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From Social Tagging to Polyrepresentation: a Study of Expert Annotating Behavior of Moving Images

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From Social Tagging to Polyrepresentation: a Study of Expert Annotating Behavior of Moving Images DOCTORAL THESIS From Social Tagging to Polyrepresentation: A Study of Expert Annotating Behavior of Moving Images Author: Liliana María Melgar Estrada Director: Eva María Méndez Rodríguez LIBRARY AND INFORMATION SCIENCES DEPARTMENT Getafe, November 2015 TESIS DOCTORAL From Social Tagging to Polyrepresentation: A Study of Expert Annotating Behavior of Moving Images Autor: Liliana María Melgar Estrada Director: Eva María Méndez Rodríguez Firma del Tribunal Calificador: Firma Presidente: (Nombre y apellidos) Vocal: (Nombre y apellidos) Secretario: (Nombre y apellidos) Calificación: Getafe, de de Acknowledgements This thesis work was possible thanks to the support and generous collaboration of several people and institutions. I especially wish to acknowledge my supervisor, Prof. Eva Méndez Rodríguez, for having supported me since the first time I met her, and for the experienced advice, friendly motivation and valuable input. I also would like to thank the Library and Information Science Department at Carlos III University in Madrid for accepting me as a researcher within the PIF program (scholarships for trainee researchers) between 2011 and 2015. The studies that constitute this thesis were done thanks to the hospitality and arrangements of three institutions that I visited during the research period: Vrije Universiteit Amsterdam (VU), Utrecht University, and the Netherlands Film Museum (EYE); and to Dr. Marina Díaz López, from the Cervantes Institute, who facilitated the contact with renowned film scholars in Spain. This thesis grew from their and other people’s important contributions. I also thank Virginia Ortiz Repiso, for her trust and diligence in arranging the internships. My especial acknowledgments to those who contributed to the essential task of interpretive qualitative research that is conducted in this thesis, since without them meaning and interpretation could not have been possible. I thank Hugo Huurdeman for the essential help, fruitful discussions, and inspiration for the daily work. Also, my sincere gratitude to Prof. Peter Ingwersen for his kind support and generous clarifications and materials about the IS&R model, I adhere to the numerous people and institutions that have acknowledged his important contributions to the field. I also thank Michiel Hildebrand, Jacco van Ossenbruggen, and Victor de Boer, from Vrije Universiteit Amsterdam, especially Victor for his dedicated enthusiasm in finalizing our paper, and for visiting our research group in Madrid. My deepest gratitude also to Prof. Frank Kessler, from Utrecht University, for inviting me to be close to the fascinating world of early cinema researchers, and for his warm welcome to the Media Studies department. I will always remember how amusedly he presented me to his colleagues explaining that they (the film scholars) were going to be my “subjects” of study. What he did not know is that film scholars were not the subject, but “the heart of the investigation.” Also, my special acknowledgments to Dr. Marina Díaz López for the arrangements during the study in Madrid, but mostly for her friendship and constant encouragement, I wish to express my admiration for her daily honest and dedicated work in favor of Spanish and Latin American cinema. My gratitude also to Prof. Giovanna Fossati, Nita Smith, Annelies van Niespen, Anke Bel, and Saskia Waterman at EYE, for having welcoming so openly in the archive, and for having invited me to engage in the exciting Desmet project. My acknowledgments also to Dr. Lynn Connaway, from OCLC, for crucial methodological advice and valuable comments to the initial draft. At VU, I also thank Prof. Guus Schreiber for welcoming me in the four-month stage at the active, friendly, and outstanding Web and Media Research Group. I also thank Laura Hollink for her kindness and inspiring work. i At Utrecht University, I appreciate the warm hospitality of the professors, researchers, and Ph.D. students at the Media Studies Department. I am very thankful to the fourteen active staff members who participated in the interviews. My special acknowledgments to Sarah Dellman, Nico de Klerk, Eva Hielscher, and Claire Dupré Latour for their friendship and valuable insights during the film and media seminars and work in their theses. I also appreciate the kindness and help by Laura Copier, Hanna Surma, Kátilint Bálint, Willemien Sanders, Junting Zhang, Eliane Fankhauser, Lian Ko, and Wei Gui. My sincere acknowledgments to Prof. Peter Ellenbruch for his important contributions and generosity during one of the events that he attended at the University. I also wish to thank Jasmijn van Gorp and Christian Olesen