Preparing A Christmas Carol Adaptations in the Guida Collection for Digital Accessibility

The Guida Collection Team: Joshua DeOliveira Spencer McClellan Thien-Kim Nguyen Alexander Young [email protected]

Prof. Joel J. Brattin, Project Advisor Prof. John-Michael Davis, Project Advisor

July 9, 2020

An Interactive Qualifying Project submitted to the Faculty of Worcester Polytechnic Institute in partial fulfillment of the requirements for the Degree of Bachelor of Science.

This report represents the work of WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its website without editorial or peer review. For more information about the projects program at WPI, please see http://www.wpi.edu/academics/ugradstudies/project-learning.html

Abstract

Fred Guida donated an extensive Charles Dickens collection to the Gordon Library in 2019. Our team catalogued and recorded all 167 A Christmas Carol-related works and their metadata years ahead of the library’s schedule. Having this information publicly accessible via WPI’s digital archive will benefit scholarly research and cultural preservation, so we have provided prioritization and copyright recommendations for their digitization. We also documented our cataloguing process as a user guide for future archival work.

ii Acknowledgements

Our team would like to thank both of our advisors, Professor John-Michael Davis and Professor Joel J. Brattin, for guiding us on the development of this project. Our main contact with the Gordon Library, University Archivist Arthur Carlson, gave us invaluable help on using ArchivesSpace, and delivering the media to us when we could not access the library. Mr. Carlson’s initial contacts and introductions to digitization companies and other librarians were essential to the success of our work. He introduced us to the Access Archivist Amy Smid, and to the Digital Programs and Archives Assistant Emily O’Brien, who provided us with guidance and resources regarding metadata acquisition from the Guida Collection.

iii Authorship

The completion of this report was a joint effort of the members of the WPI E20 Guida Collection Team. While all members participated in a final review and edit of each section, the following chart attributes the writing of each section to those primarily responsible for its completion:

Section Primary Writer Primary Editor

Executive Summary All All

Introduction All All

2.1: Charles Dickens Literary Thien-Kim Nguyen Spencer McClellan Legacy

2.2: The Historical Importance of A Christmas Thien-Kim Nguyen Joshua DeOliveira Carol

2.3: The Guida Collection Thien-Kim Nguyen Alexander Young

2.4: Digitizing the Physical Joshua DeOliveira Thien-Kim Nguyen Media

2.5: Metadata and Its Joshua DeOliveira Thien-Kim Nguyen Applications

2.6: Copyright and Legal Alexander Young Spencer McClellan Issues

2.7: Multimedia Accessibility Alexander Young Thien-Kim Nguyen

2.8: Educational Value and Spencer McClellan Joshua DeOliveira Utility of Digital Media

2.9: Summary Thien-Kim Nguyen Alexander Young

3.1: Reordering and Cataloguing the Collection in Thien-Kim Nguyen Joshua DeOliveira a Master Spreadsheet

3.2: Prioritization Alexander Young Spencer McClellan

3.3: Identification for Joshua DeOliveira Spencer McClellan Copyright Requirements

3.4: Library Database Spencer McClellan Thien-Kim Nguyen Integration

iv 4.1: Analysis of the Guida Collection and ArchivesSpace Thien-Kim Nguyen Joshua DeOliveira Entries

4.2: Analysis of Prioritized Alexander Young Spencer McClellan List

4.3: Analysis of Data Joshua DeOliveira Alexander Young Acquisition

Thien-Kim Nguyen and 5.1: Summary of Deliverables Spencer McClellan Alexander Young

5.2: Project Limitations Spencer McClellan Alexander Young

5.3: Recommendations for Spencer McClellan and Thien-Kim Nguyen Future Work Joshua DeOliveira

v Table of Contents

Abstract ii Acknowledgements iii Authorship iv List of Figures and Tables viii Executive Summary ix 1.0 Introduction 1 2.0 Background 3 2.1 Charles Dickens’ Literary Legacy 3 2.2 The Historical Importance of A Christmas Carol 3 2.2.1 Original Story and Purpose 4 2.2.2 Adaptations 4 2.2.3 Acclaim and Social Significance 5 2.3 The Guida Collection 5 2.4 Digitizing Physical Media 5 2.5 Metadata and Its Applications 6 2.5.1 An Introduction to Metadata 6 2.5.2 Metadata Uses and Importance in Research 7 2.5.3 Metadata Uses in Databases and Digital Archives 8 2.6 Copyright and Legal Issues 8 2.7 Multimedia Accessibility 9 2.8 Educational Value and Utility of Digital Media 10 2.8.1 Educational Value of Multimedia 10 2.8.2 Digital Library Integration 10 2.9 Summary 11 3.0 Methods 12 3.1 Reordering and Cataloguing the Collection in a Master Spreadsheet 12 3.2 Prioritization 13 3.3 Identification of Copyright Requirements 14 3.4 Library Database Integration 15 4.0 Findings 17 4.1 Analysis of the Guida Collection and ArchivesSpace Entries 17

vi 4.2 Analysis of Prioritized List 21 4.3 Analysis of Data Acquisition 21 5.0 Conclusions & Recommendations 24 5.1 Summary of Deliverables 24 5.2 Project Limitations 25 5.3 Recommendations for Future Work 25 5.3.1 Completing the Organization and Cataloguing of the Collection 25 5.3.2 Process Applicability 26 Appendices 30 Appendix A: Work Timetable and Distribution 30 Appendix B: Metadata Subjects 31 Appendix C: Interview with Arthur Carlson 32 Appendix D: Prioritization Ranking System 33 Appendix E: Template for Contacting Copyright Owners 35 Appendix F: Template for a Copyright Permission Contract 36 Appendix G: List of A Christmas Carol Titles in the Guida Collection 37 Appendix H: Links to Download Our Deliverables 43 Appendix I: ArchivesSpace User Manual 44 Appendix J: Online Metadata Resources 70 Appendix K: Database Summary and Biographical Information 71

vii List of Figures and Tables

Table 1: The Early Canadiana Online Project’s Average Cost of Digital Production and Storage for Over 3,000 Works ...... 9

Table 2: Metadata Breakdown Chart ...... 18

Figure 1: Flowchart for Determining Access Conditions ...... 15

Figure 2: ArchivesSpace Hierarchy ...... 17

Figure 3: Sample Entry on ArchivesSpace ...... 19

Figure 4: The Guida Collection’s Series Guide ...... 20

Figure 5: Example Screenshot of a WorldCat Entry ...... 22

Figure 6: Example Screenshot of a U.S. Copyright Office Catalogue Entry ...... 23

viii Executive Summary

Media digitization has been a useful preservation and cataloguing process for libraries since online conversion technology became easily accessible in the late 1900s. Digitization saves antique media before they degrade over time, allows the public to access the information beyond the library, and offers more storage space for multitudes of works that may not fit in a library’s physical boundaries. However, putting hundreds of works and their metadata online can often cost thousands of dollars and months of labor to complete. At a private institution like WPI’s Gordon Library, it may take years to acquire the resources to digitize new collections, according to University Archivist Arthur Carlson. In 2019, WPI’s Gordon Library received an audio/visual collection of Charles Dickens-related adaptations from Fred Guida, a Dickens writer and scholar. The 400+ VHS tapes, cassettes, DVDs, CDs, etc. were a valuable addition to WPI’s other Dickens archives, such as the Robert D. Fellman Collection. While the media were accessible in the library’s Archives and Special Collections room, their boxes were still as disorganized as when they were first delivered to the library, and they had no public listing in WPI’s online databases. Through our IQP project, we catalogued the collection’s metadata on WPI’s online database, ArchivesSpace, and we provided various deliverables to aid the digitization process. Our objectives were as follows:

1. To catalogue the physical media from Fred Guida’s collection related to adaptations of Charles Dickens’ A Christmas Carol. 2. To make a prioritized list of the media to recommend the order in which WPI will digitize them. 3. To identify copyright owners and either apply fair use laws or obtain permissions to give public access to the works. 4. To integrate all associated metadata from the media into the Gordon Library’s archive database, WPI ArchivesSpace.

Our deliverables included a prioritized ranking of the works for digitization along with a recommendation for requesting copyright permissions. In addition, we created an ArchivesSpace user guide based on our database as a reference tool for students or staff working with the library’s archives. With these tools, WPI’s digital archives can provide the public with the works’ metadata and digitized media. Due to the COVID-19 pandemic, our team shaped our methods in order to fulfill our project goals while following safe, socially-distanced measures. Throughout the project, our team practiced a necessary safety condition by working remotely from each team member. This precaution unfortunately meant that WPI’s Coronavirus Emergency Response Team (CERT) denied us access to the Gordon Library’s archives. Instead of directly working in the library, each member received small batches of the collection to catalogue remotely with the help of Mr. Carlson. Our team separated the works about A Christmas Carol from the rest of the collection, which was spread across 25 standard archive boxes. From the A Christmas Carol subset of works, we catalogued and retrieved metadata from other archives that previously catalogued the same works – namely IMDB and WorldCat. Eight unique metadata fields accompanied each catalogued medium, along with links to other databases that have the same work archived. Other reference links for agents (creators and actors) and genres standardized by the Library of Congress’ linked-data tags map works with similar tags with media outside of WPI’s archive. We published all of this information and linked data on ArchivesSpace under “MS103: Fred Guida Audio/Visual Collection on Charles Dickens.”

ix Despite our team providing metadata via a publicly accessible digital platform, digitizing the motion-picture content is ultimately the most essential aspect of the project. In part due to time, money, and outsourcing restrictions, the Gordon Library doesn’t have the resources to digitize the collection in a swift manner; thus, our team prepared a ranked list of the catalogued works prioritized for digitization in descending order to ensure the collection’s longevity, physical preservation, and use as an effective resource. The scoring template for prioritizing digitization functions by rating each work on: physical condition, cost of digitization, popularity, and prior accessibility. Additionally, our team identified copyright owners and determined which media are in the public domain or still under an active copyright. This specific metadata field will prove useful for the Gordon Library in determining which content can be made accessible to the public. We determined that the works published before 1923 fell under Fair Use laws, which applied to 10 works. Many of the other titles had known copyright owners, and we used the U.S. Copyright Office Public Catalogue to determine such owners. This catalogue presented us with most of the copyright owners, and we listed these contacts in our database so archivists could reach them if they desired permission to publish their works online in the future. In regards to the raw data, we collected over 1,500 metadata points across the collection. The final metadata that we added to the archive serves as a resource for the general public, researchers, and students who want to learn about adaptations of A Christmas Carol. Our team successfully archived 167 different adaptations of A Christmas Carol, including 11 film reels that are particularly rare and susceptible to degradation within the coming years. The data on ArchivesSpace is easy to access and gives users various links for further research and access to the works. In addition, our hierarchy system for the hundreds of works further streamlines the process of locating the materials by media format, creation date, etc. Lastly, we created a prioritized list of the Guida Collection’s A Christmas Carol materials that provides WPI with the necessary data to digitize the works efficiently for online access. The list is easy to follow and provides cost or content-related reasons as to why one item should be digitized before another. Our work has given the library more time to ensure that the works are accessible beyond the Special Collections Room as soon as possible, and it will also enable the library to digitize more efficiently by advising them to delay buying certain equipment for items that are closer to the bottom of the list. If the Gordon Library utilizes prioritized lists for future collections, they will further streamline the lengthy digitization process. In order to make the entirety of the Guida Collection on Charles Dickens available as a resource to WPI students, we recommend that the rest of the collection be catalogued and prepared for digitization. Since we could not access the collection as a whole in the library, we also recommend physically reordering the media by date and theme to match our current setup in the database. Doing so would further develop the collection’s utility to student research and aid in developing the school’s virtual archives as a complete database that preserves the library’s special collections. Though we conducted only the metadata collection and cataloguing of the series, we hope that our priority recommendation will help either the library archive directors or a future IQP team complete the conversion of the collection. Library collections serve as research aids as well as sources for literary and cultural exploration. Completing the digitization of collections such as the one donated by Fred Guida preserves their historical and societal relevance. These archives are unique in their contents and origin, and deserve deep care and consideration when making them readily available to anyone who wishes to use them. In case future archivists wish to follow our cataloguing process for their own collections, we have provided a basic user manual on how to add entries to ArchivesSpace in a step-by-step instructional format. In addition to following our methods, users can standardize the procedure of organizing, cataloguing, and digitizing a collection to ensure the x work’s accessibility and preservation. The manual also reviews the structure of modern digital archives along with ArchivesSpace’s general uses and functions. This manual will provide any non-archivist reader with the basic concepts needed to navigate, research, and manage a collection using ArchivesSpace, and give experienced users and archivists tools for standardization in cataloguing. By continuing the process of cataloguing and storing related metadata in databases such as ArchivesSpace (through other IQP teams or library employees), WPI’s archives can become an even greater tool for research and study.

