Enjoy these clips about the ‘British way of life’ and life across the Commonwealth in the 60s and 70s, presented by the British Universities Film and Video Council in collaboration with the British Film Institute.
Content in Motion: Curating Europe’s Audiovisual Heritage | Registration for our annual conference is open!
We invite you to our conference in Warsaw to discuss the online presence of Europe’s audiovisual collections.
FRAME is a training course on new technologies applied to the restoration, digitization, preservation and use of audiovisual and cinematographic archives.
The 2015 edition of the FRAME seminar, dedicated to European and non European professionals of the media industry, will take place in June and October, hosted by Ina EXPERT in partnership with EBU, FIAT/IFTA and Creative Europe.
In a fast and ever moving technological world, the management of audiovisual content evolves: digitization of analogue contents, long term preservation of born digital contents, description, accessibility through innovative ways of delivery and promotion are key issues. The FRAME training addresses, in 2 sessions, each step of the management of these contents.
The seminar is tailored to European and non-European professionals working in the field of audiovisual heritage and content management and allows for 15 participants per session.
22 to 26 June 2015
Methodological and technical issues for the implementation of digitization systems for film, video and sound archives, and the choice of formats, storage and digital content infrastructures.
19 to 23 October 2015
New uses of archives, which use for which users (professionals, researchers, and general public), documentation, rights’ management and physical and digital restoration of images.
Photo source: www.ina-expert.com/our-achievements/frame-2015.html
The Balkans brim with history. The Balkan’s Memory project attempted, for the last three years, to reach out and bring tools to the region to preserve it. An ambitious goal, uniting film and television archives from across all different countries in the region.
In Sarajevo, the project celebrated its achievements with a final conference, at the majestuous Hotel Europe – home to European diplomats and others with interests in the region. Squarely positioned next to the city’s Ottoman-style old town, it was the perfect location to talk about the future of the past.
Balkan’s Memory is a project led by the French Institut National de l’Audiovisuel (Ina), the Mediterranean Permanent Conference for the Audiovisual (COPEAM), the Croatian Audiovisual Centre and the National Film Archive of Albania (AQSHF). With support from the European Commission, it set up a series of conferences and symposia in Zagreb, Tirana, Belgrade, Podgorica and Skopje (the latter also home to this year’s FIAF conference). Together they explored the various skills an audiovisual archive needs to go well into the 21st Century.
What Archives Need
Both Sead Bajrić and Ella Pavlovic from Bosnian broadcaster BHRT stressed the importance or re-establishing a network and links that over the years had gotten lost. As ministers Denisa Sarajlić-Maglić, Deputy Minister of Civil Affairs, and Minister of Culture Ivica Sarić stressed, especially in a time where the budgets for culture areas low as they are, it remains important to research common activities in the region. Especially in the Balkans, which experienced events that didn’t contribute to the preservation of anything, it’s most important to look ahead and apply best practices for preserving cultural objects.
As Delphine Wibaux (Ina) explained, archival practices can be summed up and taken up in a three-year project like this quite nicely. The assumption at the start of the project was that to preserve a region’s audiovisual heritage, what’s needed is a combination of political wilingness, money, knowledge & competences. Out of this assumption came 3 main actions that, in cooperation with EBU, were implemented by:
- Raising awareness among decision-makers on the necessity to invest in archive preservation
- Analyzing the situation of av materials
- Exchanging know-how between the archives.
The project set out to achieve these actions by executing complete appraisal of archives collections of PSM and Film archives and the region. Another outcome was that out of the project an operational team arose as a think tank of public service media heads of archives.
What Archives Can Learn
Daniel Teruggi (Ina) set out to give an overview of the history of archival concepts and the relationship between giving access and digitizing collections. Traditional notices of archives are in direct contradiction to the digital paradigm, in which access has become the most important driver for digitisation, rather than storage and long-term record keeping. Mimi Gjorgoska Ilievska stressed the importance of archives exchanging networking & training. Examples of this need were given by Blago Markota (HRT), Dana Mustata (RUG) and Christel Goossens (EBU).
Markota detailed how the Croatian broadcaster’s policies are informed by working in an international context, with domain networks such as FIAT/IFTA, EBU and the Europeana family through EUscreen. Mustata explained how the Television Studies Commission of FIAT/IFTA aims to use the gathered brainpower of media academics to inform archive collection’s selection policies and methods of providing access to the public in a supra-national setting. Eastern European content specifically is extra hidden under behind a language barrier. The commission set up a Training & Studies grant for young researchers. Its next workshop will be held at TVR Bucharest in March 2015 on the topic of Unlocking Broadcast Archives in Eastern Europe. Ms. Goossens talked about the EBU’s partnership programme, which was set up to provide EBU members who find themselves in difficulties with scholarships, consultancy and ‘solidarity packages’. The broadcasting union received funds from the EU to develop public service media broadcasters’ strengths in the Balkan region, the results of which will be presented in 2015. Ms. Ilievska closed the training part with an overview of film-related activities done by the International Federation of Film Archives (FIAF), namely the Film Restoration Summer School, and the Association des Cinémathèques Européennes (ACE) , which set up a series of workshops to improve film archive management policies.
