Scotland's Moving Image Archive at Kelvin Hall

Total Page:16

File Type:pdf, Size:1020Kb

Scotland's Moving Image Archive at Kelvin Hall National Library of Scotland Moving Image Archive Scotland’s Moving Image Archive at Kelvin Hall Ruth Washbrook Moving Image and Sound Collections Manager Scotland’s Moving Image Collection • Set up in 1976 to locate, preserve & provide access to Scotland’s moving image heritage • Part of National Library of Scotland since 2007 • Predominantly non-fiction / social history • Films from 1895 onwards • Kelvin Hall Access Centre opened September 2016 Moving Image Formats • Over 46,000 film reels, videotapes & digital files • Film gauges: • Standard 8mm / Super 8mm • 9.5mm • 16mm • 35mm • Video formats: • U-matic / Betacam SP / Digital Betacam / HDCamSR • VHS / S-VHS / D-VHS • Mini DV / DV Cam / Hi-8 • DVD / Blu-Ray • Born digital formats: • Digital files – DPX, AVI, DV etc • Digital Cinema Packages (DCP) New Home Required! Public Viewing Room – by appointment only! Archive premises at Hillington Park, Renfrewshire Kelvin Hall Archival work • Acquisition • Conservation • Preservation • Digitisation • Licensing and sales Video Preservation Capture and Encoding Suite Library Collections Showcase Scotland’s Memory A showcase of Library collections on the themes of: home, work, fun, place, filmmaking, cinema going Interactive Videowall Showcase for: • Moving Image Collection • Outreach Projects • Topical themes (e.g Christmas, Halloween etc) • Events in the building (e.g. partnership events) • Library events Themed Film Content Mum and daughter engage with the themed films Digital Collections Digitised collections: • 200,000 maps (worldwide) • 17,000 books, manuscripts, photographs, posters, music scores • 3000 films e-resources: • 1 million database records and abstracts • 100,000 books, periodicals and manuscripts • 10,000 newspapers, journals and reports Joining the Dots Digital Resources: The British Newspaper Archive – The British Library The Herald, 6 May 1921 Film: Great Western Road (1922) – Byres Road in view Map Images: Ordnance Survey 25inch Surveyed 1934 Published 1934 Lanarkshire 006.05 Learning and Outreach • Schools Workshops • CPD with Glasgow Museums • Young People • Older People • Students and researchers Learning and Outreach Projects Hippodrome Festival of Silent Cinema, Bo’ness – Blackness Primary School The Govan Choir – community filmmaking Making Optical Toys on Doors Open Day and storytelling Events and Workshops On-site: • Cinesthesia Film Club • Using Film For Local and Family History • Introduction to the Moving Image Archive • Discover Maps Online • Screening events in auditorium • Author talks • Post-Graduate Fairs Events and Workshops Partnership Events On / Offsite: • Launch of the Homeless World Cup • Glasgow Science Festival • Circus Skills workshops • Piping Live • Aye Write • CineMor – Yurt Screenings Kelvin Hall on Film National Library of Scotland Moving Image Archive Scotland’s Moving Image Archive at Kelvin Hall Ruth Washbrook Moving Image and Sound Collections Manager.
