knowledge is furthered by the relationship between a
mentor and students. |
| Knowledge sharing |
| Professionals
cannot know and have a firm command of all aspects concerning their occupation.
We are a cooperative of people with varying skill sets and knowledge applicable
toward similar pursuits. Professional associations are one way in which
we learn about various facets of the workplace. Mentorship is another.
Mentorship is not only a relationship applicable between students and professionals, but also a venue for fellow professionals to keep abreast of advancement and aspects where students may not have a firm command. For instance, if a professional was particularly knowledgeable in the handling of supporting materials for moving images, a mentor could be someone who was an expert in moving image sound. This relationship would provide benefits to both professionals as they could keep one another informed of advances in each other’s field. We all have limited time and resources and mentorship offers another way for us to be informed while wisely managing time. |
| Professional expectations |
| Mentor
relationships create the environment from which we communicate professional
expectations. In a relationship between an expert and a student, we can
create standardized expectations of professionalism within our community.
This can eliminate concerns regarding lack of education, applicable skills
and or relevant knowledge within the occupation.
The key in this endeavor is communication. A mentor relationship can
diminish the gaps that exist between expectations of the employer and
the future employee. In addition, mentors often impart knowledge from
their environment, rather than only verbal communication. For instance,
a peer or student understands the context of their mentor's work by their
environment and the professional expectations of their realm. Not all
moving image archives are created equally, and with a variety of relationships
established between mentors and future peers, one can find the right match
within the profession. |
| Acknowledgement by professionals in similar fields |
Mentoring future professionals also demonstrates our interest and investment in our field. The more voice professionals have within their occupation, the more visibility we will have with other professionals and, hence, more acceptance. Mentorship among peers educates participants into all that entails moving
image archives. The variety of skill sets and knowledge is not evident
to the common person, and often is not evident to other professionals.
Hence, the more communication we have with other information specialists,
the more we will gain acceptance, and the more value we acquire. |
| Making a difference |
| Once students have
an opportunity to connect with peers and feel part of a community, they
can learn what skills, research or knowledge may be lacking within the profession.
After the gaps are revealed, they can enhance and enrich the occupation.
That is to say, they will learn the necessary skills to contribute something
new to the workplace. Such a discovery can be manifested in a variety of
ways as new students may find breakthrough technology applicable in moving
image archiving, software/hardware solutions or obstacles to conquer, traditional
research in moving image preservation previously unpublished, and the like.
Mentorship is a crucial ingredient in this endeavor. With very few programs in the country addressing the growing need of professionals in our field, many students forged their own path toward their career goals without clearly delineated curriculum. They met with mentors that guided them through their goals and inspired them to pursue the new, the undiscovered, and the unknown. Those mentors made a difference and encouraged students to pursue and continue, despite not having clear-cut and easy paths to follow. Often these students engaged in areas of study unknown to their friends and, most likely, those who financially support their studies. With the encouragement of mentors, these professionals can be the emerging leaders within moving image archivists, thus, creating and encouraging advocacy. Mentorship is an investment of time, energy, commitment and passion.
These are the same ingredients necessary for successful professionals.
With new and emerging generations of archivists entering the workplace,
it is of great importance to share the knowledge we have acquired in the
field. Mentorship encourages practitioners, peers and students to pursue
their interests and advance our profession toward excellence. |
| MARKETING AND PROMOTION |
| Notes: It is anticipated that this outline will coordinate with Access/Programming for input. |
| Public Programming, Symposia, etc. |
| Before
attempting to market your programming, it’s vital to objectively evaluate
its appeal and to know your prospective audience.
Event Calendar / Newsletter
|
Press
- Know the deadlines, know the beat, be organized and professional, follow-up! - The ability to provide photos is desirable. Having those photos in a digital format that can be quickly e-mailed to media outlets on tight deadline is essential. - Don’t forget the specialty press when applicable: foreign language, trade, gay/lesbian, etc. |
Web Sites
- Contact pertinent web sites with complete info about your event and ask if they’d be willing to post the info on their site. - If you have photos, don’t forget to say so. Web sites are always looking for interesting visual content. - Some web sites have listservs to which they send informational updates. Inquire as to whether your event info can be distributed to these listservs |
Community Organizations
|
Local Businesses - Research and locate particular businesses in your own community that you believe are likely to collaborate with you. Perhaps you know the business is specifically attuned/sympathetic to your organization and its mission or that you believe your potential audience patronizes the business - Contact pertinent businesses with complete info about your event and ask if they’d be willing to help you “get the word out” - Would they be willing to let you display an event poster in their store or put event flyers on their counter? - Does it make sense for you to create a cross-promotion with the business? Ex. you could offer the business pairs of tickets for them to raffle off to their customers
|
| Archival Footage |
| Before attempting to market your footage, it’s vital to objectively evaluate its commercial viability and to know your prospective customer. |
Web
- Make sure your
customer-friendly web page is included in the results from common web
search engine queries that prospective buyers might conduct. Ex. <www.google.com/search?hl=en&ie=UTF-8&oe=UTF
8&q=%22stock+footage%22> - Explore whether beneficial agreements can be structured with one/some of the many existing web footage licensing networks like <www.footage.net> and <www.oddballfilm.com> |
- There are trade publications which target the film and television community at large like The Hollywood Reporter and Variety. - There are also publications which more specifically target those who actually produce, direct, shoot and edit film and video projects - both large and small, both fiction and non-fiction. Ex. IDA Magazine, Film & Video, DV, Millimeter, Post, and Real Screen. - Many trade publications print issues specifically devoted to stock footage on a regular basis. In addition to advertising in these issues, one could pitch for editorial coverage if a “news” hook were available. Ex. the launch of a new stock footage resource |
Production Trade Directories and Guides - Research and locate trade directories and guides that your potential customer is likely to use: LA 411, NY 411, MPE Motion Picture, TV and Theatre Directory, etc. - Make sure you take
advantage of any free listing opportunities and evaluate paid advertising
options |
- Research and locate trade organizations like unions, guilds, independent filmmaker assistance organizations (Independent Feature Project/IFP) - Investigate any
free listing opportunities as well as the purchase of sponsorships, etc.
