Audiovisual Heritage

VIC Branch Newsletter Report by VIC Branch Committee AUGUST 2018 24 AUGUST 2018

THIS ISSUE CONTAINS: • Notice of ASA VIC Branch meeting • A short story about magnetic memories; caverns of celluloid; and making meaning - Donna Lyon- Hensler, Victorian College of the Arts • Outreach: Engaging new ears - Kate Hodgetts, Arts Centre Melbourne • Saving the Image of Our History - Andrew Martin, DAMsmart • SBS Radio vinyl collection preserved by NFSA - Thorsten Kaeding, NFSA • NFSA Restores: The Cheaters - Nik McGrath, ASA VIC Committee Member • Audio-Visual Material in the Kodak Heritage Collection at Museums Victoria - Fiona Kinsey, Museums Victoria • New grad chat with Suzy Goss • ASA VIC AGM 2018 report - Suzy Goss, ASA VIC Communications Officer • Upcoming events • VIC Branch Information Cropped image: Film and Television Archive, Victorian College of the Arts / Photographer: Donna Lyon-Hensler / Source: Victorian College of the Arts

NOTICE OF ASA VIC BRANCH MEETING SEPTEMBER 2018 QUARTERLY MEETING AND NEWCARDIGAN PRESENTATION

Date Wednesday 5 September 2018

Time Drinks and nibbles from 5:30pm, followed by presentation from 6pm, and formal proceedings to follow from 6:30pm, meeting close at 7:10pm Cost $5 donation to cover food, drinks and room hire. If you are a student, retired, or on a low income, please still attend and contribute what you can. Venue Meeting Room 1, Fitzroy Library, 128 Moor Street, Fitzroy

AGM Please join us for a presentation from Clare Presser from newCardigan. newCardigan is a social and professional group of people who work in galleries, libraries, archives and museums - and for those who like hanging around GLAM types. The presentation will be followed by our quarterly business meeting. We’ll be planning our events for the next 12 months, so please bring along suggestions! Previous minutes are available on our website: https://www.archivists.org.au/community/branches/victoria383.

RSVP https://www.archivists.org.au/events/event/victorian-branch-seminar-newcardigan

VIC Branch Meetings/Seminars First Wednesday of every month (except January, regional and special events). A short story about magnetic memories; caverns of celluloid; and making meaning Donna Lyon-Hensler, Lecturer-Master of Producing, VCA Film and TV

Still from Virgin, Whore, Saint, directed by Niki Caro, 1990 / Source: Victorian College of the Arts (VCA) One day a woman began working at a University film school overseeing the production of more than 100 short films produced each year by artistically aspiring film students. The woman was a producer by trade, passionate about craft and stories. She asked the tough questions: Why should you tell this story? Who is it for? Why should we care? She was modern, fickle and wore glasses. Known to migrate from one thing to the next, she desired to be original, but the more she read, the more she realised how unoriginal she really was. Despite brief, but chronic interludes of existential crises, she powered on and took on more responsibility at the film school, facilitating the distribution of short films that had attracted success beyond academic doors.

She liked this part of the job. She reasoned the whole point of making films was to connect with an audience. She noticed an increase in online distribution deals landing on her desk. The monetary value was low, but the prestige high. For the student film school digital native, streaming films was the norm and online platforms were a necessary virtual leveraging tool. It was clear that digital was disrupting. The films of the predecessors sat on the shelves in the archive in their original bulky format, unwatched and neglected. There were rows of 16mm and 35mm celluloid film, Digital Betacam, Betacam SP, Umatic and VHS magnetic tape. A staff member casually suggested the film school would be wise to set up its own Campus YouTube and something inside the woman clicked. It was at this moment that she decided to embark on a very large digital archive project, whereby the brilliance of her naiveté shone through.