xi 1.0 Introduction

Ever since technology has enabled us to access information across the world just by logging onto a universal system, people have worked to put local writings and media on this shared interspace to improve our access to knowledge globally. These online databases with digital books, recordings, videos, etc. are often referred to as digital libraries. One of the earliest models was the Education Resources Information Center from 1964, but these databases only became widely known as digital libraries when the Digital Libraries Initiative (a coalition sponsored by NSF/DARPA/NASA to complete large-scale digitization projects) popularized the term in 1994 (Besser, 2004). These online collections formed from the desire to increase accessibility, preserve antique media, and create a database that was not limited by space or location. Physical archives restrict access to a few people locally and deteriorate over time. These internet libraries allow more people to access works from a greater distance while also updating the media into a secure form that can have backups and further storage updates if corrupted. Now in the 21st century, digitization projects have greatly increased in scope and size beyond niche local collections, such as the ones underway at Google (with 25 million books online by 2015) and the Million Book Project (with 1.5 million books in 20 languages by 2007) (Mackie-Mason, 2020). With the rise of these mass conversions of old media, "soon it will be technologically possible for an average person to access virtually all recorded information" (Kelly, 2014). In Massachusetts, most local libraries and schools have a website database connected to other institutions in the area. They often have unique archives dedicated to specific authors, genres, or time periods as well, like the Walt Whitman Collection at the Boston Public Library (BPL, 2020). This is the scale that we worked at with Fred Guida’s collection on Charles Dickens, and we confronted various challenges that have prevented similar archives from being digitized: a lack of funding and labor, copyright issues on making the media public online, and difficulties in utilizing old and damaged media. Many of these works were antique, limited in number of copies, and accessible in few other parts of the world, and this was why it was desirable to have this Dickens collection preserved online. The digitization of special collections, library texts, and archives is essential to create a complete resource for education and research. Studies have shown that increasing the number of digitized works and sources drastically improves the rate of accessibility among students and researchers, illustrating the need for providing online resources (Prochaska, 2009). In an educational environment, all students deserve the same access to resources that are essential to their educational development. For this reason, the Gordon Library has a team in place that manages and maintains the integrity of archived materials. In an effort to make them more accessible and relevant to the work of WPI students, that team has digitized photos, documents, university patents, literary collections, donated works, and more. One of the major goals of WPI’s online library is to make resources contained in the special collections and archives available as a resource to our campus. Broadening the scope of the archives with our work with this Dickens collection expands the potential for research and increases opportunities for education in the humanities. On December 16, 2019, Fred Guida generously donated over 400 works related to Charles Dickens, with 211 works being adaptations of Dickens’ A Christmas Carol. Many of the donated A Christmas Carol adaptations are rare and fragile by the nature of their age and format, namely 8 and 16mm film, LPs, and VHS tapes. These works do not have the integrity for frequent playing for scholarly research and require expensive, outdated technologies to play the media. The WPI Archive lacks equipment to digitize these formats. Hence, our group was primarily concerned with generating metadata and preparing a roadmap to digitize the 1 collection’s adaptations of A Christmas Carol to improve the accessibility of this media subset. As digitization is a long and expensive process, our group prepared a prioritized list of the media to recommend the order in which WPI will digitize them. Each medium’s rank was based on physical condition, cost of digitization, popularity, and current accessibility. This project compiled metadata and generated a prioritized list for the digitization of Fred Guida’s A Christmas Carol collection at the Gordon Library. We gave WPI’s digital archive the tools to provide the public with freely accessible metadata about each work as well as WPI’s community with the digitized media. Our objectives were as follows:

1. To catalogue the physical media from Fred Guida’s collection related to adaptations of Charles Dickens’ A Christmas Carol. 2. To make a prioritized list of the media to recommend the order in which WPI will digitize them. 3. To identify copyright owners and either apply fair use laws or obtain permissions to give public access to the works. 4. To integrate all associated metadata from the media into the Gordon Library’s archive database, WPI ArchivesSpace.

The main result of this project was that we digitally catalogued and organized a new collection for the Gordon Library, which would not have been started by the library for at least a year. By putting the works online, we made it easier for researchers, students, and Dickens lovers to find what they need from the collection beyond the library’s borders. In addition, our prioritization plan will simplify sending out the ordered media for digitization when the library has the time and funding to do so. In completion of this Interactive Qualifying Project (IQP) through WPI, we made the Guida Collection’s metadata publicly available on WPI’s metadata repository (ArchivesSpace), and our digitization plan has set the groundwork for the media to be eventually uploaded on WPI’s media repository (Digital WPI).

2 2.0 Background

This chapter begins with stating the importance of Charles Dickens to the literary world, with a primary focus on his work, A Christmas Carol. The following sections then go into our project of digitizing the Guida Collection’s A Christmas Carol media in order to make them more accessible to those on and off WPI’s campus. To develop our methods for this project, we researched the importance of metadata to digitization, how old media forms are converted, and what legal issues come from displaying this media online for the public. We conclude this chapter with the challenges of multimedia accessibility, the value behind this project, and the benefits of expanding our library’s digital collections.

2.1 Charles Dickens’ Literary Legacy To understand the importance of preserving the Guida Collection for the library, it is crucial to have a thorough understanding of Dickens’ life and role in shaping Victorian writing. This information helped us build the collection’s metadata and fine-tune our database to showcase what people found most interesting about Dickens. Charles John Huffam Dickens was born on February 7, 1812, in Portsmouth, England and grew up with seven siblings in a middle class household (Collins, 2020). In 1832, he began his career in the humanities by becoming an amateur actor. In the following few years, he spent most of his time creating plays and writing for magazines and newspapers. Notably, some of his stories were collected in 1836 as Sketches by “Boz” (his pen name). Later in his life, he took to public readings because it was an enjoyable combination of his performances and writings. They began as charitable acts to entertain the public, but he eventually began accepting payments as he did more shows for larger audiences. He performed 471 times in total by the end of his life, and one of his most popular readings was his most notable Christmas story, A Christmas Carol (Collins, 2020). He adapted A Christmas Carol into a script for his first reading of the story in 1853, and his final reading of it was on March 15, 1870 (Hearn, in Dickens, 2004). These readings were the majority of what he did in his final years, aside from a few last writings, until his death on June 9, 1870, in Chatham, England. As one of the most respected Victorian novelists in history, Dickens fathered many classics in the literary realm. Amongst his most famous works were David Copperfield (1850), A Tale of Two Cities (1859), and Great Expectations (1861). These stories ranged from first-person narratives to historical novels, and had various meaningful themes like coming-of-age stories or critiques of monetary and class values (Collins, 2020). As seen from these examples, Dickens became an icon for his variety of story-telling styles, settings, characters, and, perhaps most memorably, his universal themes. In regards to his literature, part of his fame could be explained by how his works appealed to both the simple and sophisticated classes. Dickens was famous for his contributions to the realism genre because he unabashedly depicted the tragedies of poor communities, prison, the working class, child labor, and other subjects that the privileged classes of his time ignored (Collins, 2020). The boldness of these themes helped popularize his works during his life and maintain their relevance to the present day.

2.2 The Historical Importance of A Christmas Carol In order to recognize the differences and individual significance of each adaptation in the collection, it is necessary to have an understanding of the original A Christmas Carol and why so many people wanted to alter the story for their own narratives. Along with our research on 3 Dickens’ life, this information was even more pertinent to our metadata because it gave us insight on what people focused on the most in regards to the plot, moral lessons, etc. After we researched the novella, we also familiarized ourselves with some general knowledge on the various adaptations so we could be more prepared to catalogue them once we accessed the archives.

2.2.1 Original Story and Purpose The original story begins with a selfish, rich man named Ebenezer Scrooge who initially hates Christmas and sees other people only as a means to make more money. On Christmas Eve, Scrooge was in his usual nasty demeanor when the ghost of his dead work partner visited him as a warning to turn from his wicked ways. When Scrooge falls asleep afterwards, he meets the Ghost of Christmas Past, the Ghost of Christmas Present, and then the Ghost of Christmas Yet to Come. The ghosts teach him the joys of community, charity, and Christmas, and they make him renounce his ways and resolve to love these things wholeheartedly when he wakes up. He sends a turkey to his clerk, attends his nephew’s party, and lives the rest of his life generously and warmly. Dickens wrote this story in a burst of inspiration within just a few weeks. Along with showing his sympathy for the poor, orphaned, and working class, A Christmas Carol was a plea to the rich to treat their workers and fellow people better so that the world could always be as joyful and kind as it felt during the holidays. While it was a wondrous story with a wholesome ending, Dickens placed a heavy emphasis on social, economic, and class disparities. This was only one novella in his series of Christmas books, but the way he taught such powerful themes with a light-hearted story made it one of the most defining works for the holiday season. 2.2.2 Adaptations Just within a month of the story’s release, numerous adaptations graced London’s stages as writers felt inspired to retell the story with their own twists. As the number of adaptations increased over time, literary historians came to make a strong distinction between Dickens’ A Christmas Carol and the adaptations that became collectively known as The Carol (Weeks, 2000). The sheer number and variety in the adaptations eventually gave them their own identity in the humanities. Amongst the first adaptations were the dramatic adaptation A Christmas Carol: or Past, Present, and Future (1844 by Edward Stirling), and adaptations by Dickens himself for his public readings of the work (Hearn, in Dickens, 2004). Within the first few years of the novella’s release, Dickens already struggled with legal issues regarding the earliest external adaptations, such as Richard Egan Lee and Henry Hewitt’s 1844 Ghost Story (Davis, 1990). Up to the present day, thousands of versions of A Christmas Carol have come about in the form of public readings, theatre plays and musicals, live-action and animated films, TV shows, radio shows, recordings, opera, ballet, graphic novels, and parodies (Weeks, 2000). More often than not, they made vital changes to the story such as forgoing core details or takeaways in favor of a more theatrical retelling. “So many Christmas Carols skimp on these social issues…Poverty and hunger and crippling diseases don't make for the kind of festive holiday fare that delights subscribers. You can see directors inching away from these, wishing for pageantry and place settings and hoopskirts.” (Weeks, 2000) The adaptations also commonly altered the original story to fit a more modern or relatable setting, or to teach a different moral lesson. Some even went further by using the

4 narrative as more of an inspirational concept for a completely new cast and setting. An example of these dramatic changes was a play rendition from 1994 where Scrooge was a black entrepreneur “who had lost touch with his community’s poorer members” (Weeks, 2000).

2.2.3 Acclaim and Social Significance A Christmas Carol was popular and relatable amongst the Victorian lower classes for its revolutionary depictions of the working poor as pitiful human beings oppressed by a capitalistic society that treated them as societal failures. It essentially created the Christmas genre and inspired Christmas literature to resurface nearly every year between 1843-1867 (Davis, 1990). While the original story does appear in mainstream Christmas media even today, we must recognize how its adaptability for different settings and morals has increased its relevance as well. “In the years before and after the crash of 1929, some saw the Carol as a denunciation of capitalism, but most read it as a way to escape oppressive economic realities…in the sixties, Scrooge becomes himself a kind of revolutionary.” (Davis, 1990) Over time, the story has credited Dickens with being the father of the modern Christmas, as aptly put by a London costermonger’s girl in 1870: “Dickens dead? Then will Father Christmas die too?” (Dickens, 2020). Through A Christmas Carol, Dickens also popularized the notion that Christmas was a time of pure generosity, charity, and taking care of others. Dickens coined this “Christmas/Carol philosophy” to reflect how he wished for this “spirit of giving” to become a year-round feeling for the world (Weeks, 2000). Many terms from the novella have now become rooted in Christmas tradition, but perhaps one of the most famous lines came from its very last words: “And so, as Tiny Tim observed, God bless Us, Every One!”

2.3 The Guida Collection Fred Guida is a writer and Dickens enthusiast who donated a large collection of motion- picture media to the Gordon Library on December 16, 2019, including numerous adaptations of Dickens’ A Christmas Carol. When Guida searched for a local institution around Massachusetts to hold and care for his Dickens media, WPI offered to take the works because it was an excellent opportunity to add to their other Dickens archives, such as the Robert D. Fellman Collection. The Guida Collection is currently stored in the library’s Archives and Special Collections room and has roughly 400 works from as far back as 1901, with around 200 VHS tapes and cassettes, 80 LP records, 45 film reels, five books, 15 CDs, and 110 DVDs. Since we did not have access to the collection until after the project began, our project prioritized cataloguing the works, creating an order in which to digitize them, and documenting the metadata we needed for our database.

