Join us at our annual conference Content in Motion: Curating Europe’s Audiovisual Heritage

Author: Maria Drabczyk
EUScreen_web cover-01 cut

 

On December 3 and 4 in Warsaw at the National Audiovisual Institute (NInA) we will be holding an international conference on curation of audiovisual heritage. The full programme for the conference, titled Content in Motion: Curating Europe’s Audiovisual Heritage, is now available and the registration is still open. We look forward to seeing you in Warsaw!

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EUscreenXL Content Partners Workshop in Vilnius

Author: Yashar Dehaghani
Vilnius

Photo by Larisa Dmuchovskaja

On the 19th and 20th of March representatives from EUscreenXL’s content partners met at the Lithuanian Central State Archives (LCVA) in Vilnius with technical and research partners as well as Europeana to examine and address practical issues and opportunities relating to the supply, delivery, and re-use of content and metadata for the EUscreenXL project.

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EUscreenXL at the Gothenburg Book Fair

Author: Dr Christopher Natzén

book fair

 

EUscreenXL will participate in the Gothenburg Book Fair on 25-28 September. The book fair is Scandinavia’s top literature event with circa 800 exhibitors and 100 000 visitors. For the second year running the book fair sets the stage for a feature called “The Digital Square”. Here organisations presents work aimed at digital access. This year the National Library of Sweden (KB) has joined forces and booth with the Swedish Film Institute (SFI) and Swedish Television (SVT) to showcase their various projects. KB as a partner of EUscreenXL is highlighting this project.

During the fair’s four days the public and professionals will be able to hands on look at the EUscreen portal as well to be able to discuss its aims and goals. On Friday morning a seminar will be dedicated to discuss user expectations on digital archives and EUscreenXL in particular.

If you are visiting Gothenburg pass by the booth! Take part of a competition hosted by Swedish Television, listen to panel discussions or just relax in our comfortable sofa with a programme from one of the participating archives/broadcasters in EUscreenXL (tablets will be available for loan). You can also join us for our reception on Thursday afternoon.

A comprehensive recapitulation of the events at the fair, the EUscreenXL reception, discussions with users, images and so forth will follow after the fair. Stay tuned!

 

 

From One Screen to Another: The Mutations of the Spectator – CALL FOR PAPERS

Call for Papers
Université Paris 8 (Centre d’études sur les médias les technologies et l’internationalisation) Institut National de l’Audiovisuel

International Conference
From One Screen to Another: The Mutations of the Spectator

1.
Throughout the last century, the movie screen has changed (in size, in format), which has fundamentally changed the art of mise-en-scene, and with it, the relationship of the spectator to the representation. When television appeared, the potential and the limits of the “small screen” were questioned, and the art of film, especially fictional film, was redefined by taking the context of reception into account. Today, productions created for even newer screens experiment with both mise-en-scene and forms of narration and seem largely dictated by novel contexts of reception (the ways of addressing the Internet user-viewer in a web series, for example). Furthermore, in a museum, some films are exhibited to the gaze of a mobile visitor-viewer.

This gives rise to some potential questions:

What does it mean to be a spectator/viewer of movies, of television, or of the web? (Simultaneously, what does it mean to be spectator of a particular genre: fiction, documentary, etc.)?
How can the spectatorial postures implied by each of these formats –themselves variable– be categorized?
How can we, in each case, think about the articulation between the position of the spectator and narrative or aesthetic invention.

2.
Our experience as spectator changes depending on whether we see a film projected on a big screen, broadcast on television, or shown from the web, whether streamed from an Internet subscription site, or downloaded to be watched on a TV, computer, or tablet screen. Similarly, watching a web series that is being shown on television or projected on a big screen at a première creates a new perspective from which to view the production. In this movement between platforms, the border between the producer and broadcaster and the spectator is blurred to the point that their respective roles are merged. The spectator’s role is transformed in the new map of viewing experience, whether it be by uploading movies pirated from the theatre or from a Blu-Ray disk, by being invited to try watching a new network (or Netflix) show, by reading comments on social media that try and predict the content of future episodes, or by the alteration of a show’s dialogue or setting. With this migration of films, televised series, or web series, the relationships that spectators create and maintain with the works and their creators change: they become cult objects that fans collect, explain, or comment on. However, they are also objects that are at risk of losing their aura when they change platforms.

