EUscreenXL, From access towards curation and creative partnerships
Marco Rendina, Istituto Luce Cinecittà, Maria Drabczyk, Polish National Audiovisual Archive
EUscreenXL. From access towards curation and creative partnershipsMarco Rendina
EUscreenXL aims to connect Europe’s online audiovisual heritage to Europeana by aggregating a comprehensive body of professional audiovisual content and making it accessible, providing about 1.000.000 metadata records and giving access to digital video content held by European broadcasters and audiovisual archives.
Elsa Coupard & Claude Mussou: Curating History with French Audiovisual ArchivesEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This session presents Jalons (Milestones), an online service aimed at the educational community, created by Ina in partnership with the French Ministry of Education.
Ina (Institut national de l’audiovisuel) was created in 1975. It is one of the world's largest broadcast archives, with collections spanning over 60 years for TV and 80 years for radio. As many documents in these collections take part in the narrative of history in the last century and onward, they are indispensable for education and training.
Steven Stegers Moving Images in History EducationEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The teaching of film literacy is an “uncommon and sporadic practice”. This was the answer of 62% of the 6,701 teachers who participated in a European-wide survey. Only 5% teachers answered it is a “widespread and common practice”. Why is the teaching of film literacy not more widespread? Especially since having access to equipment is no longer a barrier and film and television have a major impact on the way young people see and understand the world. This session tries to see why moving images are not used more and what can be done. It will do so by looking into current practices, presenting potential use cases, and identifying learning objectives that can only be reached by using moving images.
Jean Christophe Meyer: Histoire Parallèle/Die Woche vor 50 Jahren – Lieu de m...EUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This paper is aimed first at analyzing the initial public impact of Histoire Parallèle/Die Woche vor 50 Jahren, which aired weekly first on la Sept and then on French-German TV channel Arte from 1989 to 2001.
The 55-minute show exploited newsreel material, systematically presenting it in the original full length after exactly 50 years after its initial release in movie theatres. It covered a period stretching from the beginning of World War II until the end of the Marshall Plan. It simultaneously illustrated contradictive perspectives of several nations at war with each other. This part of the show lasted for 40 minutes. Then, for the final quarter of an hour, the show’s mainstay host, historian Marc Ferro discussed the material presented with a guest, usually a scholar. Despite the fact that the show could never be sold to foreign channels or rebroadcast, it still arouses great interest. Therefore our paper intends to explore how and to what extent content curation may contribute to it becoming a transnational or European Lieu de mémoire.
Presentation about EUscreen at the IAMHIST Symposium on 25 February 2019 at Centre National de l'Audiovisuel, Luxembourg. Presenters - Johan Oomen (the Netherlands Institute for Sound and Vision) and Maja Drabczyk (FINA).
The EUscreen project aims to promote the use of television content to explore Europe's rich and diverse cultural history.
It will create access to over 30,000 items of programme content and information, and by developing a number of interactive functionalities and dynamic links with Europeana it will prove valuable to the widest range of cultural, educational and recreational users.
EUscreen started in October 2009 and the project consortium, which includes 27 partner institutions from around Europe, is being co-ordinated by Utrecht University.
More information about the project can be found on www.euscreen.eu
EUscreenXL. From access towards curation and creative partnershipsMarco Rendina
EUscreenXL aims to connect Europe’s online audiovisual heritage to Europeana by aggregating a comprehensive body of professional audiovisual content and making it accessible, providing about 1.000.000 metadata records and giving access to digital video content held by European broadcasters and audiovisual archives.
Elsa Coupard & Claude Mussou: Curating History with French Audiovisual ArchivesEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This session presents Jalons (Milestones), an online service aimed at the educational community, created by Ina in partnership with the French Ministry of Education.
Ina (Institut national de l’audiovisuel) was created in 1975. It is one of the world's largest broadcast archives, with collections spanning over 60 years for TV and 80 years for radio. As many documents in these collections take part in the narrative of history in the last century and onward, they are indispensable for education and training.