2.4 Digitizing Physical Media Considering that all the works donated in the Guida Collection are tied to a physical medium, their preservation entirely depends on their physical integrity. Once any one work is too scuffed, used too many times, or has naturally deteriorated over time, the medium can be permanently damaged and no longer played (Library of Congress, 1993). Despite this challenge, converting the information of these works into its digital counterpart is by far one of the simplest and most effective solutions for preserving media. The greatest benefits digital media provides is in its longevity and durability for preservation. Many antique media for motion pictures are physically fragile, and much of the

5 technology used to play their media is equally unreliable, fragile, or just plain clunky. This is especially true for celluloid tape-based films, commonly 16mm and 8mm film. Even with the best conditions to reduce improper handling, heat exposure, light exposure, and humidity, the chemicals used to process the frames can end up deteriorating the film; after certain thresholds of deterioration, the film could have irreversible damage (Library of Congress, 1993). Digitizing physical media has been a great advancement in general media accessibility. Purely digital files allow for an easily accessible object that can be distributed anywhere in the world or duplicated locally in a matter of minutes. Plus, with the rise in sophisticated web-based tools such as Amazon Web Services (AWS), Microsoft Azure, Google Web Designer, as well as modern web design languages like html5, css3, and javascript, robust video streaming over the web can be simply developed and readily accessed. These resources give overwhelming advantages to digitized media in comparison to its physical medium contemporaries. On top of that, the physical space that media take up is merely the size of the hard drive they are stored on, which in turn can hold thousands if not millions of other media varying on the file space of the drive. In essence, a few server racks can support the storage and online distribution of an entire archive’s collection. Furthermore, if there is ever a fear of an upcoming data corruption of the drive due to drive damage or age, the file can immediately be duplicated to another drive with trivial to no data loss. This sense of high security and reliability ensures media stored on purely digital formats can be safely stored indefinitely. Certain formats such as any version of the .mpeg file type support methods of video compression to reduce file size while only jeopardizing a trivial loss in resolution. There is currently research for developing sophisticated video compression algorithms that are lossless, meaning that no data would be lost in compression (Venkat & Vaidyanathan, 2019).

2.5 Metadata and Its Applications Along with the preservation benefits, digital media provide a streamlined, automatable, and fast approach for managing, augmenting, and analyzing its data. As the digital age of computers and the internet have rapidly grown, a pivotal by-product of this technological revolution is due to the collection of data. One of the most precious commodities of data in the past decade has been metadata. Hence, acquiring metadata relating to the media in the Guida Collection would see benefits in humanities research and improving database searching and access.

2.5.1 An Introduction to Metadata Data can be categorized into three primary sets: explicit, observed, and inferred data. Explicit data is what most people think of when they think of data: all the information that defines the behavior or state of a thing. Observed data is any information that is measured or observed from explicit data. This data is generally raw, unprocessed data that is already meaningful at face value (Stoeltje et al, 2019). Lastly, inferred data is any information generated by processing large quantities of observed data. Inferred data infers, predicts, and finds relationships among the explicit data based upon the observed data gathered from it. The most predominant method of generating inferred data is through careful qualitative analysis – statistics, regression models, neural networks, and other artificially intelligent models (Retargeter, 2014). For example, consider a simple medium like a movie. In this case, the explicit data is all the data stored in order to show each frame; likewise, the individual images on a celluloid tape film reel also characterizes explicit data. The observed data for a movie could be its gross profits, cast, runtime, or file size (or length of the physical film tape). Lastly, if through large amounts of

6 collected movie data there appeared to be a strong correlation between large gross profits and Leonardo DiCaprio in that movie’s cast, the prediction that Leonardo DiCaprio is an entertaining actor is a type of inferred data. Metadata is a large subset of observed data, containing a mix of raw and lightly processed information. Therefore, metadata serves as a crucial link that bridges the gap between the explicit and inferred data. Metadata’s applications span academic research, artificial intelligence, and search-engines. As a rapidly growing necessity, automating (Dobreva-McPherson et al., 2013) or crowdsourcing (Andreano, 2007) the process of metadata collection have proven to be successful strategies. 2.5.2 Metadata Uses and Importance in Research Despite metadata and “big data” becoming growing buzzwords in the past decade, the desire for metadata dates back to the 1920s. Following the birth of the American film industry in the Roaring 20s, obtaining a copy of a film was nearly impossible, and showings were limited by where the physical films were and when cinemas would offer showings. As a result, the Paris Film School in 1945 established a standardized paper report for analyzing films. Later labeled filmography sheets, these reports were highly detailed accounts consisting of extensive metadata ranging from general information such as title and synopsis, to as esoteric as records of symbolism, abstract issues raised, movements of actors, and even the position of cameras. In a pre-digital age, the filmography sheet was a simple yet effective solution to provide an account of a film that could be easily reproduced and widely distributed without having the difficulties of locating films for loan (Domínguez-Delgado & López-Hernández, 2017). As technology improved and obtaining a digital copy of a film was no longer an issue, filmography sheets evolved into separate digital databases. Popular motion-picture website and database www.imdb.com has served as a modern, and less exhaustive, filmographic sheet archive aimed for the general public. Other federal, commercial, and collegiate organizations such as the Library of Congress Film Registry, the Oscars Academy Film and Motion Picture Archive, and the UCLA Film & Television Archive are examples of more rigorous attempts at cataloguing motion-pictures for collecting important metadata for scholarly research. In many cases in humanities and arts research, specialized metadata are required for testing complex hypotheses, and ultimately allow for more qualitative research opportunities. Colin Arrowsmith’s study of how different frame rates of Peter Jackson’s The Hobbit affected the immersion and attention of its viewers (Arrowsmith et al., 2014) is a prime example of how the collection of extensive metadata is important. Arrowsmith and his group found a positive correlation between the frame rate at which The Hobbit was shown in specific countries, and the gross revenue The Hobbit made in that country. Thus, there is evidence that suggests higher frame rates can greatly enhance audience entertainment. This study would not have been possible without aggregating extensive, and seemingly useless beforehand, metadata such as frame rate and gross revenue of The Hobbit broken down by country. Another study performed a more qualitative study on multiple adaptations of Charles Dickens’ A Christmas Carol in TV and cinema. This study explored how the visual depictions of the ghosts evolved through time and consequent media (Christol, 2015). Christol’s work was laborious because he needed to watch the media he was studying completely so he could record how each of the ghosts were depicted in each adaptation to see the evolution over time. If there was available metadata of images of the ghosts in each work, Christol’s process of collecting the images for his research could have been conducted more easily. Christol’s work reinforces the idea that there is rarely too much metadata for any specific kind of medium. Therefore, media in specific contexts require different, yet equally important, metadata for researchers to perform the

7 analysis they wish to do rather than be stuck doing tiresome work that is tangential to their ultimate goals. 2.5.3 Metadata Uses in Databases and Digital Archives Metadata has crucial uses in digital collections to improve accessibility and search-engine relevancy in databases. Metadata can serve as specific, niche tags that create subsets of related media that are more refined than general demarcations such as genre, author, or publication year. For example, the streaming giant Netflix uses its millions of movies and shows to collect metadata for optimizing its user recommendation algorithms. As a result, Netflix has established 76,897 overlapping microgenres to tailor a user’s search results to media that other users with similar watching habits have seen (Stevens & O’Donnell, 2020). Despite Netflix’s great strides in their research, the microgenres themselves and the data used for the algorithm are all trade secrets. On top of that, a generalized algorithm that performs a holistic analysis of all the works in a database based on a user’s search query is certainly not a solved problem. One well known flagship solution from the University of Michigan demarcates a database into various, recursive sub-groups using metadata as quantifiable tags for comparison. Along with other technical data structures and algorithms, metadata improved the database’s search performance and the relevance of returned results (Jain & Hampapur, 1994).

2.6 Copyright and Legal Issues When a library prepares for a digitization conversion, certain copyright laws need to be upheld to avoid any infringements. There are many uncertainties with the laws regarding the use of multimedia, which often leads to various interpretations of the laws and cause different legal results (Kordsmeier, 2000). The general rule of thumb when it comes to copyright law is that if there is any right not expressly granted by the language of the copyright, then one should assume that right is reserved by the copyright owner. Most works on physical platforms have some kind of copyright associated with them, and to gain the right to use these works, permission will have to be granted by the owner, normally with a type of monetary fee. In addition, if there is not a specific clearance agency for a specific work, then it will be harder to acquire a license for the use of that work. The use of multimedia content is not clearly covered in the traditional rights agreements, which is the reason for these differing interpretations (Kordsmeier, 2000). The Fair Use Doctrine grants people the right to use copyrighted works without a license under certain circumstances (U.S.C., 2020). The Doctrine describes many simple ways in which fair use is applied such as “criticism, comments, news reporting, teaching, scholarship, and research” (U.S.C., 2020). However, fair use is a complex matter and there are multiple factors to consider when determining if fair use can be applied. These factors include the intent of usage, how much of the work is being used, the creative state of the work, and how the usage will affect the value of the work. If there is a question about fair use being applied, the first step is to figure out how the party claiming fair use is using the copyrighted work. Courts are likely to give fair use to those who are using works in a nonprofit, educational, and noncommercial way (U.S.C., 2020). There is also something known as “transformative” uses of a work that can apply fair use. A transformative use is one that adds something new to the work in question, such as a different purpose for the work. An example of this use is when libraries started giving books to Google to scan because the library used those scans for different purposes. The libraries claimed that the scans were used for “preservation, a full-text search engine, and electronic access for disabled patrons who could not read the print versions” (Stim, 2015). The courts granted fair use to those libraries under those purposes.

8 Another factor when deciding fair use is how creative the copyrighted work is. This means that the more creative a work is, the harder it will be to gain fair use for it. For example, it is going to be harder to grant fair use on a creative fictional novel than it would be to grant fair use on a news article or a factual work (U.S.C., 2020). There is also the question of how much of the copyrighted work is being used. Courts are less likely to grant fair use if a large portion of the work is being used, but even if a small portion is being used, the courts still may not grant fair use if that portion is a crucial part of the work (U.S.C., 2020). Along with other copyright laws, the Fair Use Doctrine is up for interpretation and is entirely circumstantial.

2.7 Multimedia Accessibility Physical libraries provide only a finite amount of space for the media, and it is difficult to use the limited number of media copies beyond a local scale or by numerous people at once. Libraries only have a few copies of certain works, and they are often unable to send special collections out for use. The digitization of libraries will create an online database that can provide unlimited access to an infinite amount of people, which is why it is often said to be the future of modern libraries. Multimedia accessibility has two components: it encompasses written, audio, and visual works; and it provides easy access for foreign speakers, disabilities, and long-distance usage. The creation of a digital library with such unlimited access is ideal in theory, but is rather difficult to produce. As seen in the cost analysis by the Early Canadiana Online Project in Table 1, digitizing a library can be costly and comes with its own unique challenges (Mackie-Mason, 2020). One of the most common problems is the lack of funding that goes into these digitization projects, and for libraries to undergo the digitization process, they will have to train their staff to learn various types of conversion processes (Fabunmi, 2006).

Cost Cost/title Cost/image Cost/volume

Digitization $439,548 $132.87 $0.67 $145.67

Optical Character Recognition $159,098 $48.09 $0.24 $52.73

Salaries $153,264 $46.33 $0.24 $50.79

Equipment and Supplies $7,975 $2.41 $0.01 $2.64

Constructions, Utilities & Maintenance $21,053 $6.36 $0.03 $6.98

TOTAL $780,938 $236.08 $1.20 $258.82

Annual costs of storage & access $118,290 $35.76 $0.18 $39.20 Table 1: The Early Canadiana Online Project’s Average Cost of Digital Production and Storage for Over 3,000 Works (Mackie-Mason, 2020) Even if the database was flawless, there are still many boundaries that the digital libraries cannot cross. Some multimedia will be inaccessible to those with certain disabilities, such as impaired vision or hearing. One in five Americans has a disability which will likely cause them to be unable to use multimedia platforms (Accessibility, 2018). Plus, people who speak a language different from the one that the media is in will require a translator to use the works. Unfortunately, we were not able to cater towards disabilities and language barriers for those who want to access our database because our project focused on transferring the original media online 9 and setting up the archive. However, the library can set up future plans and placeholders in the database for accommodations to be instated once the entire collection is digitized. For example, these plans could include captions or voice-overs to be used in videos for those who do not speak the content’s original language. These changes can allow users to break the language barrier and use the information effectively. In addition, captions can help those who are deaf to read along with the video, and audio descriptions can describe what is happening in a video to help those who are blind or have poor vision (Accessibility, 2018). 2.8 Educational Value and Utility of Digital Media A digital media collection with applications in education and research works to bridge a gap in resource availability. Though it may not overcome every educational boundary, the potential for digital library application is essential in developing a world that appreciates the value of library resources. Providing easy access to a wide variety of literary works is integral to standardizing educational resources and creating a communal learning environment. 2.8.1 Educational Value of Multimedia As times have changed, digital media has made its way into almost every aspect of daily life, including education. Virtual resources allow students and educators to share and manipulate digital media to adapt to their teaching and learning environments. To better develop educational resources, researchers have identified the essential need for data sharing and communal access to resources. There is an increasing need to acknowledge the benefit that digital media can play on increasing applicability of resources to multiple areas of research and appreciation. Educational value can be identified through theory and practice along with a developed understanding of scholarship and its impacts on human life. The applicability of digital sources in education is essential in developing an even educational playing field, and furthering the research that drives the course of life (Tanner & Deegan, 2011). The exponential increase of digital media indicates the need for broader appreciation and applicability that digital resources provide in the study of humanities, which cannot be attained by restricting media to a physical source (Svensson, 2016). Broader areas of research allow for greater understanding of topics and aid in developing a global perspective and appreciation for alternative viewpoints. Adapting a collection like Fred Guida’s to a digital format would increase its availability as a resource for education, specifically in regards to the humanities at WPI. Making this information applicable to general research will not only increase the appreciation of rare works, but also expand the educational value of the collection. The characteristics and benefits of a digital library and digitization of library materials include immediate service (no need to wait for materials to become available), limitless potential to cross physical barriers, and localized access to content (Kumar, 2016). These are only some of the benefits that Kumar elaborates on, and they follow the general priorities of digitizing media. Even before the internet became what it is today, the abundant need for digital resources was clear. The need for a library that is both physical and digital is increasingly apparent for university research within the WPI community, as well as across the globe. 2.8.2 Digital Library Integration Digital media broadens the applicability of resources through the development of digital libraries. In the ever-changing world of online resources, the importance of library special collections is increasingly necessary. In order to preserve the integrity and applicability of special collections, libraries need to adapt to a changing consumption format. Digital libraries serve as the intersection point between online resources and the collections contained in a

10 physical library. They work to develop a system of online resources that catalogue and identify materials that are applicable to a variety of study areas (Madhusudhan, 2010). “One of the strongest arguments for higher education to establish a robust, sustainable infrastructure for digital special collections (whether within single institutions or through consortial agreements) is the enormous increase in the use of primary resources for teaching and independent undergraduate research, which creates an inexhaustible appetite for digital versions of materials.” (Prochaska, 2009) The development of digital sources to be made available for research is outlined as a need to maintain the relevance of library collections. Supporting a mainstream source of digital sources allows for greater availability to the community, which we did by making the Dickens collection available through the Gordon Library website and archival database.

