FOCAL International Awards 2014 in association with AP Archive.

Last chance to be honoured in the leading set of awards for the global footage business showcasing the use of library footage by producers, plus, the contribution made to the production industry by archivists, film libraries, researchers and technicians, as well as the work done to restore and preserve these irreplaceable assets.

For full details of the 18 award categories and the submissions entry form go to www.focalint.org/focal-international-awards.

The Award categories are as follows:

• Best Use of Footage in a History Production
• Best Use of Footage in a Current Affairs Production
• Best Use of Footage in a Factual Production
• Best Use of Footage in an Entertainment
• Best Use of Footage in an Arts Production
• Best Use of Music Performance Footage
• Best Use of Sports Footage
• Best Use of Footage in an Advert or Short Production
• Best Use of Wildlife and Natural History Footage
• Best Use of Footage on Digital or Non-television Platforms
• Best Use of Footage in a Home Entertainment Release
• Best Use of Footage in a Cinema Release
• Best Archive Restoration / Preservation Project
• Best Archive Restoration / Preservation Title
• The Jane Mercer Footage Researcher of the Year Award
• Footage Employee of the Year
• Footage Library of the Year
• Lifetime Achievement

JULIE LEWIS
General Manager
The Federation of Commercial Audiovisual Libraries
79 College Road, Harrow HA1 1BD, Middlesex, UK
mobile: +44 (0)795 779 5843
office: +44 (0)20 3178 3535
info@focalint.org
Visit www.focalint.org

Call for submissions Oct – Dec 2013: http://www.focalint.org/focal-international-awards

“AV Archives: Why They Matter”
Lao Department of Cinema
Vientiane, Laos
26-30 May 2014

CONFERENCE CALL

The nature, purpose and potential use of AV archives and the great cultural value and memories which these archives hold for nations and their peoples are not widely understood or properly appreciated.

The theme for the 18th SEAPAVAA Conference “AV Archives: Why They Matter” seeks to explore and discuss the myriad of issues listed below, during the two-day Symposium on 26 and 27 May 2014.

In what ways do AV archives matter? To whom and for whom do these archives matter? Do the importance and relevance of AV archives cross national boundaries? If AV archives matter, what must archivists do in terms of their advocacy and branding, engagement with stakeholders, community outreach, provision of access, appraisal, selection, acquisition, documentation and preservation? What resources, opportunities and inspirations are there for archivists to tap on and propel them to garner greater recognition for AV archives and the archiving profession? What challenges do archivists face in their endeavours? How are these challenges being addressed?

Topics of interest for the Symposium include, but are not limited to:

1. Archives Advocacy and Branding
2. Stakeholders’ Engagement and Community Outreach
3. Archives and National / Regional / World Memory
4. Repatriation of Archival Materials
5. Oral History
6. Home Movies and Amateur Films
7. Copyright
8. Organisational and Ethical Issues
9. Collection Development and Digital Curation
10. Description and Discovery of Audiovisual Resources
11. Digitisation and Digital Preservation

SEAPAVAA invites submission of contributions from members and interested participants on any of the above topics as per the schedule below.

1. Submit your proposal in English as a MS Word file via e-mail by 14 February 2014.
2. The proposal should include:
   • Title of proposed paper
   • Abstract of maximum of 250 words
   • Name and Institution (where applicable) of Proposer(s)
3. SEAPAVAA will review all submitted proposals and will notify you in writing by 24 February 2014 should your proposal be selected.
4. Full papers (maximum 20 pages / double spaced) for the selected proposals and brief bio-data of the Author(s) / Presenter(s) are to be submitted by 14 May 2014.
5. Presenters will have 30 minutes to deliver the summary of their paper in English during the Symposium. The full written paper is not to be read.
6. Please note that travel expenses, accommodation and subsistence of attending the 18th SEAPAVAA Conference are the full responsibility of the Presenter(s) of accepted proposals. All attendees, including Presenter(s), are required to register and pay the full conference registration fee.

Please contact the following persons to submit proposals or if you have queries on conference matters:

• Adrian Wood: adrianjwood@aol.com
• Irene Lim: Irene_Lei_Lian_Lim@nlb.gov.sg
• Karen Chan: karen@asianfilmarchive.org
• SEAPAVAA Secretariat: seapavaasecretariat@gmail.com

18th SEAPAVAA CONFERENCE AND GENERAL ASSEMBLY

The 18th SEAPAVAA Conference and General Assembly is hosted by the Lao Department of Cinema. The charming and hospitable Laos capital of Vientiane will enchant you and promises to add to the definitive warmth that the annual conferences of SEAPAVAA are known for. Expand your networks, and meet and bond with fellow professionals and institutions in the archiving field. Look out for the conference registration form on the SEAPAVAA website (http://archives.pia.gov.ph/seapavaa/).