This provides a second line of questioning:
How, beyond the “convergence of screens”, can we think about the concurrence and divergence of devices?
What does this movement between platforms change in the experience of the cinema, of television, and of the web?
More generally: from one screen to another, what is the role of the spectator?

Scientific Committee :

Jean Châteauvert (Université du Québec à Chicoutimi), Gilles Delavaud (Université Paris 8), Jean-Pierre Esquenazi (Université Jean Moulin Lyon 3), André Gaudreault (Université de Montréal), Marie-Françoise Grange (Université Jean Monnet Saint-Etienne), Jacques Guyot (Université Paris 8), François Jost (Université Sorbonne Nouvelle Paris 3), Denis Maréchal (Institut National de l’Audiovisuel), Roger Odin (Université Sorbonne Nouvelle Paris 3), Jean-Michel Rodes (Institut National de l’Audiovisuel), Maria Tortajada (Université de Lausanne).

Date and Location:
Institut National de l’Audiovisuel, Paris, May 21-23, 2014

Proposals (title, 20 lines/300 words, brief bio-bibliography) should be sent, before November 30, 2013, to:
Jean Châteauvert Jean_Chateauvert@uqac.ca
et Gilles Delavaud gilles.delavaud@univ-paris8.fr

Launch of the European (Post)Socialist Television History Network

The European (Post)Socialist Televsion History Network has recently come into existence. The network is a first collaborative platform dedicated to furthering comparative research into (post)socialist television histories and contributing to transnational approaches to television in Europe. The network is coordinated by Dana Mustata (University of Groningen) together with Anikó Imre (University of Southern California), Irena Carpentier Reifová (Charles University Prague), Lars Lundgren (Södertörn University Stockholm) and Ferenc Hammer (ELTE University Budapest). It will be collaborating closely with the European Television History Network. 

To mark its launch, the European (Post)Socialist Television History Network together with the Centre for Baltic and East European Studies at Södertörn University organizes a one-day international seminar on ‘Television Histories in (Post)Socialist Europe’, which will take place on November 7th, 2013 in Stockholm, Sweden. The event is a full day of round table discussions and presentations exploring the state of the art and a future agenda for studying (post)socialist television in Europe. Topics of discussion include, but are not limited to:

  • Remembering the socialist past
  • Television audiences in (post)socialist Europe
  • Technopolitics of television under socialism
  • Transnational relations of socialist television
  • Socialist television programmes
  • Screening socialist events
  • Methodological and theoretical challenges of studying (post)socialist television
  • Contributions of (post)socialist television to European television history
  • Archival challenges of accessing (post)socialist television

Confirmed speakers:

Sabina Mihelj – keynote speaker (Loughborough University, UK)

Anikó Imre (University of Southern California, USA)

Irena Carpentier Reifová (Charles University, Czech Republic)

Lars Lundgren (Södertörn University, Sweden)

Ferenc Hammer (ELTE University, Hungary)

Dana Mustata (University of Groningen, the Netherlands)

Patrik Åker (Södertörn University, Sweden)

Additional speakers to be announced.

 

Those interested in presenting are asked to send a 150-word abstract to D.Mustata@rug.nl by October 11th, 2013

To attend the seminar, please register for free at: http://post-socialisttvhistory.eventbrite.com.

Those interested in joining the European (Post)Socialist Television History Network can email Dana Mustata at D.Mustata@rug.nl. 

Licenses for European culture

Group-Photo-Licensing-workshop-2013

Our colleagues from the Europeana Awareness project held their second Licensing Workshop in Luxemburg on the 13th and 14th of June. Réka Markovich went to present the efforts EUscreen has taken to bring a massive broadcast collection with different national copyright laws online. She represented the new EUscreenXL project, in which we’ll continue our research and approaches on providing access to audiovisual heritage. 