2.9 Summary Despite this rich collection of literary history being openly available at the Gordon Library, it was not being utilized to its full potential due to technological and accessibility issues. Not only was it difficult to locate specific works because the archive was not catalogued or organized, but one may not have been able to use it without technology like a film projector or a record player. These difficulties were why we were intent on cataloguing these works and digitizing them for easier access online. By further expanding the digital side of our library, we open up a whole new side of Dickens to researchers and literary enthusiasts alike in and beyond our community.

11 3.0 Methods

This project compiled metadata and generated a prioritized list for the digitization of Fred Guida’s A Christmas Carol collection at the Gordon Library. We gave WPI’s digital archive the tools to provide the public with freely accessible metadata about each work as well as WPI’s community with the digitized media. Our objectives were as follows:

1. To catalogue the physical media from Fred Guida’s collection related to adaptations of Charles Dickens’ A Christmas Carol. 2. To make a prioritized list of the media to recommend the order in which WPI will digitize them. 3. To identify copyright owners and either apply fair use laws or obtain permissions to give public access to the works. 4. To integrate all associated metadata from the media into the Gordon Library’s archive database, WPI ArchivesSpace.

We completed this project from May 26-July 9, 2020 remotely, and we worked with University Archivist Arthur Carlson and other librarians to catalogue and prepare the media for digitization. Although the collection was donated in 2019, the library did not have the resources or time to organize the media, so it was difficult to sort through for specific pieces. Our database allows the public to access the media metadata without needing to go to the library, which was a project that “would not have been started in over a year,” according to Mr. Carlson. Since roughly half of the collection was related solely to A Christmas Carol, we focused on setting up a digital library with a theme on this story. In Appendix A, we noted who was responsible for cataloguing each of the 25 media boxes, and we organized a timetable to reflect the progression of our project. The following sections outline the procedures we took as ordered in the timetable.

3.1 Reordering and Cataloguing the Collection in a Master Spreadsheet Since only Mr. Carlson could access the library, he delivered the media boxes to us for remote cataloguing. Our first categorization separated the works about A Christmas Carol from the rest of the collection. In addition, we noted any media that were especially fragile or worn down so that we knew which pieces required extra care and handling. The various conditions that we looked for included scratch marks, damaged edges, and discoloration (refer to Appendix D for priority chart). We were responsible for collecting the metadata of our respective boxes, and we reviewed each other’s work once we completed our sections. This review ensured that our metadata was standardized and not overly specific or vague for different works. We first noted the surface information of the material (i.e. title, year, and creator), and to find the more hidden data (i.e. synopsis and themes), we researched them on global media catalogues like WorldCat or IMDB. The complete list of metadata that we collected is in Appendix B, and we used the criteria from Describing Archives: A Content Standard, which state the general requirements that libraries use to format their archival collections. Once we obtained the various metadata for the media, we compiled the information into a Google Sheets document to prepare our data entries for ArchivesSpace. We formatted the table so we could sort the works by any category, which made it easy to find each piece with any of its details.

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3.2 Prioritization While adding the media’s information to the databases, we prioritized the media to determine the order of digitization and integration. This list will simplify the digitization process because it allows the library to see which pieces are the most important to digitize first. We had much to consider when choosing which media goes first on the list because there were special characteristics to each type of media that could have made one work more important than another. In order to determine the order on the list, we interviewed Mr. Carlson about how to order the works’ importance objectively based on the criteria he recommended to us: Condition, Cost, Popularity, and Accessibility (see Appendix C for interview questions, and see Appendix D for orders of priority). We reviewed the works on these factors and gave each of them a total score, which served as the priority score for that work. We put the works with the highest total score at the top of our list, and those with the lowest score at the bottom of the list. Many works in the collection are not well-known by the public, and several works are amateur, home-recorded films. To take into account the wide range of quality in the media, two of our prioritization categories were Popularity and Accessibility. Accessibility was based on how easy it was to find the work online by simply typing in the title. This category had a different scoring method of zero, two, or three because if the media was already digitized for the public elsewhere, there is little immediate need for the library to prioritize them. The works that were hard to find were given a higher score of two or three so these works could be accessed sooner than the works documented in other repositories. We researched the popularity of the works to see which ones were the most relevant and likely to be searched for by the public. On information sites such as IMDB, we searched for notable achievements or acknowledgements related to the title, and we looked at how widespread the initial release of the work was (refer to Appendix D for more on this ranking). Condition and fragility was another factor we considered when deciding the order of the works on the list. By prioritizing the most fragile works first, we ensured that the works were preserved quickly before they were further damaged. Many of the more fragile works also had some of the oldest publication dates. The works that were older may have been in worse condition than the others due to their age and required special care to maintain their condition. It was important to note that these older works could be more expensive to digitize because the older formatting requires specialized equipment and expertise. Condition was considered a high priority field when prioritizing the works since they would be useless if they irreparably degraded while awaiting digitization, so this factor had a special ranking system of 1, 3, or 9 in Appendix D to ensure that the most damaged materials were at the top of the list. This exception made sure that a severely damaged work did not fall below an item that was extremely popular and cost efficient to digitize. Regardless, we were sure to take these factors into consideration in order to have a priority list that was cost-effective while still emphasizing the most urgent and worn-down media. Our final criterion to consider was the cost associated with converting the different types of media. If there was one specific work that required an expensive piece of equipment, it was unlikely that the work had high priority. Plus, some media formats required extensive preparation work done by professionals before they could be digitized. For instance, tapes experience what is called vinegar syndrome, where they degrade over time from exposure to oxygen and begin smelling like vinegar (Carlson, 2020). The library must send these works out for chemical treatment, which can be time-consuming and costly. These high costs were why works that required the cheapest, most basic equipment were more likely to be digitized first so that the most information could be put into the archive as soon as possible. Along with the cost 13 of equipment, we also considered the time it would take to convert each work. If a piece of recording equipment required the film to be played from start to finish for it to be digitized, that would take much longer than it would to scan a 50-page book from cover to cover. This difference gave titles with a cheaper digitization process higher priority on the list.

3.3 Identification of Copyright Requirements After our group aggregated metadata from its respective medium in the master spreadsheet, identifying copyright owners was the next step to determine access restrictions for displaying digital versions online. Our team included a plan for the Gordon Library to obtain permissions if they choose to digitize these works. In Appendices E and F, we provided a sample permission letter and release form for the library to use if they want to contact the copyright holders for distribution permissions. Based on the Copyright Act of 1976, the copyright of a work remains active until seventy years after the death of the producer of the film; conversely, all films published before 1923 are in the public domain by the order of the Library of Congress (U.S. Government Printing Office, 2011). Hence, our group sought no copyright owners for the works published before 1923, as these works will be freely available to the public when digitized. For all works published after 1923, we assumed there was a copyright owner. First, we identified the copyright holder at the time of the work’s publication. The most efficient ways to find copyright holder information were looking at the packaging material (VHS tape covers, CD/DVD cases), inside book covers, in film credits, and anywhere on or around media with the “©” glyph. We then recorded the original copyright holder’s information and used it along with the collected metadata to locate the current copyright owner. The US Copyright Office’s Public Catalog is the official database of active copyright holders. Most companies and independent creators have dedicated copyright offices or email addresses for inquiring about copyright information. In the scenarios in which our group located the copyright holder, we recorded the holder’s name. Copyright-related information was also valuable for our team’s cost analysis on media digitization. Our team included metadata regarding copyright expiration so that the Gordon Library could change a work’s access conditions for its digitized version once the copyright expires. More importantly, for all works that had active copyrights, without regard to whether the library chooses to obtain permissions for any work in the collection, WPI reserves the right to have any digital version of the works accessible online to the WPI community (Carlson, 2020). WPI can override copyright restrictions for WPI students, staff, faculty, and alumni due to the library’s acquisition of the physical media and fair use laws allowing the use of copyright materials for educational purposes. In the scenario in which our group was not able to identify a copyright holder or definitively determine whether a copyright has expired, our team operated as though the work was still under copyright to respect the rights of the potential copyright holder. Media with unknown data was labeled to clearly distinguish from works whose copyright status was known—whether it was active or expired. The flowchart below illustrates the process above for determining the access condition for each work.

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Figure 1: Flowchart for Determining Access Conditions

3.4 Library Database Integration One of our primary focuses in completing this project was making the collected metadata available on WPI ArchivesSpace. In regards to the media conversion process, the information we gathered helped to develop a thorough recommendation for the conversion and digitization of the Guida Collection that the Gordon Library archives can follow when making plans to digitize the collection. As we collected data on each work in the series, we created a repository for the collection’s metadata on WPI ArchivesSpace in a collection called, “MS103: Fred Guida Audio/Visual Collection on Charles Dickens,” and under a series called “A Christmas Carol and Its Adaptations,” which breaks down the series into Audio & Narratives, TV & Cinema, and Texts & Writings. This database tool creates repositories within created collections that hold all the information related to special collections and individual works. The metadata that we added into the system is utilized by users through search identification, eventually leading them to information related to their search, including the work, its location, and other relevant details (see Appendix B). This linked data will allow users to identify sources from the collection that fit their needs. 15 Inputting the digitized copies of the works on Digital WPI is an integral part of making the collection available to the WPI community that will occur after the works are sent to digitization services. We were able to add all of the metadata related to each work online before converting the works because Digital WPI and ArchivesSpace store the media and metadata separately. When the library converts the media and adds them to this database in the future, they can add reference links to denote their associated digital and physical locations on both websites.

16 4.0 Findings

This chapter is an overarching analysis of our project’s results. With the COVID-19 pandemic heavily limiting our access to the physical collection, we had to make significant changes to our methods in order to adapt to a remote work plan. Nevertheless, we produced findings on the Guida Collection, our ArchivesSpace database for the media, and our prioritization and digitization plans. Providing the Gordon Library with these findings will assist them in developing future archival and digitization projects.

4.1 Analysis of the Guida Collection and ArchivesSpace Entries Through closely examining the pieces of the Guida Collection, we found the material to vary across subjects, time periods, and media formats as expected. Most of the works were in mint, working condition, with some pieces unopened and the most common defects being minor scratches, tears, and discoloration of the original packaging. Unsurprisingly, a few titles were so old that they were difficult to research due to their rarity or lack of proper, legible labeling. While the works were largely labeled, nothing was organized so we had to separate the A Christmas Carol media from the rest of the collection, and we had to order the media by their format type so they could be stored and found more easily. There were more duplicates than initially anticipated, so we had to be careful counting and grouping them together. Overall, the extent and variety of the adaptation collection clearly reflected Guida’s care and dedication for these Dickens works across the past decades. In consultation with the library staff, we made our metadata repository on ArchivesSpace under the title “MS103: Fred Guida Audio/Visual Collection on Charles Dickens” so the information would be online with similar collection entries (link to database in Appendix H). We were in charge of the organization of the data, and Figure 2 shows the structural hierarchy that we created for the different levels of information.