One afternoon, two archivists stopped by. She showed them the archive room and watched with curiosity as their eyes lit up and tongues began to salivate. With their noses in the air, they said, matter of fact: “this room smells like vinegar”. The woman had encountered her first problem. Later, she mused, that the archivists were a strange breed, but they had her thinking. She began to reflect ever so slightly on audiovisual heritage and cultural memory. Nostalgia had crept in. Continues on page 3 Continues from page 2

Cropped image: Film and Television Archive, Victorian College of the Arts, 18 May 2017 / Photographer: Nik McGrath She went back to her office and stared at the VHS tapes holding the first short films she had ever made. “Those were fun days,” she thought to herself. She asked a staff member to help her transfer the VHS tapes onto DVD. As she watched the films play out in real time, she witnessed the experimental re-telling of her past on screen. She had unknowingly played out a Jungian philosophical trope, using the moving image as a tool to grapple the inner workings of her unconscious mind. Suddenly the films in the archive took on new meaning. Granted, the findings from a report assessing the archive’s significance had just come in; nevertheless, she began to appreciate how the student films could contribute to conversations around our cultural, social and historical heritage. She realised that these early gems were not all angst-driven pieces like hers; rather the short film was a tool for students to explore identity and raise concerns about their place in society. Students entered into a political, religious or intercultural discourse, using the moving image to fuel these conversations. For every dark and esoteric film, there were funny and poignant films, silly films and artistically mature films. The short films were a component of the School’s history and captured the zeitgeist of the times. The cultural milieu of Melbourne, Australia and the participants involved in the film had deepened with the 50-year history of emergent filmmaking practice visible on the shelves. Some filmmakers, locations and creatives were now famous or notable in some respect.

For those filmmakers who had gone on to achieve more widespread success, their student films foreshadowed the setting and story worlds of their later work (John Hill coat’s 1982 experimental western Frankie and Johnny (We’re Lovers) continued to play out in The Proposition (2005). Jamie Blanks’ student suspense thriller Silent Number (1993) was reminiscent of his Hollywood career with mystery/slasher films like Urban Legend (1998). The camp and stylised student musical, Titsiana Booberini (1996), by Robert Luketic scored him his first Hollywood movie and most surely influenced his colourful comedy franchise, Legally Blonde (2001).

However, let us not forget the looming threat of film disintegration (via the dreaded “vinegar syndrome”) and the vulnerability of tape based magnetic media. The ticking time bomb motif was rife, driving the project and its stakeholders into action. For the woman, she philosophised that the film stories would continue to live on, taking new form and shape for present- day audiences. She imagined the digital archive as a living, breathing organism; an embodied site, continually transforming and finding further meaning. She wanted to breathe new life into a staid and dying collection - bodies of work that had gone cold - been left behind - waiting to disintegrate in the magnetic mortuary and cavern of celluloid. The project was becoming a metaphor for the unlocking of her hidden past, buried in amnesic repression. As she preserved, digitised and disseminated these past stories, more memories of her own would surface. Of course, she framed it within conversations of audio-visual heritage protection, pedagogical and research engagement, culture, building knowledge societies and access to information… because after all, she reasoned, everyone has a right to tell their story. What matters, she thought, is what we do with the information. She was tired of burying hers.

Epilogue: The VCA digital archive project has been underway for five years. By the end of 2018, over 1,500 films will have been digitised and preserved. The films will be accessible via a digital platform designed for teaching, learning, research and public engagement. At the same time, a pipeline for the born digital works is in place, so that future generations can access past and present student film works. The films in the archive date back to 1966, and take into account the former work of Swinburne School of Film and Television, which transferred to VCA Film and Television in 1992, along with its holdings. Now, the archive sits within The University of Melbourne, Faculty of Fine Arts and Music. To get involved or find out more, visit VCA.