Steven Stegers Moving Images in History EducationEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The teaching of film literacy is an “uncommon and sporadic practice”. This was the answer of 62% of the 6,701 teachers who participated in a European-wide survey. Only 5% teachers answered it is a “widespread and common practice”. Why is the teaching of film literacy not more widespread? Especially since having access to equipment is no longer a barrier and film and television have a major impact on the way young people see and understand the world. This session tries to see why moving images are not used more and what can be done. It will do so by looking into current practices, presenting potential use cases, and identifying learning objectives that can only be reached by using moving images.
Jean Christophe Meyer: Histoire Parallèle/Die Woche vor 50 Jahren – Lieu de m...EUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
This paper is aimed first at analyzing the initial public impact of Histoire Parallèle/Die Woche vor 50 Jahren, which aired weekly first on la Sept and then on French-German TV channel Arte from 1989 to 2001.
The 55-minute show exploited newsreel material, systematically presenting it in the original full length after exactly 50 years after its initial release in movie theatres. It covered a period stretching from the beginning of World War II until the end of the Marshall Plan. It simultaneously illustrated contradictive perspectives of several nations at war with each other. This part of the show lasted for 40 minutes. Then, for the final quarter of an hour, the show’s mainstay host, historian Marc Ferro discussed the material presented with a guest, usually a scholar. Despite the fact that the show could never be sold to foreign channels or rebroadcast, it still arouses great interest. Therefore our paper intends to explore how and to what extent content curation may contribute to it becoming a transnational or European Lieu de mémoire.
Presentation about EUscreen at the IAMHIST Symposium on 25 February 2019 at Centre National de l'Audiovisuel, Luxembourg. Presenters - Johan Oomen (the Netherlands Institute for Sound and Vision) and Maja Drabczyk (FINA).
The EUscreen project aims to promote the use of television content to explore Europe's rich and diverse cultural history.
It will create access to over 30,000 items of programme content and information, and by developing a number of interactive functionalities and dynamic links with Europeana it will prove valuable to the widest range of cultural, educational and recreational users.
EUscreen started in October 2009 and the project consortium, which includes 27 partner institutions from around Europe, is being co-ordinated by Utrecht University.
More information about the project can be found on www.euscreen.eu
Andreas Fickers: Transmedia Storytelling and Media HistoryEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation focuses on the challenges and opportunities of transmedia storytelling in media history.
The massive digitization of historical sources and their online availability have a deep impact on the practice of doing history in the digital age and require new forms of historical research and storytelling. Drawing from studies in digital storytelling and multimedia narratives, this lecture aims at exploring new forms of non-linear historical storytelling online. In addition, it will address tensions between disciplinary traditions and a lack of scholarly recognition of new genres and formats of online scholarship.
The Minerals4EU Project is designed to meet the recommendations of the Raw Materials Initiative and will develop an EU Mineral intelligence network structure delivering a web portal, a European Minerals Yearbook and foresight studies. This presentations describes how the stakeholders benefit from the Project. More information about the Project is available at www.minerals4eu.eu
Minerals Intelligence Network for Europe - Minerals4EUMinerals4EU
These slides, presented by Minerals4EU Scientific Coordinator Nikolaos Arvanitidis at the Minerals4EU Final Conference, gives an overview of the project and its achievements.
Minerals4EU - European Intelligence Network on the Supply of Raw MaterialsMinerals4EU
The Minerals4EU Project is designed to meet the recommendations of the Raw Materials Initiative and will develop an EU Mineral intelligence network structure delivering a web portal, a European Minerals Yearbook and foresight studies. This presentation gives an overview of the Project. More information about the Project is available at www.minerals4eu.eu
Expanding frontiers of collaboration: EUscreenXLMariana Salgado
This is a presentation we have done (Mariana Salgado
Inga Vizgirdiene) in Tallinn, Estonia on the 28.10.2015. We describe the reasons for archives to participate in this kind of projects and the process of designing tools for portals such EUscreenXL. The conference was BAAC (Baltic Audiovisual Archive Council).