Figure 2: ArchivesSpace Hierarchy Tree

17 Figure 2 begins with the name of our data resource and then goes down to our general series, which we organized thematically. This organization allowed us to focus on our A Christmas Carol series while leaving placeholders for the other sections (e.g. “Charles Dickens Biographies” and “David Copperfield and Its Adaptations”). We then broke down the section further into subseries by their general media formats. Cassettes and records were “Audio and Narratives,” DVDs and VHS were “TV & Cinema,” and books and transcripts were “Texts and Writings.” In these subseries, we listed each entry by its box number, which we ordered chronologically and by individual format. After examining our database towards the end of the project, we concluded that this grouping system worked well for users because it was easier to locate materials when starting with their general topic rather than going through when they were made or who was involved in making them. We also standardized how we would input the metadata so we did not clutter the entries with disorganized information (Table 2).

Metadata Type Label Examples

General Creators Directors; Writers; Producers

General Cast Actors; Music Producers

General N/A Format; Run Time; Genre

Biographical/Historical N/A Achievements/Mentions

Conditions Governing Access N/A Technology/Materials Needed

Conditions Governing Use N/A Copyright Owner

Bibliographical N/A Metadata Link (i.e. IMDB) Table 2: Metadata Breakdown Chart

Overall, we documented 211 works in our master spreadsheet, and we created 167 individual entries on ArchivesSpace. This difference is because we did not make entries for unknown titles (20 works) or duplicates of the same media format (24 works). Across all of the media we analyzed, there were 13 film reels, 92 VHS tapes, 38 DVDs, 19 cassettes, 14 records, 3 stereo disks, and 12 CDs. Figure 3 below is an example entry in our database, and it shows how necessary it was to label each data point properly because the dozens of entries could have been overwhelmed with all of the information on the media’s creators, physical properties, history, etc.

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19 Figure 3: Sample Entry on ArchivesSpace

Our goal for this design was to allow users to locate the works with any of their data points. Once we outlined our database, we filled in the general information for the series and subseries. For the collection’s main page, we wrote summaries for Guida and Dickens, along with an abstract for the archive (Appendix K). For the following series, we summarized the stories and stated what types of media formats could be found in each section. While we have only added to the A Christmas Carol series, we left placeholders for the other adaptations in the collection for future teams to continue our work (refer to Figure 4 for the series menu in the database). By providing the structural plans of our database, we hope that other WPI project teams or the library archivists will use them as a base for their collections.

Figure 4: The Guida Collection’s Series Guide

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4.2 Analysis of Prioritized List We created a prioritized list to rank each item in the collection based on the urgency to digitize them. The works ranked in the list are representative of all unique works in the collection. For this instance, our team removed all copies of the same format before assigning a title a total priority score. Our team found that a large majority of items were in proper condition and had little to no damage done to them. The remaining dozen items received a Condition score of 3 due to scratch marks or chips, and none of the works received a Condition score of 9. We also found that the cheapest media for digitization were the VHS and cassette tapes. Those items received a Cost score of 3 while CDs and DVDs received a Cost score of 2 for having a greater associated cost for digitization. The films and records had the most expensive digitization processes, reaching up to hundreds of dollars for feature-length film reels, so those items received a Cost score of 1. The Popularity category was scaled based on how many awards an item has won. Items with no achievements received a Popularity score of 1, and items with few awards received a Popularity score of 2. There were not many items that received a Popularity score of 3, but the items that did receive this score had many awards for their historical importance and great theatrical achievement. There seemed to be a bit of a correlation between Accessibility and Popularity because the items with a low Popularity score were harder to find online; thus giving those items an Accessibility score of 3. The same logic applied to items with a high Popularity score because those items received an Accessibility score of 0 in since those items were quite easy to find online. Overall, the total priority scores of the unique works catalogued ranged from 3-10. The maximum total score an item could receive was 18. Surprisingly, the frequency of the works was not evenly distributed among the different priority scores, but instead normally distributed. Over 75% of the total scores ranged from 6-8. 43 of the works received a total score of 8, 37 of the works received a total score of 7, and 48 of the works received a total score of 6. Only three of the works received a high total score of 10, and only one of the works received a low total score of 3. See Appendix H to view the prioritized list in its entirety.

4.3 Analysis of Data Acquisition While collecting our metadata, our team established an intermediary space for recording and formatting the data before making an entry into WPI’s ArchivesSpace. Google SpreadSheets was the optimal platform for meeting the requirements and quality our team set for ourselves. Our method ensured that no media were left uncatalogued, tracked who was responsible for cataloguing each work, and helped flag/note unknown data fields. As seen in Figure 5 below, An All Dogs Christmas Carol in WorldCat, their archive entries provide nearly all the fields we set out to have in our collection with the exception of a work’s notable achievements or awards won/nominated. Regarding the media which were unlabeled, had multiple labels, or had hand- written notes that our group couldn’t decipher, we watched the title cards and credits in order to determine the specific work and seek online methods to acquiring the work’s remaining metadata.

21 Figure 5: Example Screenshot of a WorldCat Entry

Recognizing copyright owners and each work’s copyright in the archive was an especially important metadata field to provide the Gordon Library. Outside of recording copyright information as merely historical facts, incorporating the copyright owners allows the Gordon Library to loosen access restrictions for the general public once those copyrights expire. In Figure 6 below, each copyright entry from the U.S. Copyright Office Public Catalogue, in this case for The Muppet Christmas Carol, includes a document number to uniquely identify any type of copyrighted material. In order for the Gordon Library to have tools to obtain copyright permissions, the finalized email and contract templates for reaching out to copyright owners and requesting permission are shown in Appendices E and F.

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Figure 6: Example Screenshot of a U.S. Copyright Office Catalogue Entry

23 5.0 Conclusions & Recommendations

In this chapter, we summarize our findings and deliverables as well as provide recommendations to future WPI students or staff on working with the Guida Collection or other archives at the Gordon Library. The goal of this project was to make the Guida Collection more accessible to WPI and the public by making a metadata repository for the archive online, and creating plans for the library to digitize the media in the future. Through our work, we tackled the challenges of cataloguing new collections for libraries, and we came to understand the benefits of making antique works and their metadata available for public enjoyment. For example, our answer to insufficient digitization funds was making a media prioritization list so the library could focus on digitizing the most important works over time, and our plan to handle copyright permissions was to have a standardized request method to send out when the desire to digitize a work arrived. While our database shares rare Dickens content with researchers on and off WPI’s campus, our digitization plans will serve as a helpful reference for the library’s work on their special collections. We hope that the library will use our conclusions and work to improve the accessibility of WPI’s special collections even further.

5.1 Summary of Deliverables Our deliverables were the first steps to sharing and preserving this Dickens collection for more people to enjoy now and for years to come. Through handling the media for metadata analysis, we have come to understand how this collection stands out at WPI and in the humanities world. With over 400 pieces of various audio and visual formats from the last century, it is one of the most extensive adaptation collections on Dickens in the world. The archive has numerous uses for researchers and students studying Dickens, but there is important recreational value to the media as well. Fred Guida amassed many forgotten yet enjoyable works that still have a place in people’s hearts even if they lose relevance in mainstream media, and this was especially true for the many classic A Christmas Carol adaptations with which we worked. Regardless if you are watching Mickey’s A Christmas Carol for the first time or analyzing the differences between the piece on DVD vs. on record, it is clear that the true significance of these special collections is to preserve these unique works so they are not forgotten forever. If researchers wish to find information on the titles without going to the library, they can find various metadata and resource links for the media on our ArchivesSpace database. Through our project, we completed the arduous cataloguing that often delays the incorporation of new archives into libraries, and we set up the framework for the digitization process to add the works to WPI’s online collections. Our prioritization list has provided WPI with the necessary data to digitize the works for the online collections efficiently. The list is easy to follow and provides cost or content-related reasons as to why one item should be digitized before another (Appendix D). Our work has given the library more time to ensure that the works are accessible beyond the Special Collections Room as soon as possible, and it will also save money for the library by advising them to delay buying certain equipment for items that are closer to the bottom of the list. If the Gordon Library utilized prioritized lists for future collections, they would further streamline the lengthy digitization process. We checked the works to see if there were any copyrights that were still active today. Our team determined that all of the works published before 1923 fell under Fair Use laws, which ended up applying to 10 titles. Many of the other works had existing copyrights owners, and we used the U.S. Copyright Office Public Catalogue to determine such owners. We listed these contacts in our database, and with our copyright permission materials in Appendices E and F, archivists can reach them when they want to publicize their works. If WPI students or staff were 24 to work on future projects with the Guida Collection or other archives, we recommend that they utilize this copyright catalogue and claim Fair Use to as many works as they can. Lastly, we provided a user manual with the intention of aiding a broad spectrum of people in the archiving sect: those new to digital archiving, experienced archivists who wish to learn ArchivesSpace, and experienced archivists who would benefit from a ArchivesSpace reference guide. As our team catalogued all A Christmas Carol related works in the Guida Collection, we chose to structure our metadata, particularly our Notes sections, in a standardized format. Beyond guiding other archivists on ways to organize their databases, we hope this manual will aid in maintaining the metadata format and the digital cataloguing process for the remainder of the Guida Collection as well. 5.2 Project Limitations In the midst of a global pandemic, communication and adaptability was especially important to maintain the quality of work throughout the process. The development of methods and processes during the completion of this project was reliant on the malleability of project objectives and deliverables, along with an open mind regarding the project completion timeline. In working to complete our project, our primary issues surrounded the remote nature of the project, and our inability to work within the library for the duration of the project. Lacking physical access to the collection in its entirety, we had to catalogue the materials individually. Without the technology at the library, we were unable to process some of the works that were unlabeled or not previously catalogued by other sources we referenced. During the process of cataloguing each item, we found ten VHS tapes and DVD/CDs that were ambiguously labeled, or not labeled at all, leaving us unable to document their related metadata without the use of a VCR or DVD player. There were also ten aluminum-cased film reels for which we were unable to identify the associated metadata for, as we did not have access to a light box or projector outside of the library. Furthermore, we were unable to reorganize the collection as we had planned, as we each only had access to one or two boxes at a given time.

5.3 Recommendations for Future Work In completion of our project goals, we identified a few areas that should be addressed within the library archives, and further process development by the archives staff, or future IQP teams. These areas include continuing the physical reorganization of the Guida Collection, as well as process-based recommendations to complete and standardize digital archives based on the procedure we developed in our ArchivesSpace User Manual (Appendix I).

5.3.1 Completing the Organization and Cataloguing of the Collection The collection donated by Fred Guida to the Gordon Library is made up primarily of Charles Dickens’ A Christmas Carol materials, but it also has some pieces related specifically to Dickens and his other literary works. As the focus of our project was A Christmas Carol, there are other works within the collection that have yet to be organized and catalogued in ArchivesSpace. Since we were unable to work with the entire collection in the library due to pandemic restrictions, we did not have the chance to organize the physical media. In the current state of the collection, some media boxes contain different media formats and adaptations of different Dickens stories, which make finding certain works difficult. Once the library is open for public access again, we recommend that the boxes are organized thematically and by format as we have done for the media in our database. In order to make the entirety of the collection available as a resource to WPI students, we also recommend that the rest of the collection be

25 catalogued and prepared for digitization. Doing so would further develop the collection’s usefulness to student research and aid in developing the school’s virtual archives as a complete database that preserves the library’s various special collections. Though we conducted only the metadata collection and cataloguing of the series, we hope that our priority recommendation will help either the library archive directors or a future IQP team complete the organization and conversion of the collection. Similar library collections serve as research aids, as well as sources for literary and cultural exploration. Completing the digitization of collections such as that of Fred Guida, preserves their historical and societal relevance. These library special collections are unique in their contents and origin, and deserve care and consideration when working to make them readily available to anyone who wishes to use them. Like the archive we catalogued and prepared for digitization, collections of literary materials can be examined and organized in a similar manner. In Appendix I, we provided our basic user manual that explains how we added and standardized entries on ArchivesSpace in a step-by-step instructional format. In addition to following our methods, users can standardize the procedure of organizing, cataloguing, and digitizing a collection to ensure the work’s accessibility and preservation. The Gordon Library houses approximately 110 catalogued special collections and other undocumented material in their archives, and receives more items every year (Carlson, 2020). By continuing the process of cataloguing and storing related metadata in databases such as ArchivesSpace and Digital WPI (through other IQP teams or library employees), the archives can become an even greater tool for research in all fields of study.