ASA NSW Branch Newsletter – August 2016 3 Audio Cassettes, Germaine Greer Archive, 2017 / Photographer: Kate Hodgetts / Source: University of Melbourne Archives Kate Hodgetts, Assistant Registrar, Arts Centre Melbourne Outreach: Engaging new ears

In 2016 I was employed to listen. The University of Melbourne Archives had recently digitised/reformatted a collection of cassettes, digital audio tapes and mini discs once belonging to writer, academic and provocateur Germaine Greer. As with many audio collections contained within larger archives very little was known about what was on these tapes and discs. The acquisition was the physical carrier, in some instances a title, and the hope that whatever information lay within was of some significance, that is if it still played. Due to the fragility of audio materials and the impending obsolescence of play back equipment, without digitisation or format migration these “at risk” collections will eventually become inaccessible.

Luckily, in this case, the audio was intact and digitisation or format migration was completed. What came back, along with the original carriers, was 150 hours of recorded sound, saved both as mp3 for access and WAV for preservation. The material included radio interviews, lectures, field recordings, answering machine messages and audio diaries. While many of the recordings were produced within a studio environment a significant number were recorded by Greer herself with the use of various personal tape recorders.

My role from that point was to listen, assess, identify and summarise. I created time coded summaries for each recording describing short segments of audio in a succinct line or two, adding additional keywords for search-ability. For six months my ears scanned for copyright and privacy concerns. I flagged material for potential redaction or closure. I redacted, I closed, I listened to every single word. I kept notes detailing moments from the audio that interested me and I transcribed passages that I found moving, surprising, infuriating or hilarious. I saved these up for an opportunity to share.

Last year, in collaboration with curator Rachel Buchanan, I produced a podcast. As staff of the University of Melbourne we were invited to take part in a five-part training program in podcast production. During the course Dr Andi Horvath and her team took us through the various stages of podcast production from the development of an initial idea to studio recording, editing and eventual online publishing. The course culminated in the practical application of our new skills through the creation of a podcast episode. As far as subject matter went it was a no-brainer, Rachel would interview me about the audio ASA NSW Branch Newsletter – August 2016 4 Continues on page 5 Continues from page 4

Audio cassett, Germaine Greer Archive, 2017 / Photographer: Kate Hodgetts / Source: University of Melbourne Archives in the Greer Archive. What better way to promote an audio collection than through the ears? The podcast gave us the opportunity to showcase some of our favourite recordings and for me to share the unique experience of listening to Germaine Greer’s audio diaries. I discussed the process of cataloguing the materials and Rachel explained how access copies could be listened to in full in the reading room. The crackle of the original recordings contrasted perfectly against the dead space of the studio interview, the juxtaposition transported us through time and space, and back again. (Listen here: https://pursuit.unimelb.edu.au/podcasts/five-things-about-the-germaine-greer-audio-archive)

The creation of the podcast enabled the Greer audio to reach listeners that it would otherwise never have had. The Greer Archive was employed again for another podcast, Glyn Davis’ The Policy Shop. The episode examined the issue of domestic violence and included as a guest Greer herself. Introducing the archival audio Davis stated, ‘One of the benefits of having your archives here at the University of Melbourne is that we can now play this clip from 1971’. The snippet played was taken from a lecture Greer gave to students at the University of California, Berkley, titled ‘The Culture of Rape’. (Listen here: https://pursuit.unimelb.edu.au/podcasts/family-violence-ending-the-hidden-crime)

Audio archives are inaccessible to many people. Non-digitised materials remain latent, trapped on their physical carriers and hidden away in the “memory institutions” of the world. What good is simply storing these materials when their contents are disintegrating? Instead, they should be digitised and catalogued and used as an asset for promotion and advocacy. Public engagement and outreach develops awareness and appreciation. In order to manage our collections with the needs of the future in mind not only should we prioritise digitisation and format migration of our “at risk” audio collections, but we should recognise and utilise the incredible potential of online platforms and podcasting to introduce these collections and archives more broadly to a whole new group of listeners.