Recommended publications
  • Statistical Yearbook 2019
    STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema
    [Show full text]
  • Analog, the Sequel: an Analysis of Current Film Archiving Practice and Hesitance to Embrace Digital Preservation by Suzanna Conrad
    ANALOG, THE SEQUEL: AN ANALYSIS OF CURRENT FILM ARCHIVING PRACTICE AND HESITANCE TO EMBRACE DIGITAL PRESERVATION BY SUZANNA CONRAD ABSTRACT: Film archives preserve materials of significant cultural heritage. While current practice helps ensure 35mm film will last for at least one hundred years, digi- tal technology is creating new challenges for the traditional means of preservation. Digitally produced films can be preserved via film stock; however, digital ancillary materials and assets in many cases cannot be preserved using traditional analog means. Strategy and action for preserving this content needs to be addressed before further content is lost. To understand the current perspective of the film archives, especially in regards to the film industry’s marked hesitation to embrace digital preservation, the Academy of Motion Picture Arts and Sciences’ paper “The Digital Dilemma: Strategic Issues in Archiving and Accessing Digital Motion Picture Materials” was closely evaluated. To supplement this analysis, an interview was conducted with the collections curator at the Academy Film Archive, who explained the archives’ current approach to curation and its hesitation to move to digital technologies for preservation. Introduction Moving images are a vital part of our cultural heritage. The music, film, and broadcasting industries, as well as academic and cultural institutions, have amassed a “legacy of primary source materials” of immense value. These sources make the last one hundred years understandable as an era of the “media of the modernity.”1 Motion pictures and films were established as vital archival records as early as the 1930s with the National Archives Act, which included motion pictures in the definition of “objects of archival interest.”2 As cultural artifacts, moving images deserve archival care and preservation.3 However, the art of preserving moving images and film can at times be daunting.
    [Show full text]
  • Video Archiving Technology
    We’re going to be dealing here mainly with reformatting of tape media Figures may be based on worldwide sales of blank media, may or may not include rental video market. Not – born-digital, Film scanning Silvatone home recording apparatus – recorded TV from radio, somewhere in Ealing, west London. Ealiest known broadcast TV recording, of earliest known TV Revue. 11:10pm on 21st April 1933. 768 x 576 indistinguishable from HD from the back of the room! Pixels = picture cells or picture elements All systems scan in a sequence from top left to bottom right, though not always quite like this. Note that Rows of pixels are discrete and defined from each other, but in an analogue system, horizontal pixels do not actually exist – it’s a continuous ‘stream’ signal, similar to analogue audio. 768 figure not quite right for digital video, but more later Mentioned at start – newer systems coming along all the time. Always need to preserve frame size as is. Mains interference = ‘hum’ on audio, light and dark bands across image on video This slide includes rates in previous frame rate slide. Always need to preserve frame rate as is. Until recently, displays were cathode ray tubes, with very particular characteristics Try taking a still picture off a CRT! See here for example and details: http://www.drhdmi.eu/dictionary/refresh-rate.html Lots of problems for modern systems: Temporal order of fields is important, but differs in different systems. Interlace is a big nuisance for digital systems. Fields must be compressed separately, and need to be ‘doubled’ up to progressive for display on modern flat screens.
    [Show full text]
  • The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi T Audiovisual Archives
    Copyright ©2012 Academy of Motion Picture Arts and Sciences. “Oscar,” “Academy Award,” and the Oscar statuette are registered trademarks, and the Oscar statuette the copyrighted property, of the Academy of Motion Picture Arts and Sciences. The accuracy, completeness, and adequacy of the content herein are not guaranteed, and the Academy of Motion Picture Arts and Sciences expressly disclaims all warranties, including warranties of merchantability, fi tness for a particular purpose and non-infringement. Any legal information contained herein is not legal advice, and is not a substitute for advice of an attorney. All rights reserved under international copyright conventions. No part of this document may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without permission in writing from the publisher. Published by the Academy of Motion Picture Arts and Sciences Inquiries should be addressed to: Science and Technology Council Academy of Motion Picture Arts and Sciences 1313 Vine Street, Hollywood, CA 90028 (310) 247-3000 http://www.oscars.org Printed in the United States of America Library of Congress Cataloging-in-Publication Data The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi t Audiovisual Archives 1. Digital preservation – Case Studies. 2. Film Archives – Technological Innovations 3. Independent Filmmakers 4. Documentary Films 5. Audiovisual I. Academy of Motion Picture Arts and
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Library of Congress Collections Policy Statements: Moving Image Materials
    LIBRARY OF CONGRESS COLLECTIONS POLICY STATEMENTS ±² Collections Policy Statement Index Moving Image Materials Contents I. Scope II. Research Strengths III. Collecting Policy IV. Acquisition Sources: Current and Future V. Collecting Levels I. Scope This Collections Policy Statement for moving image materials is a distillation of Congressional mandates and collecting traditions of the Library that have evolved since the 19th century. It deals with moving image materials, in all their manifestations, as subjects and formats. It covers the content and physical formats that constitute the roots, trunk and branches of the on-going developmental record of motion picture, television broadcasts and cable dissemination, video, born digital and other moving image technologies, from the time of their inception. It includes the array of historical, cultural and aesthetic subject content recorded on and publicly disseminated via those formats and technologies. More recently, emphasis has been given to films produced for educational, industrial, or promotional purposes, known generally as "ephemeral film." In addition, it includes related production and corporate records, and materials such as photographic stills, lobby cards, programs, press books, animation, cutting continuities, scripts, and all other materials that are ancillary and, for archival preservation purposes, collected by other divisions. This Collections Policy Statement is written on the cusp of new acquisition and preservation capabilities afforded the Library with the opening of the National Audio Visual-Conservation Center (NAVCC) in Culpeper, Virginia. These new capabilities will be addressed throughout the document. II. Research Strengths Legislative Mandates. The Library's first formal codification of acquisition criteria for moving image materials was published in the Library's annual report to Congress in 1943.
