The Moving Image Collection of Matador Records
New York University Tisch School of the Arts New York, NY We Are Underused The Moving Image Collection of Matador Records by Seth Anderson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Moving Image Archiving and Preservation May 7, 2012 Anderson - We Are Underused Table of Contents 1. Acknowledgments 3 2. Introduction and Scope 4 3. Collection History 6 4. Content Appraisal 10 5. Physical Appraisal 12 6. Format Assessment 21 7. Descriptive Systems 30 8. Intellectual Property 32 9. Recommendations 34 10. Work Plan and Budget 53 Appendix A: Workflow 58 Appendix B: Vendors 59 Appendix C: Videography 61 Appendix D: Inventory 79 2 Anderson - We Are Underused 1. Acknowledgments I would like to thank the staff of Matador Records and Beggars Group, especially Gabe Spierer, Patrick Amory, Robby Morris, and Jesper Eklow, for their time and assistance with this project; Nils Bernstein, Brett Vapnek, and Chris Lombardi for indulging me with interviews; Peter Oleksik, my advisor, who provided encouragement and guidance; the faculty of MIAP, and Alicia, for their constant support; my fellow Crazy Eights, we did it; and finally Ingrid Ostby for her love and support. 3 Anderson - We Are Underused 2. Introduction and Scope Since the record label’s founding twenty-three years ago, Matador Records has and continues to accumulate moving image materials for the promotion and documentation of the label’s artists. As a subsidiary of Beggars Group, an umbrella company that owns or distributes four independent record labels (including 4AD Records, XL Recordings, Rough Trade Records, and Matador Records), Matador continues to release new albums, generating more promotional media with each one.
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