Find out more about the Germaine Greer Archive here: https://archives.unimelb.edu.au/explore/collections/germainegreer - explore

Kate Hodgetts was one of a team of archivists who catalogued the Germaine Greer Archive at the University of Melbourne Archives (UMA). During her time at UMA Kate worked across various collections in both arrangement and description, and access and outreach. Kate is currently working at Arts Centre Melbourne on their Legacy Data Project. ASA NSW Branch Newsletter – August 2016 5 Jonathan Wong reviewing digitised video included in the Quality Control process, 14 August 2018 / Photographer: Andrew Martin / Source: DAMsmart Andrew Martin, Media Manager, DAMsmart, and Technical Committee Member, International Association of Sound and Audiovisual Archives Saving the Image of our History

Can you imagine a world where the next generation is left with an incomplete view of history?

Today this notion is hard to reconcile as our daily lives and world events are being recorded as video at an unprecedented rate. 300 hours of video is uploaded to YouTube every minute. As opportunities to capture and store digital video grow exponentially, sadly yesterday’s moving image and sound history is literally becoming a thing of the past.

Some of our key cultural and historical touchpoints, local and corporate audiovisual moving image and sound history will be lost forever if action is not taken to preserve them. It is difficult to estimate accurately the amount of audiovisual content that exists around the world, however, a calculation by AVPreserve predicts that there are 177,911,742 preservation-worthy audio items in the USA alone. A 2001 survey report from Presto’s European Broadcast Archives indicates there are 10 million hours of film, 20 million hours of video and 20 million hours of audio held in European archives. Australian collections total well into the hundreds of thousands of hours. What is important to understand is that both large and small collections are all facing the immediate problem.

There has always been the risk of degradation of audiovisual (AV) historical records: from hydrolysis or sticky shed syndrome, from physical damage through to mould infection. There is also the risk of important recordings being thoughtlessly thrown out or erased. Modern archival practices have somewhat reduced these risks, but we now face the most pressing issue – technology obsolescence. Playback equipment for video and audio formats are no longer being manufactured, and second- hand machines and parts are disappearing at an alarming rate. And to compound the problem, the numbers of experienced audiovisual operators and engineers are quickly dwindling.

The consequences of the problem may not be immediately evident, but future access and preservation of these audiovisual records will be seriously impeded, as the required technology and skills will be prohibitively expensive. This is predicted to

ASA NSW Branch Newsletter – August 2016 Continues on page 7 6 Continues from page 6

Eve Withers adjusting a U-matic videotape machine for optimum replay, 15 August 2018 / Photographer: Andrew Martin / Source: DAMsmart happen in just a handful of years and means much for the worlds moving image history captured in the last half of the last century may never be seen again.

DAMsmart has been helping organisations to overcome these challenges for over a decade by digitising and preserving AV collections. We have worked with collections from the GLAM sector, government, broadcasters through to defence and law enforcement. This diverse experience gives somewhat of a unique perspective on the value of preserving audiovisual history. We interact with collections that have two tapes to tens of thousands of tapes. All of that content tells a story and gives a perspective that is more engaging than a written account. Reflecting on some of the collections we have digitised, it easy to see why it is important to preserve our audiovisual history.

One of the first jobs undertaken by DAMsmart was with the Department of Parliamentary Services (DPS). The collection comprised of 55,000 hours of parliamentary proceedings, recorded on D2, Betacam SX and SVHS, and represented one of the largest mass video preservation projects undertaken in Australia. Digitising the collection in 12 months, we helped DPS

ASA NSW Branch Newsletter – August 2016 Continues on page 8 7 Continues from page 7 preserve over 30 years of parliament. This content is linked to Hansard to enable a complete documented and audiovisual record of how our country has grown. Hansard records the words of parliament, but the video captured the passion, and haircuts, with which policy was developed.

In 2015, DAMsmart digitised The Australians At War Film Archive, a collection of 2,000 interviews, recorded over 11,000 hours and previously held on obsolete videotape. The interviews contain defence personnel sharing their individual experiences. The collection incorporates a personal account of every conflict in which Australia has been involved, from WWI to current deployments. The interviews were transcribed, so there would have always been a documented record of the interviews if the collection was lost. However, the emotion and connection can only be fully understood by watching the interviews. Now that the collection is digitally preserved, these unique stories are being made available to the public.