What Archives Can Achieve When They Collaborate
Saša Tkalec from the Croatian Conservation Institute moderated the panel on collaboration, in which the
European Film Gateway was presented by Aleksandar Erdeljanović from Belgrade-based Yougoslavian Cinematheque. Erwin Verbruggen explained the ins and outs of the work we do in EUscreen.
Jean-Gabriel Minel told the riveting story of how Ina built a moveable digitisation station that was shipped across the seven seas to aid archives across the French territories to digitize their collections. Snežana Radonćić from RTCG and Aleksandra Cerović from the Cinematheque in Montenegro showed a successful collaboration between their organisations for film preservation.
The final round table them discussed the different existing ways of financing and on which criteria they select the projects they want to support. Eriona Vyshka from the Albanian film archive AQSHF moderated. Antonia Kovacheva, whose organisation BNFA has had to move 19 times over the past decades, presented her dream of financing the preservation of film collections in Bulgaria. One nightmare came true last week, when a tabloid spread the news that one of Bulgaria’s blockbuster movies was lost – while it was simply available in the film archive. Nobody had called them to verify the story. Sanja Ravlić from the Croatian Audiovisual Centre explained how she is pushing and lobbying to include audiovisual heritage in the strategy of Croatia’s funding for digitizing cultural heritage. Camille Martin (Ina), one of the co-organisers of the conference, finally presented the Save you Archive programme, which is financed by FIAT/IFTA.
The End – A New Beginning
As such, the event was jam-packed with information and brought archive keepers together from across several borders, sub-domains and specializations. We are specifically looking forward to seeing the results of all this knowledge sharing as more open and accessible Balkan archives in the near future!
The last session of the Rome Conference, moderated by Erwin Verbruggen, the speakers addressed the issue of user experiences with audiovisual content. What do specific target group want? How to animate users and reach new audiences? Researchers and AV professionals shared their best practices.
Teachers could use more AV content
Karen Vander Paetse demonstrated results of a research carried out by the Flemish Institute for Archiving with the focus on “What do teachers want?” in terms of using audiovisual heritage in the classroom. She stressed the fact that the use of AV material in the teaching process has been highly overestimated and teachers use illustrations much more frequently than clips and audio material. When teachers incorporate AV files into their teaching methods, it’s mostly because they want to better achieve learning objectives, motivate students, explain difficult concepts and improve attention span. On the other hand, teachers asked why they don’t use AV material explained that they have no time to search (22%), don’t have access to available technology (21%) and don’t know how to search (19%). More than 1/3 of the respondents said that they use the material recommended to them by their colleagues. The Flemish Institute for Archiving drew conclusions and implications from research for their own activity. In order to increase the use of AV clips among teachers the quality (not quantity!) of the material should be increased and the search process should be facilitated.
Less text, more interaction!
Rebakah Polding showed how to change a metadata-focused website into an interactive and engaging platform with AV content. The London’s Screen Archives have dramatically redeveloped their website when they realized it created no user engagement and was centered much more around text and information than the real value of the collection – video clips. They followed the examples of British Pathé, History Pin, Yorkshire’s film heritage and Imperial War Museum which were successful in contextualizing the clips and giving users hints and suggestions “what’s so interesting about this video”. They used stills to make more-user friendly environment and borrowed from Amazon which uses its own catalogue to contextualize data. They also looked into the examples of real-life institutions like Tate Modern and the way the museum visitors directly experience modern art. The new website has an entirely new interface which enables to play films directly on the homepage.
Back to the Future
Thanks to Gunnar Liestøl we were able to truly “travel through times”. He presented so called “situated simulations” tool, which enables to see (on a smartphone or tablet) how the place we’re situated at looked like in the past or will look like in future. t As the user moves in real space the perspective inside the 3D graphic space changes accordingly. The video shows how this incredible tool works:
Engaging the over-65s
Daniela Trevi Gennari, Silvia Dibeluto and Sarah Culhane presented the outcomes of their own research on cinema-going in Rome carried out in 2009. They explored the social experience of cinema-going by interviewing surviving audience members, analyzing their responses and contextualizing them through further archival research. Their methodology included oral history approach, statistical surveys of audiences, box-office takings, and relevant period press material. They focused on the issue of engagement with digital platform by the over-65s and highlighted the occurring trends and challenges, illustrating it with a funny video:
Using a case study of Elena, an elder lady and an active Facebook user, they concluded that “it is our aim to create an online space that facilitates discussion and interaction among users, who can enjoy a sense of community in remembering a shared past, while also engaging younger users who wish to gain insights into their cultural heritage.”
EUscreenXL Conference 2014 Rome
CALL FOR PAPERS AND WORKSHOPS
From Audience to User: New Ways of Engaging with Audiovisual Heritage Online
EUscreenXL welcomes You to the EUscreenXL Conference 2014 on October 30-31 in Casa del Cinema in Villa Borghese, Rome (Italy)!