    [Show full text]
  • Pragmatic Audiovisual Preservation
    http://doi.org/10.7207/twr20-10 Pragmatic Audiovisual Preservation Ashley Blewer DPC Technology Watch Report October 2020 © Digital Preservation Coalition 2020 and Ashley Blewer 2020 ISSN: 2048-7916 DOI: http://doi.org/10.7207/twr20-10 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without prior permission in writing from the publisher. The moral rights of the author have been asserted. First published in Great Britain in 2020 by the Digital Preservation Coalition. Pragmatic Audiovisual Preservation Foreword The Digital Preservation Coalition (DPC) is an advocate and catalyst for digital preservation, ensuring our members can deliver resilient long-term access to digital content and services. It is a not-for- profit membership organization whose primary objective is to raise awareness of the importance of the preservation of digital material and the attendant strategic, cultural and technological issues. It supports its members through knowledge exchange, capacity building, assurance, advocacy and partnership. The DPC’s vision is to make our digital memory accessible tomorrow. The DPC Technology Watch Reports identify, delineate, monitor and address topics that have a major bearing on ensuring our collected digital memory will be for the future. They provide an advanced introduction in order to support those charged with ensuring a robust digital memory, and they are of general interest to a wide and international audience with interests in computing, information management, collections management and technology. The reports are commissioned after consultation among DPC members about shared priorities and challenges; they are commissioned from experts; and they are thoroughly scrutinized by peers before being released.
    [Show full text]
  • SCMS 2019 Conference Program
    CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others.
    [Show full text]
  • Glasgow Cinema Programmes 1908-1914
    Dougan, Andy (2018) The development of the audience for early film in Glasgow before 1914. PhD thesis. https://theses.gla.ac.uk/9088/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] The development of the audience for early film in Glasgow before 1914 Andy Dougan Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow May 2018 ©Andy Dougan, May 2018 2 In memory of my father, Andrew Dougan. He encouraged my lifelong love of cinema and many of the happiest hours of my childhood were spent with him at many of the venues written about in this thesis. 3 Abstract This thesis investigates the development of the audience for early cinema in Glasgow. It takes a social-historical approach considering the established scholarship from Allen, Low, Hansen, Kuhn et al, on the development of early cinema audiences, and overlays this with original archival research to provide examples which are specific to Glasgow.