Having worked on a range of international collections, it is evident that the preservation of audiovisual archives is of global importance. We have worked with The Olympic Council of Asia, The Nelson Mandela Foundation and Radio Television Hong Kong. In 2013 we worked with The National Archives of Fiji to save their AV history. The collection was challenged by degradation issues, however, we were able to recover virtually all of the content. The collection is now digitally preserved for the long-term and is regularly used and shared in community outreach programs to tell the story of Fijian history.

In a slightly different vein, DAMsmart was tasked with the duty of faithfully restoring forensic footage of a murder scene from a high profile case from the late 80s. This content was to be used as admissible evidence in the reopening of the trial. Audiovisual collections that have a legal requirement for longevity are in just as much danger of obsolescence and deterioration as the cultural and commercial archives.

On a smaller scale, but no less significant than earlier examples, the Fletcher Jones Archive, which was acquired by University of Melbourne Archives in 2012, showcases the importance of AV media in preserving the history of Australia. In recognition of the historical, social, local and economic significance of this collection Fletcher Jones’ son, David Jones, constructed an archive of his father’s business and family papers, photographs, audiovisual material and artefacts.

The audiovisual collection includes a large proportion of unique material, particularly on U-matic videotape, which the University worked with DAMsmart to digitise and preserve. The collection includes master material of in-house productions entitled: ‘Trouser Adaptations’; ‘Trousers that Fit Well’; ‘Cloth to Clothing’; ‘Coat fitting: what happens at the factory: Shoulders, Neck & Balance’ which document styles and fashion trends of the 1970s and 1980s. Also included are Fletcher Jones TV advertisements, management/supervision training videos and staff update videos.

Fletcher Jones was an inspiring individual with bold and imaginative ideas about clothing retail, quality and service innovation, who started his long and successful manufacturing and retail career selling trousers under humble circumstances as a hawker in the Western District at the conclusion of the First World War. The audiovisual component of the collection greatly adds to the understanding of the business by complementing the larger body of the collection. Like the other examples, the Fletcher Jones videos capture unique stories in sound and moving image that offer a perspective and connection that written records just can’t convey.

Despite great efforts having been made to professionally preserve these culturally and commercially valuable collections, and many others, there are still so many more collections around Australia waiting to be preserved. The lack of action to preserve AV heritage is still disturbingly present. Getting the message heard about the reality of the situation and the impending disaster remains one of the biggest challenges. If people don’t realise the seriousness of the situation they can’t make informed decisions to take action. Educating people about the urgency of the issue relating to audiovisual preservation and digitisation needs to be a priority.

Initiatives like UNESCO’s World Day for Audiovisual Heritage (27 October) assist in raising the profile of AV archives. The NFSA’s Deadline 2025 paper (https://www.nfsa.gov.au/corporate-information/publications/deadline-2025) outlines the lifespan of magnetic media. Our own white paper (https://damsmart.com.au/to-know/digitisation-white-paper/) draws together a range of views and facts that underscore the urgent attention that is needed to counter the effects of technology obsolescence. New publications such as the International Association of Sound and Audiovisual Archives (IASA) Guidelines for the Preservation of Video Recordings: IASA-TC (https://www.iasa-web.org/tc06/guidelines-preservation-video-recordings) details and recommends the technical requirements for video digitisation. Even with these efforts, more information of the issue needs to be discussed in the broader public sphere. Continues on page 9 ASA NSW Branch Newsletter – August 2016 8 Continues from page 8 There is a real risk of significant loss to local, Australian and global cultural audiovisual heritage in the coming years. Like the collections above, the audiovisual archives we hold in Australia all tell a story. They deserve consideration as to whether those stories should be preserved or not. If they are to be preserved, we need to act now to save the collections. If we don’t act, it is a real possibility that when we tell the stories of the last century using moving image and sound, there will be holes in our history. This is not an issue for the next generation to fix, it is our challenge and our responsibility to ensure that future generations have a complete picture of history.