5.3.2 Process Applicability Our team’s approach for aggregating metadata, formatting information on ArchivesSpace, and generating a ranking system for prioritizing the collection’s digitization has produced a useful, accessible, and expandable system for providing the WPI community with A Christmas Carol-related material. As seen in Appendix H, our master spreadsheet provided a temporary space to aggregate, format, document, and comment on the data unofficially before uploading the information onto ArchivesSpace, which requires nearly all the information for a work uploaded at once. We would recommend to future teams working on the rest of the Guida Collection, or any other special collection, to use some form of cloud-based spreadsheet such as Google Sheets software to manage the digital cataloguing process and ease the laborious process of constantly editing and adding data to an active digital archive. Despite our team providing an online platform for metadata for researchers and students alike, digitizing the motion-picture content is ultimately the most essential aspect of the collection. In part due to time, money, and outsourcing restrictions, the Gordon Library is inhibited from digitizing the collection in a swift manner; thus, Appendix H contains a ranked list of the works prioritized for digitization in descending order to ensure the collection’s longevity, physical preservation, and use as an effective resource. Also in Appendix H is a scoring template that determines the order of each work’s priority in the list. Since we designed the template for any special collection, we recommend the use of this template for future archived-based IQP projects and use by the Gordon Library. Lastly, we recommend to future teams finishing the cataloguing of the Guida Collection as well as the Gordon Library to use our team’s ArchivesSpace user manual laid out in Appendix I. The manual provides any reader with a step-by-step instruction and reference for navigating and managing ArchivesSpace. The manual also provides an in-depth look into the structure of modern digital archives, and explanations of the structure of ArchivesSpace. This manual will provide any non-archivist reader with the basic concepts needed to navigate, research, and manage a collection using ArchivesSpace. 26 References

Andreano, K. (2007). The missing link: Content indexing, user-created metadata, and improving scholarly access to moving image archives. The Moving Image, 7(2), 82-99. doi:10.1353/mov.2008.0005. Arrowsmith, C., Verhoeven, D., Davidson, A., & Coate, B. (2014). Kinomatics: A global study into cinema data. https://api.semanticscholar.org/CorpusID:19774816 Besser, Howard (2004). The Past, Present, and Future of Digital Libraries. In Schreibman, Susan; Siemens, Ray; Unsworth, John (eds.). A Companion to Digital Humanities. Blackwell Publishing Ltd. pp. 557–575. Boston Public Library. Archival Collections. BiblioCommons. https://www.bpl.org/. Carlson, Arthur. Personal interview (2020). Christol, F. (2015). Screening A Christmas Carol (Dickens, 1843): Adaptation as completion. Cahiers Victoriens Et Édouardiens, (82 Automne). doi:10.4000/cve.2275. Collins, Philip. (2020). Charles Dickens: British Novelist. Encyclopedia Britannica. Published by: Encyclopedia Britannica. https://www.britannica.com/biography/Charles-Dickens- British-novelist. Davis, Paul. (1990). Literary History: Retelling A Christmas Carol: Text and Culture-Text. The American Scholar, 59(1), 109-115. April 5, 2020. www.jstor.org/stable/41211762. Dickens, C., & Hearn, M. (2004). The Annotated Christmas Carol: A Christmas Carol in Prose. New York, NY: W.W. Norton. Dobreva-McPherson, Milena & Kim, Yunhyong & Ross, & Seamus. (2013). Automated metadata generation. DCC. Digital Curation Reference Manual ISSN 1747-1524. Domínguez-Delgado, R., & López-Hernández, M. (2017). Film content analysis: Historical contextual framework. Documentación De Las Ciencias De La Información, 40(0), 73- 90. doi:10.5209/DCIN.56621. Essential Accessibility. (2018, September 21). Five Simple Ways to Remove Barriers from Your Multimedia. https://www.essentialaccessibility.com/blog/multimedia-accessibility/. Everpresent. (2015). How to measure 16mm & 8mm film reel sizes. https://everpresent.com/measuring-the-length-of-16mm-and-8mm-film-reels/. Fabunmi, B. A., Paris, M., & Fabunmi, M. (2006). Digitization of Library Resources: Challenges and Implications For Policy and Planning. April 6, 2020. https://ojcs.siue.edu/ojs/index.php/ijaaas/article/view/80/142. Feldman, T. (1997). An introduction to digital media. Psychology Press. Jain, R., & Hampapur, A. (1994). “Metadata in video databases.” ACM SIGMOD Record, 1-7. https://dl.acm.org/doi/abs/10.1145/190627.190638.

27 Kahle, B. (2017, March 13). Transforming Our Libraries from Analog to Digital: A 2020 Vision. April 5, 2020. https://er.educause.edu/articles/2017/3/transforming-our-libraries-from- analog-to-digital-a-2020-vision. Kliner, K. (2015). Converting VHS tapes to DVD: A first-hand experience. https://www.bhphotovideo.com/explora/home-entertainment/tips-and- solutions/converting-vhs-tapes-dvd-first-hand-experience. Kordsmeier, William; Gatlin-Watts, Rebecca; & Arn, Joseph V. (2000). University Administrators' Understanding of Multimedia Copyright Guidelines. Journal of Educational Technology & Society, 3(1), 112-118. March 30, 2020. www.jstor.org/stable/jeductechsoci.3.1.112Copy. Kumar, S. (2016). UTILITY OF DIGITIZATION IN LIBRARY , 3(3), 124–127. Library of Congress. (1993). Care, handling, and storage of motion picture film - collections care (preservation, library of congress). https://www.loc.gov/preservation/care/film.html. Mackie-Mason, J. K., & Lougee, W. P. (2008). Economics and usage of digital libraries: Byting the bullet. SPO Scholarly Monograph Series, doi:10.3998/spobooks.5621225.0001.001. Madhusudhan, M. (2010). Use of electronic resources by research scholars of Kurukshetra University. The electronic library. Marsden, A., Mackenzie, A., Lindsay, A., Nock, H., Coleman, J., & Kochanski, G. (2007). Tools for searching, annotation and analysis of speech, music, film and Video—A survey. Literary and Linguistic Computing, 22(4), 469-488. doi:10.1093/llc/fqm021. Padilla, T., Allen, L., & Frost, H. (2017). Always already computational: Collections as data. CNI: Coalition for Networked Information. https://www.cni.org/topics/digital- curation/always-already-computational-collections-as-data. Prochaska, A. (2009). Digital special collections: The big picture. RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage, 10(1), 13-24. ReTargeter. (2014). The difference between first, second, and third-party data. https://retargeter.com/blog/difference-first-second-third-party-data-use/. Shepherd, K. (2005). Describing Archives: A Content Standard. Stevens, A. H., & O’Donnell, M. C. (2020). The microgenre: A quick look at small culture. Bloomsbury Publishing USA. Stim, R. (2015, July 30). Fair Use: What Is Transformative?. April 20, 2020. https://www.nolo.com/legal-encyclopedia/fair-use-what-transformative.html. Stoeltje, G., Moran, M., Zmud, J., Ramsey, N., & Stibbe, J. (2015). Disclaimer. British Journal of Dermatology, 173(S1), iii. doi:10.1111/bjd.13909. Stoeltje, G., Moran, M., Zmud, J., Ramsey, N., & Stibbe, J. (2019). Emerging legal issues for transportation researchers using passively collected data sets. https://vtechworks.lib.vt.edu/handle/10919/95175.

28 Svensson, P. (2016). Introducing the Digital Humanities. In Big Digital Humanities: Imagining a Meeting Place for the Humanities and the Digital (pp. 1-35). ANN ARBOR: University of Michigan Press. Tanner, S., & Deegan, M. (2011). Inspiring Research, Inspiring Scholarship. Learning, Teaching and Research Benefits , 12–19. U.S. Copyright Office (2020, April). More Information on Fair Use. April 19, 2020. https://www.copyright.gov/fair-use/more-info.html. U.S. Copyright Office. Duration of copyright: Circular 15a, (1976). https://www.copyright.gov/circs/circ15a.pdf. Venkat, R. A., & Vaidyanathan, C. (2019). Lossless video compression using bayesian networks and entropy coding. 2019 IEEE Region 10 Symposium (TENSYMP), , 254-259. doi:10.1109/TENSYMP46218.2019.8971209. Weeks, J. WHAT THE DICKENS? (cover story). American Theatre. 2000;17(10):24. April 5, 2020. http://search.ebscohost.com.ezpxy-web-p- u01.wpi.edu/login.aspx?direct=true&db=hlh&AN=3843237&site=ehost-live.

29 Appendices

Appendix A: Work Timetable and Distribution

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 (May 26 - June (June 2 - June (June. 9 - June (June 16 - June (June 23 - June (June 30 - July 1) 8) 15) 22) 29) 9)

Met with Obtained the Determined Determined Integrate the Organize our librarians media from the priority list copyright metadata into final paper and online to learn Mr. Carlson for the media status and WPI’s online presentation about and began identified archives and ArchivesSpace cataloguing the media owners publish the and set up our metadata on database database our master spreadsheet

Kim Spencer Josh Alex

Media Boxes 9, 14, 16, 19, 20, 5, 8, 13, 17, 21, 1, 2, 11, 24 3, 4, 6, 7, 24 22, 25 23, 25

30 Appendix B: Metadata Subjects

Category Description

Reference Code A number from the institution housing the work that signifies where it is stored

Accession Box The original container that the work was stored in

Resource Box The new container that the work was placed in when catalogued

Title The original name of the work

Author The makers of the work

Creation Date The release date of the work

Copies The number of copies of the work in the collection

Format The physical material form of the work

Extent The size/duration of the work

Language The language that the work was originally in

Biographical History Background information on the creators or history of the work

Whether or not the work is public or private (include copyright expiration date Access Conditions if not publicly available); what technology is needed to access it

Subject Terms Phrases and tags that can link the work to related materials Source: (Shepherd, 2005)

31 Appendix C: Interview with Arthur Carlson The interviews occurred weekly throughout the project over Zoom. Our questions included:

1. In addition to our list of metadata, are their other pieces of information that we will need to input into the database? 2. What categories do you believe are easiest to break the media into? Format, date, theme? 3. What is the max number of copies a work can have to still be considered rare? 4. What are the most important statistics to consider when determining media popularity? Gross profit, notable achievements/awards, notable cast/crew? 5. How should we rank the least to most damaged pieces in regards to scratches, cracks, chips, etc.?

32 Appendix D: Prioritization Ranking System

Media Condition Cost/Time Popularity Accessibility Total Score

#1

The media were ranked for each criteria (low to high priority), and the media with the highest total scores have top digitization priority. Due to our ranking systems, the range of scores was from three to eighteen. The following descriptions define the criteria: (*the different value systems for the factors is explained in Section 3.2: Prioritization)

Condition Description 1 Mint condition 3 A few scratches or tears, mild discoloration 9 Major faults, media is difficult to play/use Popularity

1 No accomplishments/achievements 2 Few awards 3 3+ awards won Cost/Time (*the values for this criterion are based on the table below)

1 Format must be sent out for digitization. (Film, record) Format can be digitized by ourselves in the library. Digitization technology 2 costs >$50. (CDs, DVDs) Format can be digitized by ourselves in the library. Digitization technology 3 costs <$50. (VHS, Cassette) Accessibility 0 Very well-known title, can find other digital copies/streams of the media Relatively easy to find title and synopsis online; some unofficial clips from 2 third parties Difficult to find on the Internet; almost no info. on the subject and no way to 3 access the media itself

33 Digitization Estimates for Cost and Time Physical Format Required Equipment Equip. Expense in USD Conversion Time / Work

CD External Optical $30 - $100 < 10 minutes Drive*

DVD External Optical $30 - $100 < 10 minutes Drive*

Film (16mm) Lightbox $0.10 - $1.50 per ft ** 1-3 Weeks **

Record (78 & 45 rpm) Microphone $50 - $200 Media Duration

VHS VHS-USB Converter $7 - $40 Media Duration

Cassette Cassette-USB $20-$30 Media Duration Converter *External optical drives require a computer for use. Note: computers made before 2010 are likely to have optical drives built in. **Due to the high costs of professional light boxes and the experience required to handle film without jeopardizing its integrity, the expenses represent the price per foot of film and the time sent-to-return for outsourcing film digitization to professional services. Note: 16mm film shot at 18fps results in approx. 800 ft. of film per showing hour (Everpresent, 2015).

34 Appendix E: Template for Contacting Copyright Owners

Dear [Copyright Owner],

We, at WPI George C. Gordon Library, understand that you are the copyright holder of [official copyright title, full document number (Vxx…)].

Our institution would like to make the above-mentioned work publicly available in our digitized media collection, Digital WPI. Our database is dedicated solely towards educational purposes, and is meant to reflect the scholarship produced at Worcester Polytechnic Institute by students, faculty, and researchers. Your permission will allow us to share this valuable title to researchers beyond our campus’ boundaries, and would include permanent, non-exclusive rights to archive, preserve, and promote the material for the public in our online collection. Of course, proper acknowledgement will be included with the reproduction of the media.

If you do not control the copyright on all of the above mentioned material, we would appreciate any contact information you can offer us regarding the proper rights holder(s), including their current address(es). Otherwise, your permission confirms that you hold the right to grant the permission requested here.

If you agree to provide us with permission, please sign two copies of this permission letter and return one copy to us by email (a scanned version is fine) or regular mail. Please feel free to reach out to us at our contact information below for any other details about our request.

We appreciate your consideration of our permissions request.

