Below is a list of courses offered through the Moving Image Archiving and Preservation Program that are open to all graduate students. Please feel free to forward to your students. Thanks! –Alicia
Coordinator, Moving Image Archiving and Preservation Program (MIAP)
Department of Cinema Studies / Tisch School of the Arts, NYU
HANDLING COMPLEX MEDIA H72.1805, 4 Points, CALL #: 71211
Howard Besser, Tuesday 12:30PM – 4:30PM, 665 B’Way, Room 643
Open to all graduates. This seminar will increase students’ knowledge of primary issues and emerging strategies for the preservation of media works that go beyond single channels/screens. Students will gain practical skills with identification and risk assessment for works as a whole and their component parts, particularly in the areas of audio and visual media and digital interactive media projects that are stored on fixed media, presented as installations, and existing in networks. Possible examples of production modes/works to be studied are animations (individual works and motion graphics) web sites, games, interactive multimedia (i.e., educational/artist CDROMs), and technology-dependent art installations. Students will test principles and practices of traditional collection management with these works, such as appraisal, selection, care and handling, risk/condition assessment, “triage”, desc-ription, and storage and will be actively involved in developing new strategie
s for their care and preservation. Case studies will be undertaken in collaboration with artists/producers, museums, libraries, and/or archives. To obtain consent to enroll in this course, e-mail a statement of interest to email@example.com.
CURATING MOVING IMAGES H72.1806 , 4 points, CALL #: 71212
Dan Streible, Thursday 12:30PM – 4:30PM, Room
Open to all graduates. The word curating differs in meaning in different contexts. This course embraces a broad conception of curating as the treatment of materials from their acquisition, archiving, preservation, restoration, and reformatting, through their screening, programming, use, re-use, exploitation, translation, and interpretation.
This course focuses on the practices of film and video exhibition in museums, archives, cinematheques, and other venues. It examines the goals of public programming, its constituencies, and the curatorial and archival challenges of presenting film, video, and new media. We study how archives and sister institutions present their work through exhibitions, events, publications, and media productions. We also examine how these presentations provoke uses of moving image collections. Specific curatorial practices of the 2010 and 2012 Orphan Film Symposium, as well as the 2011 Robert Flaherty Film Seminar, will be examined in detail. The course will have some site visits to museums and archives and several guest speakers. To obtain consent, e-mail a statement of interest to Dan.Streible@nyu.edu or speak with him during office hours.
CULTURE OF ARCHIVES, MUSEUMS & LIBRARIES H72.3049, 4 points, CALL #: 71226
Antonia Lant, Tuesday 12:30PM – 4:30PM
Open to all graduates. This course studies the different kinds of institutions that collect and manage moving image material: museums of art, natural history, and motion pictures; libraries and historical societies; corporate institutions. It compares and contrasts these types of institution to reveal how they differ from one another. It examines theories of collecting, the history of moving image archiving, the organizational structures of institutions that house moving images (including trends in staffing and the roles of individual departments), and their respective missions and operational ethics. Experts who are professionally concerned with moving image collections will visit the seminar, or we will visit their institutions. To obtain consent to enroll in this course, please e-mail a statement of interest to Antonia Lant, firstname.lastname@example.org
Howard Besser is Director of NYU’s Moving Image Archiving & Preservation program. For 30 years Besser has been a leader in library and museum automation, and in the handling of still and moving image in libraries, museums, and archives. For more than a dozen years Besser has been a fundamental force in digital preservation, and last year was named to the Library of Congress’ select list of “Pioneers of Digital Preservation”. He is a recognized expert on standards, copyright, metadata, and preservation issues, especially as applied to digital materials. Besser has been on the faculty of several library schools, and was on the Committees that created what became the Dublin Core, METS, and PREMIS standards.
Antonia Lant is a historian with a strong commitment to the safeguarding of cultural documents and is the founding director of the Moving Image Archiving and Preservation Program as well as the interim Chair of the Department of Cinema Studies Her interests span the fields of art history, cinema studies, and women’s history.
Dan Streible teaches courses in film history, archiving, curating, and documentary and serves as associate director of the MIAP program. Streible has published research on the history of movie exhibition, early cinema, amateur filmmaking, nontheatrical film, and moving image preservation, in anthologies and in journals such as Cinema Journal, Film History, and The Velvet Light Trap. He serves as a founding member of the editorial boards of The Moving Image and the Journal of E-Media Studies. Since 1999, he has organized the biannual Orphan Film Symposium, bringing together archivists, academics and artists to save, screen and study neglected artifacts from the history of film and television. Streible was elected to the Board of Directors of the Association of Moving Image Archivists (2004-06) and appointed to the National Film Preservation Board (2005-09).
Peter J. Wosh
Director, Archives/Public History Program
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017