Record covers from the SBS Radio vinyl collection recently acquired by the National Film and Sound Archive of Australia / Source: NFSA Thorsten Kaeding, Curator of Sound, National Film and Sound Archive of Australia (NFSA) SBS Radio vinyl collection preserved by NFSA

The National Film and Sound Archive of Australia (NFSA) is now the custodian of the SBS Melbourne and Sydney radio collections - more than 20,000 vinyl long play records dating from the commencement of 2EA and 3EA in 1975 to the end of the vinyl era around the mid-1980s.

This significant collection was the basis for the different language programs provided by SBS over the years, demonstrating the breadth and reach of influence SBS has had, not just on individual cultural groups but on the Australian cultural landscape. It will now be preserved as part the NFSA’s vast collection of more than 2.8 million items dating back to the earliest surviving Australian recorded sound (1896).

In early 2018 the NFSA was contacted by SBS in Melbourne. Due to refurbishment at their main office in Federation Square they were unable to continue to house their collection of vinyl records, which had built up since 1975. In looking for a new home for the records they thought the NFSA would be the ideal place to contain such a significant collection and, on further discussion, SBS also offered the Sydney radio collection of vinyl discs. It was the preference of SBS that the collections be kept whole in order to reflect their significance, not only to SBS but in the broader context of their importance as a representation of the beginnings of multicultural broadcasting in Australia.

In 1975 two radio stations, 2EA in Sydney and 3EA in Melbourne, were set up in order to inform Australians from non-English speaking backgrounds about the new universal health care policy instituted by the Australian Government (Medibank). The stations were designed to provide important information to citizens in their native language, with an initial plan to broadcast for three months in seven languages. They proved so popular that their broadcast time was extended by three years and the number of languages expanded.

Continues on page 10 ASA NSW Branch Newsletter – August 2016 9 Continues from page 9

Record cover from the SBS Radio vinyl collection recently acquired by the National Film and Sound Archive of Australia / Source: NFSA Then, on the first of January 1978, the Special Broadcasting Service (SBS) was created to run the two stations. SBS TV was also set up at that time.

The number of languages broadcast steadily increased from over 40 in 1978 to more than 70 now. From those first stations in Sydney and Melbourne, SBS Radio now has a variety of services across the country, with a charter mandating them ‘to provide multilingual radio … services that inform, educate, and entertain all Australians and in doing so, reflect Australia’s multicultural society.’

The SBS Melbourne and Sydney vinyl collections represent most of the language and cultural groups broadcast by the stations in that early period: Afghan; Albanian; Greek; Hungarian; Serbian; Hindi and many others. It also includes recordings made in Australia in languages other than English.

While the NFSAs collection is comprised primarily of Australian produced material, or international material with significant Australian creative input, our collection policy and principles do allow for the selective inclusion of significant International material ‘to provide context to historical Australian audio-visual production, and to preserve a tangible record of historical cultural experience.’

The NFSA seeks to represent, through its collection, the broad scope of Australia’s cultural heritage as reflected in its audiovisual industries and cultures. By this measure the SBS vinyl collection is a landmark collection which encapsulates not only the beginnings of multicultural broadcasting but demonstrates both the advent and ongoing success of multiculturalism in Australia.

SBS has become an integral part of Australian culture and this collection represents the beginning of that long journey. A journey which has enriched many lives and helped to develop Australia as the county it is today.

On this basis the NFSA is proud to have accepted this collection and to maintain and make it accessible to all Australians nowASA NSW and Branchinto the Newsletter future. – August 2016 10 Cropped still from NFSA restored silent film, The Cheaters, actors Marie Lorraine and Josef Bambach, 1929 / Source: National Film and Sound Archive of Australia (NFSA) Nik McGrath, ASA VIC Committee Member NFSA Restores: The Cheaters

The lights go out; the audience is silent. Composer, pianist and vocalist Jan Preston looks up to the screen and hits her first note on the piano, her percussionist at her side ready to take action. Preston’s moving score accompany silent films Those Who Love (1926) and The Cheaters (1929).