The Conference has a host of other events including:

• Symposium on 26 and 27 May 2014
• Archival Gems Screening on 28 May 2014
• Trade Exhibition from 26 to 29 May 2014
• Institutional Visits on 30 May 2014
• Excursion on 30 May 2014
• Workshops on 31 May and 1 June 2014
• 18th SEAPAVAA General Assembly for Members on 28 and 29 May 2014

Conference Call Issued By: Executive Council, SEAPAVAA
Date: 22 October 2013

Download: PDF version

(http://www.archives@risk.org)

Background

• An Inter Organisational Group on Archive at Risk was created in February 2006, following the session on endangered archives held at the World Electronic Media Forum – WEMF II, on the occasion of the World Summit of the Information Society (Tunis, 15-16 November 2005). The Group consisted of:
• United Nations, represented by Lily Chau, Antonio da Silva
• UNESCO, represented by Joie Springer
• WBU-World Broadcasting Union, represented by David Baylor
• EBU/UER – European Broadcasting Union, represented by David Wood
• FIAT/IFTA – International Federation of Television Archive, represented by Herbert Hayduck, Sue Malden, Dominique Saintville
• Matt White (independent)

FIAT/IFTA has joined with other audiovisual archive organisations to assign organisation of the Archives@Risk initiative to the CCAAA (Coordinating Council for Audiovisual Archive Associations). Sue Malden is the executive coordinator.

About Archives@Risk Project / Website

Millions of hours of film, television and radio are at Risk!

Worn by time, eaten away by acidity, victims of wars, dictatorships, or natural disasters, the audiovisual archives of humanity are in jeopardy. No country, even the most advanced in terms of digitization and conservation, will escape this risk of destruction.

We cannot resign ourselves to losing entire volumes of the worldwide audiovisual heritage and thus endangering the cause of preservation of the world’s cultural identities. It is imperative to ensure that the world’s population is able to transmit their audiovisual memory to future generations.

The objective of the Archives@Risk project is to develop lobbying activities on behalf of endangered archives throughout the world, so that resources can be found to save and give access to the world audiovisual heritage. The first stage of the project is dedicated to setting up the Archives@Risk web site, raising awareness of the imminence to this part of the worlds cultural heritage, offering professional media management resources, and identifying sources of funding for these archives.

About the Call

CCAAA invites SEAPAVAA members to submit endangered footage from their audiovisual collections to the Archives@Risk web site, to illustrate the richness of audiovisual archives that are potentially in danger. The submission guidelines are as follows:

1. Choose any typical endangered footage of 2 to 3 minutes duration or less.
2. Contextualise the footage, that is, explain what the footage is about, why it is important and considered to be endangered.
3. The preferred format is .MOV files but any YouTube supported format is acceptable. The Archives@Risk web site will be served through YouTube.
4. Submit footage to Sue Malden, Executive Coordinator of the Archives@Risk project –sue.malden@btopenworld.com.
5. Submission deadline – 10 October 2013.
6. Direct enquiries to Sue Malden – sue.malden@btopenworld.com.

Issued by: SEAPAVAA Executive Council, on behalf of CCAAA

Date: 17 September 2013

Announcing the AMIA Supplier Directory: A Global Directory of Services and Suppliers of Audiovisual Media. Add your company or organization today! It’s free and easy.

The AMIA Supplier Directory will be a new online publication, available to the public through the AMIA website. The Supplier Directory will be updated quarterly. The target date for the first issue is January 15, 2014. We need your help to make this a truly valuable resource. If you are a supplier, service provider, association, or other organization serving those who work with audiovisual media, please add your listing through the simple submission form at http://tinyurl.com/AMIA-SD. AV archivists are encouraged to spread the word to companies they work with in their regions.

What kind of companies and organizations will be listed in the Directory?

Appraisers . Associations and Organizations . Consulting . Digital Archival Storage and Management Services . Educational Programs . Hardware Sales and Services . Media Asset Management Sales and Services . Physical Archival Storage and Management Services . Reformatting and Restoration Services . Software Sales and Services . Supplies and Equipment . Stock Footage and Stills

How do I get a listing for my company?