EUscreenXL @BAAC 2014 Annual Conference in RigaEUscreen
"Going EUscreenXL: on the joys and challenges of participating in a pan-European AV heritage project" by Maria Drabczyk (NInA), Kamila Lewandowska (NInA), Eve-Marie Oesterlen (BUFVC)
Andreas Fickers: Transmedia Storytelling and Media HistoryEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation focuses on the challenges and opportunities of transmedia storytelling in media history.
The massive digitization of historical sources and their online availability have a deep impact on the practice of doing history in the digital age and require new forms of historical research and storytelling. Drawing from studies in digital storytelling and multimedia narratives, this lecture aims at exploring new forms of non-linear historical storytelling online. In addition, it will address tensions between disciplinary traditions and a lack of scholarly recognition of new genres and formats of online scholarship.
The Minerals4EU Project is designed to meet the recommendations of the Raw Materials Initiative and will develop an EU Mineral intelligence network structure delivering a web portal, a European Minerals Yearbook and foresight studies. This presentations describes how the stakeholders benefit from the Project. More information about the Project is available at www.minerals4eu.eu
Minerals Intelligence Network for Europe - Minerals4EUMinerals4EU
These slides, presented by Minerals4EU Scientific Coordinator Nikolaos Arvanitidis at the Minerals4EU Final Conference, gives an overview of the project and its achievements.
Minerals4EU - European Intelligence Network on the Supply of Raw MaterialsMinerals4EU
The Minerals4EU Project is designed to meet the recommendations of the Raw Materials Initiative and will develop an EU Mineral intelligence network structure delivering a web portal, a European Minerals Yearbook and foresight studies. This presentation gives an overview of the Project. More information about the Project is available at www.minerals4eu.eu
Expanding frontiers of collaboration: EUscreenXLMariana Salgado
This is a presentation we have done (Mariana Salgado
Inga Vizgirdiene) in Tallinn, Estonia on the 28.10.2015. We describe the reasons for archives to participate in this kind of projects and the process of designing tools for portals such EUscreenXL. The conference was BAAC (Baltic Audiovisual Archive Council).
EUscreenXL @BAAC 2014 Annual Conference in RigaEUscreen
"Going EUscreenXL: on the joys and challenges of participating in a pan-European AV heritage project" by Maria Drabczyk (NInA), Kamila Lewandowska (NInA), Eve-Marie Oesterlen (BUFVC)
EUscreenXL @BAAC 2014 Annual Conference in RigaMaja Drabczyk
views
"Going EUscreenXL: on the joys and challenges of participating in a pan-European AV heritage project" by Maria Drabczyk (NInA), Kamila Lewandowska (NInA), Eve-Marie Oesterlen (BUFVC) presented at BAAC Anual Conference in Riga
New approaches towards accessing digital audiovisual heritage What will EUscr...Johan Oomen
During the past decade, a massive body of European audiovisual heritage has become accessible online: on video sharing sites and websites of archives, or through initiatives such as EUscreen.eu and Europeana.eu. Once online, audiovisual heritage circulates in diverse ways: users watch, share, like, or dislike it; they comment, appropriate, and download videos for remix and recirculation. It thus becomes part of the popular consumption of history, potentially creating new interpretations of heritage materials, challenging authorised perspectives.
Challenges to audiovisual heritage online
Heritage institutions perceive the consequences of the recent technological transformations of the sector as a major challenge and opportunity. Nevertheless, urgent questions regarding the circulation of audiovisual heritage online remain unanswered:
How do strategies of curation shape the appropriation of digitized heritage?
How does digitisation and online circulation of audiovisual heritage affect the mission, role, and structure heritage institutions, as well as their relationships with media producers and publics?
How can audiovisual archives better foster the re-use of Europe’s audiovisual heritage?
(How) do digital curation and other appropriations of audiovisual heritage create new perspectives on European history and identity do ?