from Amsterdam University for welcoming me to the “Desmet demonstrator” project, and for their extra help. I also thank the special contributions of Prof. Ivo Blom and Prof. Julia Noordegraaf during my participation in that research. At EYE, I wish to thank also Ronny Temme, who generously shared her experience for almost a decade in the sales department, and to Rob Zeeman, from the Meertens Institute, former designer of EYE’s catalog. I also appreciate the time and substantial contributions by curators and employees who participated in the study, especially to Rommy Albers, Soeluh van den Berg, Rixt Johnkman, Piet Dirkx, Leo Bosch, Irene Haan, Leenke Ripmeester and Elif Rongen. The study I carried out during the stage at VU was possible thanks to the enthusiastic participation of 36 experts and novices around the world who played the “Waisda?” game and contributed with valuable comments. The co-authors of the resulting paper and I sincerely thank them. We also thank Erwin Verbruggen for contacts and advice, and our reviewers of the Journal of the Association for Information Science and Technology (JASIST) for their valuable input and suggestions. Also my sincere acknowledgments to the ten scholars that participated in the study in Madrid for their considerable amount of time, their insightful reflections and for generously sharing their expertise. I also value the contribution of other film archivists or researchers that supported me at some point in this work: Anastasia Kerameos, Bryony Dixon and Maria-José de Esteban (from the British Film Institute), and Nancy Goldman for her generosity in her interview and discussion about the forthcoming FIAF cataloging rules. Also to Iris López de Solis, from the Spanish Radio and Television broadcaster, for her insightful talk about the “film researcher” profession, her interview, and her useful book. To Antonia Lant, Hower Besser, and Rutger Penne, for having shared part of their time during the FIAF Congress in Barcelona, and to Bregt Lammeris for her charming and insightful conversations. Also, special thanks to Prof. Gary Geisler, who kindly provided examples of his work with crowdsoucing film data. At Carlos III University, I especially wish to acknowledge the dedicated staff of the library services, especially of the interlibrary loan service for providing a big number of necessary documents in a timely way, this thesis would not have been possible without their efficient and diligent work. I also wish to thank the friendly support and encouragement of colleagues and friends, especially from Maria Eugenia Iglesias (and Carlos), Ana Sierra, Maria Antonia ii Ovalle, Ivett Aportela, Gema Bueno, David Rodríguez, Sara Martínez, Maria Luisa Lascurain, Maria Jesús Colmenero, Maria Jesús Pestaña, Belén Pérez, Loli, Marga, Ramón, and Javier Calzada. I also wish to thank Tony Hernández and the Tecnodoc Research Team for welcoming me in the group, Jesús Robledano for his solidarity, Sonia García for the extraordinary input; and Agustín Gamir, Carlos Manuel, and Víctor Aertsen for allowing me to participate in their interesting “Madrid in Film” project. I wish to express my prevailing gratitude to the Inter-American Library School in Medellín (especially to Dídier Álvarez, Paola Ramírez, and Marta Silvia Molina), and to the coordinators, teachers and colleagues from the International Master in Digital Library Learning (DILL). I acknowledge each of them for the significant contributions to my professional, and more important, personal growth. I am also very thankful to Victoria, Jose, Marina, and my office mates for their friendship and cheerful attentions during the years I lived in Spain. And, finally, I wish to express gratitude to my dear families and long-lasting friends in different space and time dimensions, to whom I dedicate the joy of the achievement. iii iv Indicative Abstract This thesis investigates “nichesourcing” (De Boer, Hildebrand, et al., 2012), an emergent initiative of cultural heritage crowdsoucing in which niches of experts are involved in the annotating tasks. This initiative is studied in relation to moving image annotation, and in the context of audiovisual heritage, more specifically, within the sector of film archives. The work presents a case study of film and media scholars to investigate the types of annotations and attribute descriptions that they could eventually contribute, as well as the information needs, and seeking and searching behaviors of this group, in order to determine what the role of the different types of annotations in supporting their expert tasks would be. The study is composed of three independent but interconnected studies using a mixed methodology and an interpretive approach. It uses concepts from the information behavior discipline, and the "Integrated Information Seeking and Retrieval Framework" (IS&R) (Ingwersen and Järvelin, 2005) as guidance
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