Go to the submission form here (http://tinyurl.com/AMIA-SD). Listings are free, but there are opportunities to enhance a listing for a nominal fee. If you are an AMIA Institutional Member, there is no cost for an enhanced listing and AMIA Institutional Members are listed in the front of each section.

What are the fees for enhanced listings?

As an AMIA Institutional Member, your listing is included in your membership. Other listings, with the number of words allotted for your description of services:

Enhanced Listing	75 words, plus live weblink	$500 (three issues)
Upgraded Listing	25 words, plus weblink	$250 (three issues)
Free Listing	10 words

What do the listings look like?

Look at the sample listings on the AMIA website here: www.amianet.org/node/1213

How can I access the Directory?

Our target date for the first Directory is January 15, 2014. As a project of AMIA’s International Outreach and Preservation Committees, the Directory will be sent to AMIA’s more than 1,000 members and made available on the AMIA Website Resources as a free download to anyone in the field. It will be promoted on listservs and social media to AMIA members as well as other professional groups in the field.

A message from the CCAAA Secretary General

Dear Colleagues,

World Day for Audiovisual Heritage (WDAVH), 27 October 2013: “Saving our Heritage for the Next Generation”

This year the WDAVH website will be hosted by IASA. We recommend that your organisation provides a link to the site:www.iasa-web.org/world-day-audiovisual-heritage

IASA will post any relevant content received on the site so please encourage your organisations’ members to share how they plan to mark this important occasion with the audiovisual archiving community. It would be helpful if each CCAAA member organisation appointed one person to liaise with IASA and send texts, photos, web and email links, and even copyright-cleared sound and video clips celebrating the day, to rranft@iasa-web.org

Here are some guidelines for the submission of content:

• text and photos should be in soft copy not just submit a URL of existing website
• Photos should be accompanied with captions and already reduced to web resolution
• In case of non-English contributions, submit the screengrab of the foreign language website.

Links to the following websites from members’ websites would also be appropriate:

• celebrations for the 20th anniversary of the Memory of the World Programme on UNESCO’s website (http://www.unesco.org/new/en/communication-and-information/events/calend… )
• Archives at Risk programme on the CCAAA site

Best regards

Catherine Lacken
CCAAA Secretary General

Announcement of conference theme, host, venue and date
Theme:	“AV Archives: Why They Matter”
Host:	Lao Department of Cinema
Venue:	Vientiane, Laos
Date:	26 to 30 May 2014

Look out for the Call For Papers and conference information!

17th SEAPAVAA CONFERENCE
Redefining the Audiovisual Archives in the Digital Age
27-31 May 2013
Asia Hotel, Bangkok, Thailand

The following statements were developed and adopted by conference delegates at the conclusion of the two-day Symposium on 27-28 May 2013.

Concluding Statements

1. Archives which have been developed over time are continuously being redefined.
2. The digital era presents opportunities and challenges to the archival institutions but archives will continue to exist because the work of archives is meant to last.
3. Archives need to recognise the difference between preserving moving images and sound recordings in the analogue versus the digital domains.
4. Archiving processes such as appraisal, selection, documentation and metadata enrichment remain relevant in the digital era.
5. Archives become more valuable when we are able to understand and anticipate what users want and allow the archival contents to be meaningfully utilised by stakeholders.
6. Archives need to re-think how we can make our work necessary and relevant to the community in order to gain support for what we do.
7. Legislation pertaining to AV archiving needs to keep pace as the archiving profession has already evolved along with the digital era.
8. Technological changes have permitted archives to innovate the management, preservation, documentation and provision of access to their collections.
9. While social media is transitory by nature, archives are distinct, authoritative and permanent primary sources of information. Archives need to maintain trust in their distinctiveness.
10. Audiovisual archivists need to maintain their current skills while acquiring new and targeted skills so that they may contribute positively to the advancement of their respective institutions in the redefining archiving framework.
11. Coordinated advocacy and lobbying are critical to promote the status and visibility of AV archiving and the AV heritage in each country.
12. Communication and cooperation among archival institutions, individual archivists and professional associations are vital to the rapid advancement of the AV archiving field and to the deepening of knowledge and expertise.