I burst into laughter - only three minutes now exists of Those Who Love, but they are a marvellous three minutes! Doing the Charleston on the beach, a woman wearing a striking hat dancers before her friends. The group begins to dance together. Next scene is a pub brawl, and onlookers push to get a better look.

Those Who Love was the debut feature film by the McDonagh sisters – Paulette, Phyllis and Isabel. Paulette directed, Phyllis produced, and Isabel acted under the alias Marie Lorraine. Pioneers of Australian filmmaking, the McDonagh sisters managed the first female Australian film production company. The Cheaters was their third feature film, sadly not doing well at the box office due to the popularity of American talkies at the time.

“NFSA Restores is an exciting program to digitise, restore and preserve, at the highest archival standards, classic and cult Australian films so they can be seen on the big screen in today’s digital cinemas” (https://www.nfsa.gov.au/about/our-mission/nfsa-restores).

On Sunday 12 August, I went to the Melbourne International Film Festival screening of the recently NFSA restored film, The Cheaters.

Tara Marynowsky, Curator, NFSA, introduced the films. She noted the surprising use of pinks, blues and yellow tints in parts of black and white film The Cheaters. I gasped when the pink splashed across the screen. How beautiful… I am incredibly grateful for the work NFSA is doing to restore and make accessible films from Australia’s audiovisual heritage.

For more information about the restoration project, see Tara’s article: https://www.nfsa.gov.au/latest/nfsa-restores-cheaters. ASA NSW Branch Newsletter – August 2016 11 A 16mm cellulose acetate B&W motion picture film in original packaging. The film features a 60 second television commercial for Kodak. This film has not been digitised so it is unclear what the commercial is for that features on the film. The commercial was produced by Artransa for the Hugh Berry Company, who were commissioned by Kodak Australasia / Source: HD-A-HT35305, Kodak Heritage Collection, Museums Victoria Fiona Kinsey, Senior Curator Images and Image Making, Museums Victoria Audio-Visual Material in the Kodak Heritage Collection at Museums Victoria

Around 12 years ago I acquired a collection for Museums Victoria which I am still very passionate about, and am still working on – the Kodak Heritage Collection.

Kodak Australasia’s history reaches back over 100 years. The company was established in 1908 when Eastman Kodak merged with Baker & Rouse, but the Baker & Rouse story stretches back even further to 1884, when Thomas Baker first founded his pioneering photographic manufacturing company in the Melbourne suburb of Abbotsford. Kodak Australasia’s long history of photographic manufacturing came to an end in 2004 when its Coburg factory closed down. Before the factory site was vacated, Museums Victoria worked closely with the company to acquire a large and significant material culture collection, known as the Kodak Heritage Collection.

This collection is nationally significant, and is extensive in size and scope. It is still being registered, but consists of over 40,000 items, which record the history of the company’s manufacturing, marketing, educational, retail and working life activities around Australia, with an emphasis on Melbourne. As well as over 30,000 photographs and slides, 6,400 documents, and 3,300 objects, the Kodak Heritage Collection incorporates a substantial and diverse audio-visual component of over 780 items dating from the late-1950s to the early 2000s.

A Treasure-Trove of Audio-Visual Material

The audio-visual material includes over 360 reels of 16mm motion picture films, (of which 134 have been digitised to create low resolution access files), over 170 video cassettes, over 100 examples of 35mm slideshow sets including 27 with audio cassette tapes and 20 with booklets or scripts, about 10 born digital video files on DVD and compact disc, and about 50 born digital oral history interviews.