    [Show full text]
  • (CARLI): Guidelines for the Creation of Digital Collections
    GUIDELINES FOR THE CREATION OF DIGITAL COLLECTIONS Digitization Best Practices for Moving Images CARLI Digital Collections Users’ Group and CARLI Created Content Committee Table of Contents Scope 3 1. Introduction 3 2. Recommendations & Best Practices 4 2.1 For Digitizing Analog Moving Image Material 4 2.2 For Born-Digital Moving Image Material 5 3. Understanding Digital Video 6 3.1 The Size and Shape of the Individual Images (Frames) 6 3.2 The Resolution at Which the Images Are Captured 7 3.3 Compression Processes Used to Encode the Information (Codecs) 9 3.4 The Speed at Which the Images Follow Each Other During Playback 10 3.5 The Overall Length of the Program 11 3.6 The Accompanying Audio 11 3.7 The Size of the Files Created 11 4. Metadata 11 5. File Formats 12 6. Delivering Video on the Web 13 6.1 Download: Direct & Progressive 13 6.2 Streaming Video 14 6.3 File Formats & Players for Dissemination 15 7. Digitization Workflow 16 7.1 Digitizing Video Yourself vs. Using a Vendor 16 7.2 Doing it Yourself 17 7.3 Using a Vendor 19 Appendix A: Hardware & Software for Video Digitization, Editing, and 21 Distribution Appendix B: Examples of Video Dissemination Formats in Digital 23 Collections Appendix C: Selected List of Commercial Video Digitization Services 24 Appendix D: Links and Further Reading 25 CARLI Digital Collections Users’ Group Links revised: 01/09/2017 2 Scope: This document sets forth guidelines for digitizing moving image materials for CARLI Digital Collections. It provides a set of recommendations for technical specifications that digital objects should adhere to, as well as a discussion of digital video concepts, file formats, web delivery, and digitization workflow.
    [Show full text]
  • The Making of a Scottish National Cinema Through Short Fiction Films 1930-2016 Zach Finch University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2017 A’ Oor Ain: the Making of a Scottish National Cinema Through Short Fiction Films 1930-2016 Zach Finch University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Finch, Zach, "A’ Oor Ain: the Making of a Scottish National Cinema Through Short Fiction Films 1930-2016" (2017). Theses and Dissertations. 1469. https://dc.uwm.edu/etd/1469 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. A’ OOR AIN: THE MAKING OF A SCOTTISH NATIONAL CINEMA THROUGH SHORT FICTION FILMS 1930-2016 by Zach Finch A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2017 ABSTRACT A’ OOR AIN: THE MAKING OF A SCOTTISH NATIONAL CINEMA THROUGH SHORT FICTION FILMS 1930-2016 by Zach Finch The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Tami Williams This dissertation tells a story of Scottish national cinema through Scotland’s short fiction films from 1930 to 2016. As a small nation within the United Kingdom, Scotland’s film culture has played a subordinate role in relation to England’s, and has struggled for decades to create its own thriving film industry. However, in the mid-1990s, critics and scholars began to talk of a uniquely Scottish national cinema, rather than the traditional and all-encompassing “British cinema,” because of the success of films like Shallow Grave (1994) and Trainspotting (1996).
    [Show full text]
  • PDF to Print a Small Zine
    5151 Hi! I am a queer grad student who just moved to Glasgow, Scotland. Sharing Document It Yourself is about my quest to find archives of local This zine is free and cannot be sold or used for commercial queer narratives, with the goal of making them more interactive and purposes, but you can make as many copies as you want, accessible to the public. This zine explores different archives and share it, or give it away! queer initiatives in town, gives you a few tips if you are new to archival research or just curious about it, shows you samples of documents I found and illustrated, and helps you retrace them if you Go to documentityourselfzine.wordpress.com to find: want to learn more. • a PDF formatted for reading online/downloading The physical sites I visited are located in Glasgow (and one in Edinburgh), but you don’t have to live here in order to enjoy reading • a PDF formatted for printing this zine. • printing and binding instructions • an audiozine with the same content Contact Names have been redacted out of personal documents to Send questions/comments at [email protected] protect people’s privacy. For the purpose of a simple layout, I only put reference numbers Thanks for reading! and authors’ names on each page. All the complete sources are at the end of this zine. Lots of people have given me permission to reproduce their archival documents, so please do have a look at the ✨⚡ reference list on p.4. 2 5151 Table of Contents Introduction………………………………………………..4 Mitchell Library – Glasgow Life Archive…………5 More, more,
    [Show full text]