How does online circulation of audiovisual heritage alter the power relationships between amateur and professional historians in a public history environment, potentially blurring the boundaries between authorised and popular visions of European history?
What new tools and methods do we need to analyse the circulation of audiovisual heritage online, and how have traditional methods to be adapted for this aim?
To discuss these challenges, Utrecht University's Centre of Television in Transition in collaboration with The Netherlands Institute for Sound and Vision and CLARIAH will organize a one day symposium on May 16th, 2018.
Open, Smart and Connected access to Audiovisual CollectionsJohan Oomen
Talk given at COPEAM 2018.
“Heritage and Media – Preserving the future through our past: an opportunity for growth and democracy?”
Calviá - Mallorca, 10-12 May 2018
Hotel Meliá Calviá Beach
Calle Violeta, 1 Calviá Beach - 07181 Mallorca, Spain
Cultural heritage embraces resources inherited from the past and offers a great variety of opportunities to the present: monuments, sites and traditions, but also visual arts, cinema, TV and radio archives.
In this framework, the Media of the Euro-Mediterranean region – both traditional and new ones – have to play their role, particularly given the challenges that such issue implies in terms of content production, audiovisual documents preservation and impact of the digital transition as a tool for the safeguard and enhancement of our common heritage.
The e-documentation of the Past in 3D: A Challenge and a Risk for the Present...Marios Pitikakis
The e-documentation of the Past in 3D: A Challenge and a Risk for the Present and the Future. Presentation at VSMM09 Workshop on 3D Knowledge Technologies for Cultural Heritage Applications.
Towards more smart, connected and open audiovisual archivesJohan Oomen
As a result of digitisation of analogue holdings and working processes, more and more material from audiovisual archies is being made available online. This marks a transformative shift, as archives and users are now sharing the same information space. Once digital and part of an open network, objects from audiovisual archives can be shared, recommended, remixed, embedded, cited, referenced to and so on. It is a far cry from several years ago, when users were obliged to visit brick and mortar institutions to access collections. This shift towards digital enables archives to fulfil their pubic missions better; crossing geographical boundaries, using new channels for content distribution, engage with user groups and use new technologies to make work processes more efficient and allow for new access points to collections. It also introduces fundamental challenges, forcing audiovisual archives to [1] rethink their role and function in the value chain of media production and modern society at large, [2] assess which activities and competences are vital to succeed in a digital context.
We envision the future audiovisual archives to be smart, connected and open; using smart technologies to optimise workflows for annotation and content distribution. Collaborating with third parties to co-design and co-develop new technologies in order to manifest themselves as frontrunners rather than followers. Being connected to other sources of information (other collections, contextual sources), to a variety of often niche user communities, researchers and the creative industries. To embrace the use of standards defined by external instances rather than by the cultural heritage communities themselves. Fully embrace ‘open’ as the default to have maximum impact in society: applying open licences for content delivery, using open source software and open standards wherever possible. Promote open access to publications and so on.
This keynote examines how the public mission of archives (i.e. supporting a myriad of users to utilize collections to learn, experience and create) can be achieved in a digital context. It addresses the challenges related to the role and function of institutions and provides practical insights in how archives can establish a culture of innovation to manage challenges they face today. It addresses some of the major questions audiovisual archives are faced with today.
