Susanne haydon


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Susanne haydon

  1. 1. Preserving our film heritage A presentation by Susanne Haydon Film Specialist and Strategist
  2. 2. Part 1: Describing the Landscape
  3. 3. Questions for the fortune teller• Will audio-visual archives exist in 100 years?• Will archives still hold ‘physical’ collections in 200 years?• Will there be a need to collect and preserve in our future world?• Are ‘physical’ archives coming to an end?
  4. 4. The Archive of the future
  5. 5. What are we really talking about?• We are talking about fundamental shifts in thinking• What does this really mean?• How is cognition changing to build capacity?• How will organisations stay ahead of the curve?• What are our priorities for digital preservation?
  6. 6. Traditional Transformed System Future•Objectivity •Subjectivity/reflexivity•Process •Intelligence Te les•Truth ch ru •Questions not answers no log y•Facts •Stories and interpretation Acc•Archivists es pres s not erva •Curators tion•Control •Freedom•Limits •Limitless r ove ss•Academy oce Pr tent •Community/participatory con•Parochial management •Professional leadership
  7. 7. Let’s describe what’s going on• Physical collections are being ‘put on hold’• All efforts are going to ‘digitising collections’ there is• Already there is a decrease in analogue format usage, leading to a decrease in the availability of analogue stock. What happens when we can’t buy 35mm film stock any more?• This is our collective future reality
  8. 8. Analogue usage/stock disappearing
  9. 9. Analogue materials: a rare commodity
  10. 10. Digitisation is now- driven by access at all costs
  11. 11. Digital film collection: comes with keys
  12. 12. The organisational response is BIG• Project funding is making possible the establishment of comprehensive digitalpreservation systems including migration programs• Digital infrastructure is being separated from IT• Staff skills sets are changing and disappearing
  13. 13. New methods of material collection• Direct feed and off-air digital harvesting and injest of material including websites, radio and TV• Emerging digital content forms are going into collections ready for use, eg ‘mash ups’• Digital images and marketing media will soon be able to be downloaded for movies• ‘Crowd Sourcing’ allows public to improve our information
  14. 14. National Broadband Network will fundamentallychange the landscape
  15. 15. How users are accessing material• There is an increasing expectation by users to access cultural archives via the web and ‘apps’• The rapid publishing of data will continue to build• Social media is becoming increasingly sophisticated• Emerging technologies such as smartphone applications will get ‘smarter’ and better
  16. 16. Users make their own remixesthrough Creative Commons• The move towards Creative Commons – share, remix and reuse legally• The rise of ‘mash-ups’• Users saying “Give it to us and let us do it”
  17. 17. Central issue is rights management• Well researched and precedent-setting rights management policies are crucial• Further copyright legislation reform and a growth in the number of intellectual property lawyers
  18. 18. We noticed:•An increasing expectation by usersto access cultural archives via theweb•The rapid publishing of data•Social Media’s role in promotingcultural institutions•Emerging technologies such assmartphone applications,augmented reality and semanticweb
  19. 19. Part 2: Learning from others
  20. 20. Let’s learn from others what works• What represents ‘best practice’?• Who is leading the way?• What are they doing and how?• Can we do it alone or do we need partnerships?• How do we balance preservation and access?• How do we think in the long not the short term?• How do we ‘hedge’ our bets?
  21. 21. Smithsonian Institute, Washington
  22. 22. London Science Museum
  23. 23. Bridgeman Art LibrarySuccessful partnership with a university to identifyorphan works
  24. 24. Powerhouse Museum, Sydney
  25. 25. Bundesarchiv, Germany
  26. 26. Part 3: The future story
  27. 27. Good story for audio-visual archives• In the next 100 years, we will still be looking for, finding and caring for the majority of the works of the last century• There is a re-birthing of the film and sound culture of 20th C so it is secure and easily useable - wordwide
  28. 28. Bad story for audio-visual archives• The ‘Archive’ has promoted a major program; published a commemorative book; pitched a number of media productions and in so doing failed to attract any attention from mainstream media for either promotion or partnering• Our investment in what was produced cannot be balanced with projected revenues• Government is disappointed – after all that funding not enough has been done
  29. 29. Current pressures on a/v archives• Imbalance in terms of the recognised purpose of the ‘Archive’ between collecting, preserving and making the material accessible• Technology makes things go faster but how do we ensure that our ‘commitment to care’ is not swayed by our ‘commitment to give’
  30. 30. Trends that we should hedge against• Assumptions about limiting preservation, eg we don’t need to fully preserve film if we can telecine it• Lessening and limiting intellectual engagement about the collection• Assumption of ‘access’ at all costs
  31. 31. The real danger that we face now• Archival values not being seen to be aligned but rather in competition with access
  33. 33. Blue skies Stormy weather +++ Adapted well Adapted well to to change and core values change but core Adapting to change Adapting to change sustained values are gone+++ Sustaining our core values --- Long hot Climate change summer Has not Core values still there but --- adapted to did not adapt change and well to core values change gone
  34. 34. Where to now Understand how the Understand the ‘Archive’ operates changing environment Identify the elements that will enable the ‘Archive’ to adapt to change while sustaining core values
  35. 35. “So much to do! Digital information isforever – or the next five years,whichever comes first….” A presentation by Susanne Haydon Film Specialist and Strategist