Report by Réka Markovich from ELTE University, Hungary.

Europeana Awareness is a Best-Practice Network led by the Europeana Foundation. It’s been designed to publicize Europeana to users, policy makers, politicians and cultural heritage organizations in every Member State. The second Europeana Licensing workshop was part of research undertaken for the Europeana Awareness project by the Bibliothèque nationale de Luxembourg, Kennisland and the Institute for Information Law (IvIR). Their research focuses on possible international licensing models for digital heritage and the legal framework for cross-border licensing of copyright-protected works in Europe. In practice, this means that it explores the conditions under which works contained in the collections of cultural heritage institutions could be regulated on a cross-border basis in the context of Europeana.

Models for Cross-Border Licensing

The workshop aimed at gathering information to map the practice and implementation of the Orphan Works Directive and possible alternative contractual arrangements (such as those based on the Memorandum of Understanding on Out-of-Commerce Works). It complements a questionnaire to the European member states about the creation of an international database of Orphan Works. Member States will have to pass legislation implementing the Directive by October 2014. As far as the database is concerned, they will have to play the role of “interface” between beneficiary institutions (libraries etc) and  the office for the harmonisation of the internal market (OHIM), an EU agency with responsibility in the area of IPR, based in Alicante, Spain. The focus of this process is to identify possible loopholes in the cross-border access and re-use of works that is caused by differing national arrangements regarding categories of works, beneficiaries, scope and conditions of use, etc. For those who’d like to get an idea of the wide variety of copyrights clearance regulations in different European countries, the Public Domain Calculator gives you a good idea.

Cross-border access and use depend not only on a clear legal framework, but also on effective data collection and rights management. Therefore the workshop’s first day focused on the practical implementation of data registries, data creation and data exchange processes between the relevant actors. It was interesting to see what kind of organizations work on copyright clearance: e.g. with facilitating rights information management (ARROW) or with developing building blocks for the expression and management of rights and licensing across all content and media types (Linked Content Coalition). While legal issues cannot be easily separated from more administrative issues, day two focused on legal interoperability issues of implementing alternative (contractual) mechanisms.

Rights for Audiovisual Works

Issues of intellectual property rights are crucial when providing access to audiovisual collections. As a part of legislation, copyright law still bears some territorial nature – while a Pan-European audiovisual archive touches upon cross-border legal issues. Some kind of harmonization would be necessary to ensure the possibility of publishing and providing access to our audiovisual heritage. The Memorandum of Understanding on Key Principles on the Digitization and Making Available of Out-of-Commerce Works is sector-specific: it covers books and learned journals only. A dialogue between stakeholders is the way forward to facilitate agreements for the digitization of European out-of-commerce cultural material in other sectors—e.g. on audiovisual works—as well.

EUscreenXL will provide Europeana with 1.000.000 metadata records giving access for online content held by European broadcasters and audiovisual archives and will publish 20.000 contextualized programmes on the EUscreen portal. As the audiovisual content aggregator for Europeana, all the work packages of EUscreenXL take their cue from Europeana’s working groups. In EUscreenXL we are also working on a strategic agenda for access to audio-visual heritage through Europeana. The task is a pan-European research effort. It covers seven topics closely related to the daily reality of audio-visual archives, one of which is intellectual property rights. This activity is essential for Europeana to reach out to the audio-visual domain  and understand what needs to be put in place in order to maximize contributions to Europeana. It was therefor fascinating to hear about the legal issues-related activities of Europeana, to be in touch with the Europeana project working groups and the people behind them.

More information

 

Virtual Exhibitions shortlisted for FIAT/IFTA’s Archive Achievement Awards.

EUscreen’s Virtual Exhibitions entered the second round of one of the most prestigous competitions in the audio-visual archiving domain: FIAT/IFTA’s Archive Achievement Award 2013. It presents the most exciting audiovisual projects of the year and invites you to choose your favourite and vote for it.

The EUscreen Virtual Exhibitions have been shortlisted in the category Most Innovative Use of Archive. We’re most happy to say that we compete wagainst two projects that are close to us: EUscreen partners RTÉ Archives & Sound and Vision have been nominated with respectively The School Around The Corner and The Sound of the Netherlands.