Europe’s cultural heritage: From digitisation to creative re-useLizzy Komen
Presentation at Citex 2014 conference (http://www.bilisim.org.tr/) in Ankara, Turkey on 7 November 2014. Titel: 'Europe’s cultural heritage:
From digitisation to creative re-use'. Presentation includes highlights of the Netherlands Institute for Sound and Vision digitisation project, Europeana, Digital Agenda for Europe and Europeana Creative
Eyal Reuven, National Library of Israel: the Open Library
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
G12 susan hazan_roundtableopenaccesjewishevaminerva
Susan Hazan, The Israel Museum, Jerusalem, Harvard
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
G12 susan hazan_roundtableopenaccesjewishevaminerva
Susan Hazan, The Israel Museum, Jerusalem, Harvard
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Alex Valdman, The Central Archives for the History of the Jewish People and the Ben-Gurion University of the Negev
Jewish Documentary Heritage Online: The Yerusha Project at the Central Archives for the History of the Jewish People
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Alex Valdman, The Central Archives for the History of the Jewish People and the Ben-Gurion University of the Negev
Jewish Documentary Heritage Online: The Yerusha Project at the Central Archives for the History of the Jewish People
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Ronit Gadish and Alexander Vainer, The Academy of the Hebrew Language
Hebrew Terminology: Presentation of Data and Technological Challenges
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Ronit Gadish and Alexander Vainer, The Academy of the Hebrew Language
Hebrew Terminology: Presentation of Data and Technological Challenges
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Edwin Seroussi and Josef Sprinzak, Da'at Hamakom Center for the Study of Cultures of Place in Jewish Modernity, The Hebrew University
Mapping Jewish Culture in Time and Place: The Interactive Map of Da'at Hamakom
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Edwin Seroussi and Josef Sprinzak, Da'at Hamakom Center for the Study of Cultures of Place in Jewish Modernity, The Hebrew University
Mapping Jewish Culture in Time and Place: The Interactive Map of Da'at Hamakom
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Menachem Katz, The Open University of Israel, The Friedberg Jewish Manuscript Society
Hillel Gershuni, Hebrew University of Jerusalem, The Friedberg Jewish Manuscript Society
Categorization of Textual Variants in Digital Synopses and its Research Potential
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Menachem Katz, The Open University of Israel, The Friedberg Jewish Manuscript Society
Hillel Gershuni, Hebrew University of Jerusalem, The Friedberg Jewish Manuscript Society
Categorization of Textual Variants in Digital Synopses and its Research Potential
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Jonathan Ben-Dov, University of Haifa
Scripta Qumranica Electronica: Dead Sea Scrolls Aggregated Database and Virtual Research Environment
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Oren Ableman and Orit Rosengarten, Israel Antiquities Authority
The Leon Levy Dead Sea Scrolls Digital Library: Digitizing and Cataloging the Dead Sea Scrolls
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Oren Ableman and Orit Rosengarten, Israel Antiquities Authority
The Leon Levy Dead Sea Scrolls Digital Library: Digitizing and Cataloging the Dead Sea Scrolls
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Daniel Stoeckl ben Ezra, EPHE, Sorbonne, France
Hayim Lapin, University of Maryland, US
Building the Next Generation of Resources for Cultural Heritage Digital Texts: Mishna and Tosefta
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Daniel Stoeckl ben Ezra, EPHE, Sorbonne, France
Hayim Lapin, University of Maryland, US
Building the Next Generation of Resources for Cultural Heritage Digital Texts: Mishna and Tosefta
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Michael Satlow, Brown University
Inscriptions of Israel/Palestine: A Digital Project
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Michael Satlow, Brown University
Inscriptions of Israel/Palestine: A Digital Project
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Sigal Arie-Erez, Director, Cataloguing Department, Archives Division, Yad Vashem
Reconnecting the Past: How to Link Archival Descriptions – the EHRI Portal Model
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
Sigal Arie-Erez, Director, Cataloguing Department, Archives Division, Yad Vashem
Reconnecting the Past: How to Link Archival Descriptions – the EHRI Portal Model
2016 EVA/Minerva Jerusalem International Conference on Digitisation of Cultural Heritage
http://2016.minervaisrael.org.il
http://www.digital-heritage.org.il
2.Cellular Networks_The final stage of connectivity is achieved by segmenting...JeyaPerumal1
A cellular network, frequently referred to as a mobile network, is a type of communication system that enables wireless communication between mobile devices. The final stage of connectivity is achieved by segmenting the comprehensive service area into several compact zones, each called a cell.