Sincerely, WPI George C. Gordon Library 100 Institute Rd. Worcester, MA. 01609 t+: 508-831-5000 Email: [email protected]

35 Appendix F: Template for a Copyright Permission Contract

Motion Picture Copyright Release Form

Title: ______

Document Number: ______

I, the undersigned, consent to the motion-picture mentioned above being used and reproduced in any format via Worcester Polytechnic Institute and George C. Gordon Library.

I understand that the motion-picture mentioned above may be used for display, publicity, and promotional materials by Worcester Polytechnic Institute and its digital archive (Digital WPI), photographer(s), and/or videographer(s).

I understand that any intellectual property, including copyright and image rights, which arises in visual or motion-picture imagery is allowed use by Worcester Polytechnic Institute.

Name (print): ______

Signature: ______

Date: ______

Phone: ______

Email: ______

36 Appendix G: List of A Christmas Carol Titles in the Guida Collection

Title Format Box Number A Christmas Carol - Read Along VHS 1 A Christmas Carol (MGM / UA) VHS 1 A Christmas Carol (Scrooge 1978) VHS 1 The Chimes VHS 1 A Christmas Carol - 1971, 1992 VHS 2 A Christmas Carol - 1989 VHS 2 A Christmas Carol - 1991 VHS 2 A Christmas Carol - 1997 VHS 2 A Christmas Carol - Family Feature VHS 2 A Flintstone Christmas Carol - Turner Family Showcase VHS 2 An All Dogs Christmas Carol VHS 2 Guthrie Theatre Production of A Christmas Carol VHS 2 The Muppet Christmas Carol VHS 2 101 Dalmatians Christmas VHS 3 A Bewitched Christmas VHS 3 A Jetson Christmas Carol VHS 3 An American Christmas Carol VHS 3 Animaniacs Helloooo, Holidays! VHS 3 Bugs Bunny’s Christmas Carol VHS 3 Children's Video Playground A Christmas Tree VHS 3 Maxine's Christmas Carol VHS 3 Rich Little's Christmas Carol VHS 3 A Silent Christmas VHS 4 Beavis and Butt-head do Christmas VHS 4 Dickens' Classics VHS 4 Ebenezer VHS 4 Scrooged VHS 4 Tales from Dickens VHS 4 WKRP in Cincinnati Christmas VHS 4

37 A Christmas Carol - 1982 VHS 5 Bah, Humduck!: A Looney Tunes Christmas VHS 5 Buckaneezer Scrooge VHS 5 Chasing Christmas VHS 5 Cimarron City: Cimarron Holiday VHS 5 dans Christmas Carol VHS 5 General Electric Theater: A Trail to Christmas VHS 5 Karroll's Christmas VHS 5 A Christmas Carol - 1951 VHS 6 A Christmas Carol - Northern Ballet VHS 6 A Christmas Carol - Thea Musgrave VHS (vocal score) 6 Bah Humbug VHS 6 Flip Wilson Show Christmas Spoof: Episode #1.14 VHS 6 Mr. Jingle at Dingley Dell 1600' reel 6 Ms. Scrooge VHS 6 The Awakening of Scrooge VHS 6 "Banks: The Money Movers" VHS 7 A Christmas Carol - 2000 VHS 7 A Diva's Christmas Carol VHS 7 John Grin's Christmas VHS 7 Mr. Magoo's Christmas Carol VHS 7 A Christmas Carol - 1977 VHS 8 A Christmas Carol - 1979 VHS 8 A Christmas Carol (American Conservatory Theatre) VHS 8 A Christmas Carol: The Musical VHS 8 Child's Christmas in Wales VHS 8 Takuginai Christmas Special VHS 8 Topper: Christmas Carol VHS 8 A Christmas Carol - Guthrie Theater VHS 9 A Christmas Story VHS 9 Dr. Frank Baxter Reads 'A Christmas Carol' VHS 9 The Dukes Cartoon: A Dickens of a Christmas VHS 9 38 The Dukes of Hazzard – The Great Santa Claus Chase VHS 9 The Quality Carol VHS 9 Animated Christmas Carol - Williams VHS 14 Fame: "Ebenezer Morloch" VHS 14 Family Ties: A Keaton Christmas Carol (1983) VHS 14 George Burns Comedy Week - "Christmas Carol II: The Sequel" VHS 14 MacDonald’s Adv., 1984 VHS 14 Mr. Scrooge VHS, Super-VHS 14 Scrooge 1970 Musical VHS 14 Skinflint: A Country Christmas Carol Super-VHS 14 A Christmas Carol - 1991 Cassette 16 A Christmas Carol - 1995 Cassette 16 A Christmas Carol - Abridged Cassette 16 A Christmas Carol - Geoffrey Palmer Cassette 16 A Christmas Carol - Miriam Margolyes Cassette 16 A Christmas Carol - Patrick Stewart Cassette 16 A Christmas Carol - Paul Scofield Cassette 16 A Christmas Carol - Sir John Gielgud Cassette 16 A Christmas Carol - Sir Lawrence Olivier Cassette 16 Christmas Every Day Cassette 16 The Chimes Cassette 16 A Child's Christmas in Wales DVD 17 A Christmas Carol - 50th Anniversary Edition DVD 17 A Christmas Carol (American Conservatory Theatre), 1981 DVD 17 A Christmas Carol (Read by Dr. Frank Baxter) CD 17 A Christmas Carol Cassette Collection: A Christmas Carol Cassette 17 A Christmas Carol Cassette Collection: A Christmas Carol Cassette 17 A Christmas Carol Cassette Collection: A Christmas Carol Cassette 17 A Christmas Carol Cassette Collection: A Christmas Carol Cassette 17 A Christmas Carol Cassette Collection: A Christmas Carol Cassette 17 A Christmas Carol Cassette Collection: A Christmas Carol Cassette 17

39 A Christmas Carol, 1977 DVD 17 A Christmas Carol, 1992 DVD 17 A Christmas Carol, 2003 Audiobook CD 17 A Christmas Carol: The Musical DVD 17 An All Dogs Christmas Carol DVD 17 Buckaneezer Scrooge DVD 17 Cancion de Navidad (A Christmas Carol) DVD 17 Christmas from Radio's Golden Age: A Christmas Carol Cassette 17 Cimarron City: Cimarron Holiday DVD 17 Disney's Holiday Read-Along: Mickey's A Christmas Carol Cassette 17 Ghosts of Girlfriends Past DVD 17 Leyenda de Navidad DVD 17 Making of Mickey's A Christmas Carol DVD 17 Miracle at Christmas: Ebbie's Story DVD 17 Ms. Scrooge DVD 17 Scrooge DVD 17 Scrooge McDuck and Money DVD 17 The 60 Greatest Old-Time Radio Christmas Shows: "A Christmas Carol" CD 17 The 60 Greatest Old-Time Radio Christmas Shows: "A Christmas Carol" CD 17 The 60 Greatest Old-Time Radio Christmas Shows: "A Korean Christmas Carol" CD 17 The 60 Greatest Old-Time Radio Christmas Shows: "A Modern Scrooge" CD 17 The 60 Greatest Old-Time Radio Christmas Shows: "Christmas for Carole" CD 17 The 60 Greatest Old-Time Radio Christmas Shows: "Christmas Present" CD 17 The Gospel According to Scrooge DVD 17 The Quality Carol DVD 17 Thea Musgrave's A Christmas Carol DVD 17 Topper: Christmas Carol DVD 17 A Christmas Carol - 2004 DVD 19

40 Chasing Christmas DVD 19 Christmas Carol: The Movie DVD 19 Richie Rich's Christmas Wish DVD 19 Shorts of Christmas Past DVD 19 A Christmas Carol - 2003 DVD 20 A Christmas Carol - 50th Anniversary Edition Bluray DVD 20 A Christmas Carol - 60th Anniversary Edition Bluray DVD 20 Charles Dickens: 3 DVDs DVD 20 Mr. Magoo's Christmas Carol DVD 20 The Stingiest Man in Town DVD 20 A Carol for Another Christmas DVD 21 A Christmas Carol (radio), 1990 CD 21 A Christmas Carol (radio), 1996 CD 21 A Christmas Carol (with soundtrack), 1914 DVD 21 A Christmas Carol and Other Favorites CD 21 Marley's Ghost (Scrooge) DVD 21 Old Scrooge DVD 21 Scrooge - The Musical (BBC Radio Broadcast) CD 21 Scrooge's Rock 'N' Roll Christmas DVD 21 The Awakening of Scrooge DVD 21 A Christmas Carol - 1950 45rpm Record; 7" 22 A Christmas Carol - 1996 7" 45rpm 22 Ultra-microgroove talking book; 16rpm A Christmas Carol - Dan O'Herlihy phonograph record 22 A Christmas Carol and The Christmas Tree 45rpm 22 A Christmas Carol: A Howdy Doody Record 78rpm 22 Is There a Santa Claus? (1)/God BLess Us Everyone (2) 45EP 22 Mickey's Christmas Carol 7" 33 1/3 rpm 22 Mr. Magoo's A Christmas Carol 7" 45rpm 22 The Christmas Carol: A Complete Story Shellac, 10", 78 RPM 22 A Christmas Carol - Basil Rathbone 45rpm record 23

41 A Christmas Carol - Lionel Barrymore 45rpm record 23 A Christmas Carol (Scrooge), 1910 45rpm record 23 Stereo Disc Tape, A Christmas Carol, 1960 Cassette 23 CD, Stereo Disc A Christmas Carol: Diners Playhouse Tape 23 Albert Finney as "Scrooge"/What The Dickens Have They Done To Scrooge? Stereo Disc Tape 23 Mickey's Christmas Carol (1983) VHS 5, 7, 14 A Christmas Carol - Warren Graves VHS 1, 9 A Christmas Carol - 1999 VHS 2, 8 The Gospel According to Scrooge VHS 4, 6 Stingiest Man in Town VHS 4, 14, 20 The Rogues: Mr. White's Christmas VHS, DVD 5, 17 A Christmas Carol at Ford's Theater VHS, DVD 6, 17 The Runaways 1200' reel Reel 11 The Fat Albert Christmas Special 800' Reel Reel 23 Banks: The money movers 800' Reel Reel 25 A Christmas Carol (Scrooge) 400' Reel Reel 27 A Howdy Doody Christmas 8mm film reel Reel 30 What the Dickens Have They Done to Scrooge?/"Scrooge" starring Albert Finney 8mm film reel Reel 31 Christmas Carol Fireside Chat Film reel Reel 33 A Child's Christmas in Wales film reel Reel 43 Mr. Scrooge film reel Reel 46 A Christmas Carol - 1971 1200' reel Reel 7 Its Never Too Late (Non è mai troppo tardi) 2 13" Core Reels Reels 21 and 22

42 Appendix H: Links to Download Our Deliverables

Deliverable Link to View/Download

Metadata Master Spreadsheet https://docs.google.com/spreadsheets/d/1gC44DaOsK_8C5 *Note: Sheet 1 is the Raw Metadata -hemPcpTwRxx-DhAl9vbaTVToHpiFg/edit?usp=sharing while Sheet 2 is the Media Entry List.

Prioritization Spreadsheet https://drive.google.com/file/d/1_3ocvUZ1pogOktLgf- 0gMBvdHheJNNKK/view?usp=sharing

ArchivesSpace Database https://archives.wpi.edu/repositories/2/resources/32

43 Appendix I: ArchivesSpace User Manual

ArchivesSpace Database Entry Guide

The Guida Collection Team: Joshua DeOliveira Spencer McClellan Thien-Kim Nguyen Alexander Young [email protected]

July 9, 2020

44 Preface The WPI E20 Guida Collection Team wrote this manual as part of our Interactive Qualifying Project with the intention of aiding a broad spectrum of people in the archiving sect: those new to digital archiving, experienced archivists who wish to learn ArchivesSpace, and experienced archivists who would benefit from a ArchivesSpace reference guide. As our team catalogued all A Christmas Carol related works in the Guida Collection, we chose to structure our metadata, particularly our Notes sections, in a standardized format. All reference photos used in this manual depicted our database (MS103: Fred Guida Audio/Visual Collection on Charles Dickens) as the examples. Beyond guiding other archivists on ways to organize their databases, we hope this manual will aid in maintaining the metadata format and the digital cataloguing process for the remainder of the Guida Collection as well. Chapter 1 is encouraged only for beginner archivists in order to give them a solid foundation in the digital archiving process, and to improve their comprehension of the following chapters in the manual. Hence, for archivists seeking help on navigating the ArchiveSpace interface or how to perform specific actions on ArchivesSpace, we recommend skipping to Chapters 2, 3, and 4.