which might help publicize your services and generate good will with the
organizations membership. |
| MATCHMAKING SERVICE |
| Notes: It is anticipated that the Marchmaking Service will develop further as the MIC directory is instituted. The list of websites of institutional organizations is only a sampling. |
Overview of Match Making Service |
| The match making service
would include two portals. The institutional portal is much like the archives
directory component of MIC. This portal is a centralized catalog of repositories
that makes available contact information, URL, collections policy, and free-text
notes field to potential donors. Text searching and browsing by subject
heading, genre, format or special interest are available. Institutions must
register to be included in the database. This portal could be integrated
with the Archive Directory. Institutions providing Archive Directory information
could simultaneously generate a matchmaking directory entry.
The donor portal would function as a text-based log. Registered donors
can post films for donation on the site free for 30-days. Some features
of the website would include: sample accession form, destruction authorization
form, transfer of copyright, sample deed of gift, checklist on how to
donate, etc. |
| Notes and Suggestions |
o
Coordinate with General Public Task Force o Design match making portal website o Design Match Making registry fields and metadata and map to Archive Directory registry fields o Define technical needs o Define additional Match Making Features (accession forms, deed of gift, etc) |
| Annotated List of Institutional Websites |
Academy of Motion Picture Arts and Sciences http://www.oscars.org/filmarchive/ |
http://www.thehistorymakers.org/ Founded in 1999, The HistoryMakers is a 501 (c)(3) national not-for-profit.
The goal of The HistoryMakers is to create a video oral history archive
of unprecedented importance. Not since the 1930s has there been a massive
attempt to record the African American experience as told in the first
person. |
| Dance Heritage Coalition http://danceheritage.org/index.htm Founded in 1992, the DHC was established to address problems identified by a field-wide study intended to evaluate and report on the current state of preservation and documentation of American dance. The study, jointly commissioned by The Andrew W. Mellon Foundation and the National Endowment for the Arts, recommended that a coalition of the major dance collections be formed primarily to facilitate communication, joint activities, policies, programs, and projects in order to strengthen a national dance documentation and preservation network. |
Clinton Presidential Materials Project http://clinton.archives.gov/project_overview/project_overview.html The Clinton Project
has begun processing the Presidential record material to ensure that a
wide variety of Presidential records will be readily available at the
future Clinton Library on January 20, 2006, five years after the end of
the Clinton Administration. Personal papers and other donated historical
materials will be available to researchers according to the terms of the
donor's deed of gift. To expand the collections, we will actively solicit
donations of personal papers from President and Mrs. Clinton, their families,
friends, staff and associates. |
Great Lakes Cinephile Society http://www.cinephiles.org/ The Great Lakes Cinephile Society is a non-profit organization created
for the preservation and presentation of Vintage Motion Pictures. They
also sell vintage films on video. |
The Jewish Museum http://www.thejewishmuseum.org/home/page.php?id=broadcasting The NJAB was established in 1981 to collect, preserve, and exhibit television
and radio programs related to the Jewish experience. The NJAB is one of
a few culturally specific media centers with a major subject-oriented
collection, operating within a museum context. The NJAB collection contains
over 4,300 programs from 1935 to the present, most of which have been
obtained courtesy of networks, commercial and independent stations, production
companies, and individual contributors. |
| LOST FILMS |
| Notes: What specifically constitutes a lost film? (e.g. Is it lost if the film is missing a reel?) How far should we take this list? Do we note the significance of each film? Do we note which films are real treasures if discovered? Anecdotal evidence suggests heavily on which films are lost, so this initial list may bring interesting notes from film archivists/historians. Also, summaries of the films were challenging because of how differently the films could be described in various resources. Resources used included the AFI catalogs, FIAF guide to periodicals and the AMPAS subject files and various resources there. |
| List of Lost Films |
| List of Found Films |
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