APNIC Foundation, presented by Ellisha Heppner at the PNG DNS Forum 2024APNIC
Ellisha Heppner, Grant Management Lead, presented an update on APNIC Foundation to the PNG DNS Forum held from 6 to 10 May, 2024 in Port Moresby, Papua New Guinea.
Instagram has become one of the most popular social media platforms, allowing people to share photos, videos, and stories with their followers. Sometimes, though, you might want to view someone's story without them knowing.
Italy Agriculture Equipment Market Outlook to 2027harveenkaur52
Agriculture and Animal Care
Ken Research has an expertise in Agriculture and Animal Care sector and offer vast collection of information related to all major aspects such as Agriculture equipment, Crop Protection, Seed, Agriculture Chemical, Fertilizers, Protected Cultivators, Palm Oil, Hybrid Seed, Animal Feed additives and many more.
Our continuous study and findings in agriculture sector provide better insights to companies dealing with related product and services, government and agriculture associations, researchers and students to well understand the present and expected scenario.
Our Animal care category provides solutions on Animal Healthcare and related products and services, including, animal feed additives, vaccination
Understanding User Behavior with Google Analytics.pdfSEO Article Boost
Unlocking the full potential of Google Analytics is crucial for understanding and optimizing your website’s performance. This guide dives deep into the essential aspects of Google Analytics, from analyzing traffic sources to understanding user demographics and tracking user engagement.
Traffic Sources Analysis:
Discover where your website traffic originates. By examining the Acquisition section, you can identify whether visitors come from organic search, paid campaigns, direct visits, social media, or referral links. This knowledge helps in refining marketing strategies and optimizing resource allocation.
User Demographics Insights:
Gain a comprehensive view of your audience by exploring demographic data in the Audience section. Understand age, gender, and interests to tailor your marketing strategies effectively. Leverage this information to create personalized content and improve user engagement and conversion rates.
Tracking User Engagement:
Learn how to measure user interaction with your site through key metrics like bounce rate, average session duration, and pages per session. Enhance user experience by analyzing engagement metrics and implementing strategies to keep visitors engaged.
Conversion Rate Optimization:
Understand the importance of conversion rates and how to track them using Google Analytics. Set up Goals, analyze conversion funnels, segment your audience, and employ A/B testing to optimize your website for higher conversions. Utilize ecommerce tracking and multi-channel funnels for a detailed view of your sales performance and marketing channel contributions.
Custom Reports and Dashboards:
Create custom reports and dashboards to visualize and interpret data relevant to your business goals. Use advanced filters, segments, and visualization options to gain deeper insights. Incorporate custom dimensions and metrics for tailored data analysis. Integrate external data sources to enrich your analytics and make well-informed decisions.
This guide is designed to help you harness the power of Google Analytics for making data-driven decisions that enhance website performance and achieve your digital marketing objectives. Whether you are looking to improve SEO, refine your social media strategy, or boost conversion rates, understanding and utilizing Google Analytics is essential for your success.
2. 2
EUscreenXL
‘From access towards curation and creative partnerships’
Maria Drabczyk (NInA) & Marco Rendina (LUCE)
EVA / Minerva 2015
Jerusalem, November 9, 2015
4. 4
31 partners | 20 content partners
1
1
1
1
1
1 1
1
1
1
1
1
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34
DR
Kungliga
Biblioteket
Aalto-yliopisto Lietuvos Centrinis
Valstybės
Archyvas
Česká Televize
Deutsche
Welle
Österreichischer
Rudfunk
2
Radio Télévision Belge
de la Communauté
Française
ATiT
Universite
de
Luxembourg
Ireland’s National Television
and Radio Broadcaster
Radiotelevizij
a Slovenija
Televiziunea Română
Nederlands Instituut
voor Beeld en Geluid
Noterik
Universiteit Utrecht
European
Broadcasting Union
1
Nemzeti Audiovizuális
Archivum
Eötvös Loránd
University
Εθνικό Μετσόβιο
Πολυτεχνεί
Royal Holloway
University of London
The British
Universities Film &
Video Council
Screen Archive
South East
Queen’s University
Belfast
Institut
national de
l'audiovisuel
Narodowy
Instytut
Audiowizualny
Instituto Luce Cinecittà
Ireland’s National Television
and Radio Broadcaster
European
Broadcasting Union
Rádio e Televisão
de Portugal S.A.