Attracting audiences and engaging users with content has become a key issue for archivists, broadcasters, educators and anyone publishing content online. With growing amounts of digitised content online, heritage projects and collection holders are increasingly aware of the need to engage with their users. Knowing how and why users interact (or don’t) with the resources and their presentation online helps inform what strategies are most insightful for the development of sustainable communities of users to participate in archival projects, enrich collections and disseminate their content. A user-oriented approach is crucial for both promotion and dissemination of online content as well as for developing sustainable future for projects and institutions in the heritage sector.
With the upcoming conference “From Audience to User: New Ways of Engaging with Audiovisual Heritage Online” the EUscreen network wants to address the current challenges for online cultural heritage initiatives and discuss these with archivists, scholars of cultural – and particularly audiovisual – heritage, web designers, data specialists and policy makers.
We invite proposals for papers and workshops that address – among others – the following questions and issues:
How to read statistics of usage to better understand what users do, want and engage with?
How to increase usage and and encourage engagement of the users – focus on the user experience (UX)?
How to build and engage sustainable communities with online content?
How to extract quantitative and qualitative data in order to be more responsive to the needs of the audience/users and those of the professionals?
Which marketing strategies, business-oriented approaches can be identified as useful for the future development of audiovisual heritage platforms?
Please submit a paper abstract of 250 words including short abstracts and titles of each prospective paper to email@example.com. Include name, affiliation, address, and e-mail address of each author/participant.
All proposals will be evaluated by the Conference Board.
Deadline for applications and abstracts: 21st May 2014
Notification of abstracts acceptance: 9th June 2014
If you have any questions about submissions, please contact Kamila Lewandowska, EUscreenXL communication specialist (firstname.lastname@example.org).
Press release from TVC
UNESCO had proclaimed 27 October as World Day for Audiovisual Heritage, to highlight the importance of audiovisual materials (films, records video and audio, radio and television) and to encourage the protection and preservation of this documents as fundamental part of the cultural heritage and expression of national identity. The social and cultural development of XX and XXI centuries can not be understood without the audiovisual documents, which have become indispensable complements of written documents.
From its creation, in 1983, TVC, Televisió de Catalunya, has preserved all its production and broadcastings. Today, TVC archive is an important part of the Catalan Audiovisual Heritage. Catalan political, social and cultural development since 1983 is reflected in TVC archive. TVC productions are complemented by older materials, retrieved in other archives or private collections for the production of historical documentaries and included also in the archive.
In 2004 TVC implemented a digital production and archive system, Digition. The process of digitizing the old archive tapes to incorporate its content into the digital archive had started in 2006. Today, 45% of videotapes holdings are already digitized. For the digitizing process there have been prioritized materials in obsolete or fragile tapes, but also materials than are most likely to be used. Thus, some archive collections, like the broadcast news and sports stories from 1984, or the program “30 minutes”, are already digitized nearly 100%.
Internal users have direct access to all the digital archive materials, managed and indexed by the Documentation Department. Archive holdings are widely used. More than 500 clips, about 75 hours, are retrieved from the archive by day, for different purposes: rebroadcasting, reuse in new productions, sales..
An important part of the digital archive is also accessible online. In TVC website, 3alacarta video-on-demand service, nourished daily of new productions but also incorporating part the old material digitized, offers users more than 80,000 videos online. A selection of productions with educational value is also accessible in EDU3 website. And with the participation of TVC in European projects, as VideoActive and EUscreen,, a significant selection of digital archive holdings are also accessible through Europeana.
With the digitalization of the archive, TVC is achieving a dual objective, preservation and accessibility, that is, ensure the permanent preservation of the images in the best possible quality and provide an easy access, both to internal and external users.
Today is UNESCO’s World Day for Audiovisual Heritage and this year’s theme is “ Save and Savour – Now!” According to UNESCO, audiovisual heritage contains the records of the 20th and 21st century, but is also vulnerable in it’s current status. There are only 10 to 15 years left to digitize audiovisual records to prevent their loss.
The theme of this edition of the World Day however is not only about saving the audiovisual heritage but also about savoring it. To enable audiences to really enjoy audiovisual heritage, providing access is vital. This is exactly the case with a project like EUscreen. By putting digitized content online, participating archives do not only preserve their material for the future, but also open it up for the public now. EUscreen offers users from all over the world the opportunity to watch and enjoy television heritage from almost every country in Europe. The content is contextualized to offer meaningful access to this heritage. EUscreen will experiment with the publication of online collections under a CC-license in collaboration with the platform Open Images.
To celebrate UNESCO’s World Day for Audiovisual Heritage, the platform has uploaded it’s 1000th item. The item is a Polygoon news reel from the Netherlands Institute for Sound and Vision.
“Open Images is an open media platform that offers online access to audiovisual archive material to stimulate creative reuse. Footage from audiovisual collections can be downloaded and remixed into new works. Users of Open Images also have the opportunity to add their own material to the platform and thus expand the collection.” (From openimages.eu)
A platform like Open Images offers users the opportunity to reuse and remix audiovisual heritage for their own purposes and truly supports UNESCO’s thought of save and savour- now!