16th SEAPAVAA CONFERENCE
Creating, Funding, Protecting a Digital Archive
REX Hotel – Ho Chi Minh City, Vietnam
14-21 April 2012

Conference Conclusion

The 16th SEAPAVAA Conference with the theme: “Creating, Funding, Protecting a Digital Archive,” ended with the following concluding statements:

1. Digitization is not equivalent to preservation. Preservation pertains to the totality of actions taken to ensure the continued accessibility of the AV Collection in the digital domain.
2. A well planned and executed preservation programme should already incorporate policies and strategies for managing risks , rights, and disaster mitigation, including contingencies for recovery in the event of disaster, among others. From the very beginning, permissions for rights should be worked out; and the risks, threats and the strategies to address them must already be identified;
3. Archives should be clear as to what it can preserve and what it wants to preserve in the digital format. Audio and video collection should move to AV digital archive to ensure long-term survival of the collection. As to films, expert opinion proposes to keep them in their original film format for preservation and digitize them for access.
4. There appears to be two models for starting a digital preservation programme:
   1. Start small with a modest number of materials and build on the experience to expand;
   2. Conceptualize the whole programme and how all the risks and challenges will be met;
5. Archives should endeavor to liaise with others who have similar interests or who may have developed the expertise required for the same kind of materials it is interested in for guidance and mentoring and/or for possible cooperative ventures;
6. There are different file formats to consider in creating digital archives: file format for preservation ; format for working copy and for access;
7. Digital collection would require an active maintenance programme to ensure that files are not corrupted and remain accessible. It involves establishing a data refresh regime suited to the life of the media and migration of data to new current hardware format. Adequate preservation metadata will be essential in all these.
8. Appraisal and selection of digitally born AV archives issues, approaches and strategies need further discussion and thinking through.
9. Archives should maintain awareness of evolving methods at standards to make the tasks of preservation easier.
10. The Archives may play a role in influencing the tasks of preservation by educating the filmmakers beforehand about the preservation issues in the digital age especially with regards to the choice of format in producing the film.
11. Public support is the key to funding and web-based public access platforms (Youtube, cloud computing, etc) are key to public support; advocacy and clear communication with various stakeholders must be undertaken to ensure success.
12. In terms of the way ahead, AV archives need to keep abreast of the evolving digital technology and continue to build their capacity to respond to these challenges.

Concluding statements recorded by Belina Capul

 Audiovisual and Multimedia Section

AV Collections for Non-Specialist Librarians
An IFLA Audiovisual and Multimedia Section workshop
One day training workshop, Singapore, 19th August 2013 at NYU Tisch School of Arts

Objective
This workshop will provide an introduction to audiovisual collections management and preservation. Participants will learn the basics of caring for audio and video collections, and where to find other resources for learning, such as on-line and print publications, discussion groups, and professional associations.

Audience
The workshop is for librarians in organizations that primarily have paper materials, but who also manage collections that include sound or moving images. In this workshop, they will learn the basic principles to apply to these collections, such as recognizing various formats, assessing collection risks, reformatting issues, metadata issues, providing access, and approaches to management and planning.

Speaker
Howard Besser (Director of New York University’s Moving Image Archiving & Preservation masters degree program, and long-time library science professor, author, and speaker)

Schedule

10:00 – 10:30	Welcome & introduction to the workshop objectives
10:30 – 11:30	Types of collections and their specific needs
11:30 – 12:15	Film: identification and risk assessment. How it works. Gauges and supports. Generations and elements. Deterioration.
12:15 – 12:45	Sound: identification and risk assessment. How it works. Format identification. Preservation.
12:45 – 14:00	Lunch (on your own)
14:00 – 14:30	Video: identification and risk assessment. How it works. Format identification. Preservation.
14:30 – 15:00	Storage conditions and life expectancy for Film, Video, Sound
15:00 – 15:15	Break
15:15 – 16:00	Transferring and reformatting film, video and sound. Complications of doing it in-house. Complications of dealing with outside vendors Quality Control.
16:00 – 16:45	Providing access: on site, on line. Metadata, access formats, rights. Conclusions.
16:45 – 17:00	Wrap up and discussion

Location
This all day session will be held offsite during the IFLA World Library and Information Congress and 79th IFLA General Conference and Assembly at the NYU Tisch School of the Arts, Kay Siang Road, Singapore 248923. Directions to the site by public transportation will be provided to registrants.

The Workshop is organised by the IFLA Audiovisual and Multimedia Section, in collaboration with New York University Tisch School of the Arts and New York University’s Moving Image Archiving & Preservation masters degree program.

Registration
Registration for IFLA delegates is limited to 35 participants. There is no registration fee but registration is required. Please register via email (including name, affiliation and email address) to glabbott@syr.edu no later than 1st August 2013.