Susanne haydon
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Transcript of Susanne haydon
Preserving our film heritage
A presentation by Susanne HaydonFilm Specialist and Strategist
Part 1: Describing the Landscape
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?
The 'Archive' of the future
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?
Traditional SystemTraditional System
Transformed FutureTransformed Future
•Objectivity
•Process
•Truth
•Facts
•Archivists
•Control
•Limits
•Academy
•Parochial management
•Subjectivity/reflexivity
•Intelligence
•Questions not answers
•Stories and interpretation
•Curators
•Freedom
•Limitless
•Community/participatory
•Professional leadership
Technology
rules
Process
over
conten
t
Access notpreservation
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
Analogue usage/stock disappearing
Analogue materials: a rare commodity
Digitisation is now- driven by access at all costs
Digital film collection: comes with keys
The organisational response is BIG
• Project funding is making possible the establishment of comprehensive digital
preservation systems including migration programs
• Digital infrastructure is being separated from IT• Staff skills sets are changing and disappearing
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 ableto be downloaded for movies
• ‘Crowd Sourcing’ allows public to improve our information
National Broadband Network will fundamentally change the landscape
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
Users make their own remixes through 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”
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
We noticed:•An increasing expectation by users to access cultural archives via the web•The rapid publishing of data•Social Media’s role in promoting cultural institutions•Emerging technologies such as smartphone applications, augmented reality and semantic web
Part 2: Learning from others
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?
Smithsonian Institute, Washington
London Science Museum
Bridgeman Art LibrarySuccessful partnership with a university to identify orphan works
Powerhouse Museum, Sydney
Bundesarchiv, Germany
Part 3: The future story
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
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 fundingnot enough has been done
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’
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
The real danger that we face now
• Archival values not being seen to be aligned but rather in competition with access
HOW WE SUSTAIN OUR CORE VALUESHOW WE SUSTAIN OUR CORE VALUES
HOW WE ADAPT TO CHANGEHOW WE ADAPT TO CHANGE
+++ ---
---+++
CRITICAL UNCERTAINTIES
Sustaining our core valuesSustaining our core values
+++
+++ ---
---A
dapting to changeA
dapting to change
Adapted well to change and core values sustained
Adapted well to change but core values are gone
Core values still there but did not adapt well to change
Has not adapted to change and core values gone
Blue skiesBlue skies Stormy weatherStormy weather
Long hot summerLong hot summer
Climate changeClimate change
Understand how the ‘Archive’ operates
Understand thechanging environment
Identify the elements that will enable the ‘Archive’ to adapt to change
while sustaining core values
Where to now
“So much to do! Digital information is forever – or the next five years, whichever comes first….”
A presentation by Susanne HaydonFilm Specialist and Strategist