Εθνικό Μετσόβιο
Πολυτεχνεί
Instituto Luce Cinecittà
European
Broadcasting Union
Televisió de
Catalunya
DR
Radiotelevizij
a Slovenija
Ireland’s National Television
and Radio Broadcaster
3
9. 13
Core Collection
Item/clip record
Title
Title in English
Series/collection title (if
applicable)
Series/collection title in English
(if applicable)
Series/season number (if
applicable)
Episode number (if applicable)
Summary
Summary in English
Provider
Publisher/Broadcaster
Broadcast date (mandatory if
broadcast)
Production year (mandatory if
non broadcast)
IPR restrictions
Rights terms and conditions
Genre
Topic
Thesaurus terms
Geographical Coverage
Material Type
Record type
Item duration
Language used
Identifier
Original identifier
Filename
Mandatory elements:
10. 14
Core Collection
Item/clip record
Clip Title
Extended description
Information
First broadcast channel
Country of production
Original language
Local keywords
Contributor
Item colour
Item sound
Aspect ratio
Subtitle/captioning language
Metadata language
Relation type
Relation identifier
Digital item URL
Landing page URL
Optional elements:
11. 15
Layer #1: Digital objects (on the site of the provider)
Layer #2: Previews (lower quality versions of #1)
Layer #3: Metadata (descriptive object information)
Europeana has three layers of information
12. 16
Layer #3: Metadata (descriptive object information)
Layer #1: Digital objects (on the site of the provider)
Layer #2: Previews (lower quality versions of #1)
Metadata is licensed under CCO
13. 17
Layer #3: Metadata (descriptive object information)
Layer #2: Previews (lower quality versions of #1)
Layer #1: Digital objects (on the site of the provider)
EDM:rights
Preview & Digital Objects are licensed as
described in “EDM: rights”
14. 18
Possible Rights Statements you can use for
“EDM:rights”
◆ Public Domain Mark
◆ Any Creative Commons licence
◆ Rights reserved statements
◆ Free Access - Rights Reserved
◆ Paid Access - Rights Reserved
Note: There is one single EDM: rights statement which applies to
digital object and its preview
27. 46
Historiana
Offers a transnational approach to the past
Encourages multiperspectivity in history
Promotes active learning and historical thinking
28. 47
Historiana - teaching materials for schools
3 TOPICS:
● What was Post-War Europe like?
● How was the fall of the Berlin Wall reported in
newsreels?
● The Schengen Treaty and Border Controls
29. 48
Historiana - teaching materials for schools
• Process jointly coordinated by EUROCLIO and EUscreenXL (RHUL
and NInA)
• Lesson objectives and plans prepared by specialized teams of
EUROCLIO educators
• Content selection delivered by EUscreen content partners
33. 52
• 7 EUscreenXL partners contributed to the AV collage
• 2 co-ordinators – NInA (PL) and NISV (NL) => different knowledge and
attitude towards the events in question
• 3 chapters: social movements, first political actions, important
personalities, and political breakthroughs
• All items used in original language versions with brief English
descriptions presenting the context to the viewers
!!! First physical exhibition for the EUscreen network!
Freedom Express Exhibition
35. 55
Join EUscreenXL network!
Initiate Cloud-
enabled technologies
for storing, indexing,
and linking metadata
Make use of our
technical and
archival expertise
Boost the visibility
of your content
Get your content
contextualized and
curated through
historical and cultural
experts
Develop new tools for
automatic metadata
enrichment
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Warsaw Conference
Content in Motion: Curating Europe’s Audiovisual Heritage
December 3rd and 4th, Warsaw, Poland
at National Audiovisual Institute