Exhibiting EUscreen

To help users get the most from the EUscreen material, researchers, experts and members of its partner broadcasters and audiovisual archives have created a series of online exhibitions. They cover historical events, political debates and everyday life in Europe. Designing the VE tools has included various activities. Virtual Exhibition builder prototypes have been developed and tested incrementally in order to reflect the needs of the different users and to improve the ease of use.

The tools designed for these exhibitions allow for the insertion of multimedia materials from all the project’s content providers. The clips link back to the original items on the site, where users can find out more about them, share the links or get in touch with the providers themselves. 23 exhibitions with multiple strands have been produced in 2012. In the new EUscreenXL project, we’ll be working on pilots to get the tools ready for everyone to start creating their own exhibitions.

Archive achievements

The worldwide organisation FIAT/IFTA has been handing out Archive Achievement awards since 1994. A professional jury decides on the winners, but in certain categories voting is open for the wider audience. The votes from all over the world are collected by August 12th, 2013 and a winner will be announced on October 26th at the Archive Achievement Awards Ceremony during the 2013 FIAT/IFTA World Conference in Dubai. Enough time. we’d say to take a look at the various inspiring archival projects and to give your vote to the project you like best.

More information:

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Crossing Boundaries for AV Preservation

Screening the Future is a two-day conference with a focus on the preservation of digital media.This international conference brings together leaders in the fields of technology and research and those with a strategic responsibility for digitisation and digital preservation in the creative and cultural industries. The conference aims to navigate participants through current case studies and the latest thinking on standards and planning for the digital preservation of audiovisual assets.

Screening the Future 2013

May 7-8, London, Tate Modern.

For thirty years (or more in some cases) institutions and individuals have been producing sound and moving image content digitally, whether born digital or converted from analogue sources. What is the range of all this content? Are there common solutions to preservation questions? Can we find and share solutions by bringing together communities of practicefrom as wide a range as possible?

PrestoCentre is a non-profit organisation set up specifically to support audiovisual preservation any way it can. It promotes activities to support nine av preservation-connected communities:
  1. Artists and Art Museums
  2. Music and Sound Archives
  3. Video Production and Post-Production
  4. Footage Sales
  5. Film Production and Collection
  6. Research
  7. Education
  8. Broadcasting
  9. Personal collections.
The annual showcase by PrestoCentre takes place from May 7-8 at the Tate Modern, London, UK. Visit the conference website (http://2013.screeningthefuture.com) to find out more about the programme and speakers. The Tate venue should attract the notice of the Art and Art Museum community, but the conference has a wider programme and a wider ambition: to bring all these communities to one place (and time) so they can help each other out.

“Meet someone you don’t know – with problems you do know”

Key Topics of the conference include:

  • Sector-based responses to the changing technological nature of media assets in our collections and archives
  • Sector-based trends in preservation technology
  • Institutional responses to how collection and preservation mandates are realised and stretched by the digital
  • Media preservation as a sound investment; new methodologies for valuing our media assets
  • The psychology of preservation; our motivations and dynamics in practice
  • Maintaining a vision in a culture of operational alliances and partnerships
  • Acknowledging and advocating for difference; understanding the impact of sector-based and institutional distinction on preservation strategies and solutions

Featured Speakers include:

  • Matthew Addis (Arkivum Ltd.)
  • Sam Gustman (USC Digital Repository and Shoah Foundation)
  • Rob Hummel (Group 47, LLC.)
  • Michael Moon (GISTICS Inc.)
  • Kara van Malssen (AudioVisual Preservation Solutions)
  • Mark Schubin (SMPTE Fellow)
  • John Zubrzycki – conference chair (British Broadcasting Corporation)

The Early Bird Registration for the Screening the Future 2013 Conference has been extended until April 15. Don’t miss your last chance to benefit from this discount and register now at http://2013.screeningthefuture.com. For more information about the conference and registration please visit: http://2013.screeningthefuture.com

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