For more information about ArchivesSpace and its community, use the URL below: https://archivesspace.org/about/mission

45 Chapter 1: Getting Started Program Summary

ArchivesSpace is an open-source, freely available digital archiving software used to preserve metadata of archived material through a public online database. Anyone can simply download the source code via the ArchivesSpace Github repository, https://github.com/archivesspace, along with the help of a hosting server, and begin building a digital archive. ArchivesSpace’s effectiveness lies in its intuitive interfaces, rapid data entry, and lack of SQL or programming experience needed. Despite being free software, ArchivesSpace mimics all the core attributes of other competing proprietary digital archiving services. As the digital age brought exponentially more data and associated metadata onto the internet each year, modern digital archives are structured such that they can tailor each collection’s data uniquely, and at the same time, reference collections in other digital archives in a standardized fashion. Despite these two characteristics seeming paradoxical, these modern structures overcome this obstacle and improve performance and relevancy in the archive’s search engine. See Chapter 2 for more details about these structures.

The Digital Archiving Process

In the first step of the digital archiving process, an archive receives a collection1 and creates an accession. The accession records the collection’s original state and organization, date of acquisition, and any statements/comments by the archivist to better plan the handling, preservation, or recording process of the collection. This process is the only step where the physical collection is handled. The accession is primarily important for the internal use of the archive, whether it be documenting the physical acquisition of a collection, budgeting funds, or planning its prioritization. Generally, only information relating to the original organization and date of acquisition are publicly available to establish the collection’s historical context or the donor's intended curation. Once the accession has been completed and the collection is ready for cataloging, all entries have their known metadata recorded and abstracted into digital objects: clumps of metadata all relating to a singular work, piece, etc. Common metadata fields are title, format, genre, data of publication, language, and authorship (see Chapter 4 for a more extensive list). What type or quantity of metadata in a digital object is entirely up to the nature of the work, its context (or lack of) within a collection, known information about the work, and the discretion of the archivist. There is no limit on the amount of metadata a digital object can accept; however, Describing Archives: A Content Standard (an industry standard for archiving, a.k.a DACS) lays out a set of core properties that must always exist for published digital objects. Digital curation is the final and the most difficult step of the process. This step allows the archivist to reorganize (or abstain changing) the collection as a resource in order to make the collection best for its users. Generally, reorganizing can entail recording the list of digital objects or grouping certain digital objects into various recursive sub-series. It is acceptable and

1 Commonly archives receive material in collections. The archiving process is identical for singular works. 46 commonly practiced that a collection’s digital curation (its resource) is organized differently from its physical curation (its storage). In this process, the archivist must decide what kind of narrative the digital collection should tell. Each time the archivist reorders the collection, he or she should ask themselves, “has the narrative changed since the accession?”, “should the narrative change?”, and “is the resource still simple to understand?” Once the archivist has decided on the final order, the resource is published and publicly accessible. ArchivesSpace allows staff of the archive to record accessions, digital objects, and resources for users to access all in one place.

47 Chapter 2: Setting Up A Repository In order to begin cataloguing a collection on ArchivesSpace, you must first create a repository that will hold each item and its related data. This can be done through ArchivesSpace’s “Staff Interface.” For definitions on content and functions mentioned in these steps, refer to our reference lists in Chapter 4.

Example Collection Resource:

Staff Interface Access

Step 1: Navigate to https://archives.wpi.edu/, and select the “Staff Interface” option in the bottom right corner of the page.

Step 2: Using your ArchivesSpace account information, log-in to the Staff Interface (if you do not currently have an account on ArchivesSpace, speak to a library archive administrator).

48 Creating a Repository

Step 1: On the Staff Interface homepage, select “Create” then “Resource” from the drop-down menu.

Step 2: Fill out the basic identifying information for your collection.

Step 3: Fill out the “Language” field with any languages found in the collection, adding fields as needed.

Step 4: Input the relevant date and extent information in the “Dates” and “Extents” fields a. At the top level of your resource, add dates related to when the collection was created, received, and catalogued. 49

b. Also at the top level, you can add place-holding Extent information that can be updated as you add the rest of the collection.

c. Once you have added items to your resource (process described in Chapter 3), you can calculate the Extent and Dates of the collection as a whole. i. At the top level of your resource, click “More”, followed by “Calculate Extent” or “Calculate Dates” (do these one at a time).

Step 5: Fill out the “Finding Aid Data” fields with information that could be useful to those looking for items within your collection, an example of this information can be seen below.

Step 6: Add Agent Links related to the creation and development of the collection (This process is described further in Chapter 3).

50 Step 7: Add tags and phrases related to the top level of the collection (This process is described further in Chapter 3).

Step 8: In the Notes field, add general information about the collection, including but not limited to, an Abstract, Conditions Governing Use, Conditions Governing Access, and Biographical and Historical data (refer to Chapter 4 for more examples of Notes).

Series and Sub-Series Creation

Once the collection is created, you may need to create a Series to identify different sections of the collection as a whole.

Step 1: While inside the top level of the collection, you are given the option to add a “Child.” This will create a Series within the collection

51 Step 2: Fill out the basic information fields, including the Title and Level of Description, which in this case you would have as a “Series”

Example of a collection with multiple series:

Step 3: Similar to the process of creating the collection repository, add relevant biographical information, access and use requirements, and related information not yet covered in the Notes field.

52 Step 4: Create a Sub-Series by adding a child to a pre-existing Series. Another Series can be created by adding a sibling to a pre-existing series.

*Note: As you can see, we organized our series thematically, then our sub-series by media format, and our entries by their dates. This organization may also be helpful to you, but collections may be arranged in numerous ways depending on their contents.

53 Chapter 3: Adding and Finalizing Entries When adding items to the collection’s resource, there are two options for data entry: Manual Entry and Rapid Data Entry.

Manual Entry

Step 1: Determine whether you are adding a child or a sibling and select that button (identified in the red box). You will be presented with the following entry fields.

Step 2: Input the title of the work or sub-section.

54 Step 3: Choose the Level of Description from the given fields.

Step 4: Add all related data for each item (see the Metadata Reference in Chapter 4 for information on required fields).

a. Select a related language from the drop-down menu, adding all associated languages.

55 b. Input the dates associated with the item, identifying them by their label and type.

56 c. Add associated data not covered by the given fields in the Notes section. This information could contain format, run times, creators, biographical information, and more. Look through the Note types in the drop-down list and select the one that best fits the information you are adding. i. If you add multiple pieces of information to one Note, be sure to separate them with a semicolon. For example, we formatted our General Note as “Format: [X]; Run Time: [X]; Genre: [X]”.

Example Completed Note Field:

57 d. Add the reference and location information to the Instances field (if the location has already been created, select it by searching the available records; if it is not, you must create the instance record).

i. Create an instance by selecting “Create” from the drop-down menu, filling in the Container Type (chosen from the drop-down menu), and adding the Indicator (label) for the record. Click “Create and Link to Top Container.”

Example Completed Instance Field:

Step 4: Save the Archival Object.

58 Rapid Data Entry

Step 1: Select the top container you wish to add entries to (i.e. Selecting “TV & Cinema” then “Rapid Data Entry” will add children to “TV & Cinema”).

Step 2: Identify required and preferred fields to be filled, and apply or create a template.

a. Select the columns you want to include, making sure to include Basic Identifying information and however many note fields you need. b. Click “Save as Template.” Templates you make and those created by other archivists will appear under “Apply an RDE Template.”

Step 3: Fill in each related data field, adding rows for each new item you want to add.

59 Step 4: Click “Validate Rows” and address any inline errors that occur.

Step 5: Click “Save Rows” to add all rows as items within the resource.

60 Adding Related Agent Links

Step 1: Within an item page, click “Add Agent Link.”

Step 2: Identify the agent based on their Role and their Relator (options in drop-down menus).

Step 3: Browse for previously created agents, or create a new agent.

a. If the agent has already been created, simply select it and continue.

61 b. If the agent you want to add is not already in the database, hover over the “Create” option, and select the type of agent you wish to create.

c. In order to add an Agent Link, you must first reference that agent through an authority ID, which can be found through sources like the Library of Congress (LOC; http://id.loc.gov/authorities/names.html).

62 d. Search the database for your given agent.

e. Copy and paste the correct identifier into the “Authority ID” field. f. Fill in the agent’s information as follows:

g. Click “Create and Link to Agent.”

h. Repeat to continue adding as many agents as necessary for the given item. If there is no Identifier for the agent you are looking for, forgo adding an ID and move on to the next agent.

Example Completed Agent Link:

63 Adding Related Subjects

Step 1: Within an item page, click “Add Subject.”

Step 2: Browse for subjects by searching available records and link them if found.

Step 3: Create new Subject Headings if not found through the browse/search function. a. From the drop-down menu, select “Create.”

b. Navigate to the Library of Congress Subject Headings (http://id.loc.gov/authorities/subjects.html). c. Search for subjects related to the item you are adding.

d. Copy and Paste the Subject Identifier into the “Authority ID” field and select a source from the drop-down menu.

64 e. Fill in the “Term” field with the exact wording used by the LOC and select the “Type” from the drop-down menu.

f. Click “Create and Link to Subject” to add your created subject to the item (this new subject can now be found when browsing subjects within other items).

Step 4: Save the Archival Object

65 Finalizing Entries for Publishing

Step 1: Apply a standardardized note order to all item entries using the “Apply Standard Note Order” button

Step 2: Ensure that all entries are in the order that you want them. If not, click “Enable Reorder Mode” and move the entries as needed.

Step 3: Once everything is filled in and in place, click “Publish All” to publish the database and all of the entries for public view.

66 Chapter 4: Functions & References Functions Reference - the basic functions encountered when creating a database and entries

Name Function

Browse A dropdown that allows you to search for other Accessions, Resources, Digital Objects, etc.

Create A dropdown that allows you to make new Accessions, Resources, Digital Objects, etc.

Enable Reorder Allows you to move entries within the same family or move them to a new Mode series

Rapid Data Entry Allows you to add multiple entries at once

Add Child Adds an entry within the one you were last working on

Add Sibling Adds an entry on the same organizational level as the one you were last working on

Add [Metadata Adds a new information point for that metadata section (i.e. Language or Date) Type]

67 Level of Description Determines the type of entry that you are creating; the organizational levels typically go in this order: Collection - Series - Sub-series - Items

Resource Type There are four labels that can be used to define your media content as: Collection, Papers, Publication, and Records

Save Resource Saves any changes you make to the page that you are on; there is NO autosave, and you MUST save before leaving a page or else you will lose your work

Delete Permanently removes the entry from the database

Publish All Publishes the entire database for pubic view

Export A dropdown that generates and downloads various file types of the information in the database

Merge A dropdown that allows you to combine your database with another resource

Transfer A dropdown that allows you to move your entire database to another repository, or move individual entries to another resource

Calculate Extent Calculates the overall extent and size of your database based on the entries

Calculate Dates Calculates the content date range of your database based on the earliest and latest dates of the entries *Note: These are not all of the functions on ArchivesSpace. Often, more information on each entry point can be found by hovering your pointer over the function name (as seen below).

68 Metadata Reference - the basic information points needed to fill out media entries Category Description

Reference Code/Identifier A code from the institution housing the work that connects where the medium is digitally stored to its physical location

Accession Box The original container that the work was stored in

Resource Box The new container that the work was placed in when catalogued

Instance Defines what type of media format it is and what container it is physically in (typically uses the label of the Resource Box)

Title The original name of the work

Author The makers of the work

Date Any dates relevant to the work; can have multiple entries labeled for Broadcast, Creation, Copyright, etc.; can be single or a range of dates

Format The physical material form of the work

Extent The size/duration of the work

Language The language that the work is in (note multiple languages if it also has full translations/voiceovers)

Agent Links Background information on the creators or history of the work

Subject Links Phrases and tags that can link the work to related materials

Primary Note Types - metadata points generally have their own unique type of Note in each entry Name Description

Abstract/Scope & Contents Summarizes the work and its contents

Bibliography Lists any references used in the making of the entries

Biographical/Historical Notable background information on the creators or history of the work

Conditions Governing Denotes any copyright status (use) or technological/physical requirements Use/Access (access) involving the material

Existence and Location of Denotes the number of copies of the work in the entire collection, their location, Copies/Originals and their media format

General Lists a variety of different metadata points for a medium that can be differentiated via labels (i.e. “General - Creators” can list the makers of the medium while “General - Cast” can list the actors of a medium) *Note: These are not all of the Note types. We only listed the ones we used and considered basic, necessary information that each entry should have.

69 Appendix J: Online Metadata Resources

Resource Link to View

Describing Archives: A Content http://files.archivists.org/pubs/DACS2E- Standard 2013_v0315.pdf

IMDB https://www.imdb.com/

Library of Congress (LOC) Agent http://id.loc.gov/authorities/names.html Lookups

Library of Congress (LOC) Subject http://id.loc.gov/authorities/subjects.html Heading Lookups

U.S. Copyright Office Public Catalog https://cocatalog.loc.gov/cgi- bin/Pwebrecon.cgi?DB=local&PAGE=First

WorldCat https://firstsearch-oclc-org.ezpxy-web-p- u01.wpi.edu/WebZ/FSPrefs?entityjsdetect=:javascr ipt=true:screensize=large:sessionid=fsap06pxm1- 1680-kb6n13ww-6eoukq:entitypagenum=1:0

70 Appendix K: Database Summary and Biographical Information

71