This audio-visual material is evocative and valuable in the study of Kodak’s history. It provides unique content that doesn’t exist in our still photographs - even though we have thousands of still images in the Kodak collection. The audio-visual material is also visceral and imbued with narrative. It gives us a different level of historical immediacy and intimacy than still

ASA NSW Branch Newsletter – August 2016 Continues on page 13 12 Continues from page 12

A 16mm cellulose acetate B&W motion picture film in original packaging. The film features a 60 second television commercial for the Kodak Automatic Movie Camera. The commercial, which features a family enjoying model car racing in their home, is part of the Kodak ‘No Place Like Home’ campaign. It was produced by Senior Film Productions in 1961 for Berry Currie Advertising, who were commissioned by Kodak Australasia / Source: HD-A-HT35228.1-001-co, Kodak Heritage Collection, Museums Victoria photographs. It provides motion - we don’t need to imagine what came before or after, as we do when a single moment is captured by a still photograph – we can view a sequence of events, and see a narrative unfold. Audio-visual material also can, but does not always, bring sound to the scene, providing another sense with which to experience history.

Of course, this material must always be interrogated in terms of its original aims, its producer, its intended audience, its biases – the veracity of all visual material must be critically assessed. Nonetheless, with rigorous framing, our audio-visual material is of great use to the curators and historians of Kodak’s history, and to our public audiences who wish to learn more about the company’s history in Australasia.

Of particular importance in the Kodak audio-visual collection are the 200 or so Australian TV commercials in 16mm film format, which date from the late 1950s to the 1970s; over 100 slide educational lecture sets from the 1960s to the 1970s; the handful of examples of rare documentary footage of the company’s factory and processing sites in Melbourne which date from the 1960s; and the 50 oral history interviews recorded in the 2000s by museum staff.

Television Commercials

Almost 60 of the 200 TV commercial films we hold have been digitised, and while they may be short, only 30-60 seconds, these mid-century TV commercials are packed full of important historical information. As well as showing us information about Kodak - the products, the camera technology and film chemistry of the time - these commercials are also a window into the social values of the period, in particular gender roles, cultural stereotypes and the role of children in society.

These commercials are also a lens into the embryonic television industry of the period, and additionally are a record of Australia’s advertising and film production companies. Most of the commercials were produced by Berry Currie Advertising - a Melbourne-based advertising agency. We can glean from the film reel packaging that Berry Currie worked with a wide variety of Melbourne and Sydney based film production companies to produce the commercials, including Fanfare Films, Senior Film Productions, Browning Studios, Cambridge Film and TV Productions, Aranda Film Productions, and Bilcock and Copping. Many of these were private companies run from television stations, for example Channel 9’s Television City in Richmond. From the late 1960s to early 1970s there was a surge in these local film production companies in response to the growth of the television industry, and many of these companies are represented in Kodak’s collection.

Thanks to former Kodak Heritage Collection staff member Hannah Perkins for providing the research about the Kodak TV commercialsASA NSW Branch. Newsletter – August 2016 Continues on page 14 13 Continues from page 13 Lecture sets

The Kodak collection includes over 100 slide lecture presentation sets, 27 with audio cassette and 20 with typed booklets or scripts, dating from the 1960s to the 1970s. One important group of these lecture sets were designed to teach consumers and photographic enthusiasts about various elements of photographic practice, such as ‘composition’ or ‘flash photography’. As such they represent how Kodak provided an important educational role for the Australian public, albeit always imbued with a marketing message to sell Kodak product. Another key group of the lecture sets featured slides of entries in photographic exhibitions from around the country that were mounted by local photographic societies or by Kodak. These sets worked to build the role of amateur photography in Australia and portrayed it as a worthy artistic pursuit.

As well as containing content, these lecture sets represent a key 20th century technological moment, when the presentation of audio-visual material relied on analogue technology. The Kodak collection includes equipment used to view this analogue audio-visual content, from simple 35 mm projectors with carousels, to the sophisticated ‘Multivision’ presentation system that engaged multiple projectors to present multiple formats including still images, moving footage, and sound.

Documentary footage

The most significant audio-visual material in the Kodak collection for me, however, is the 16mm film footage of Kodak’s Australian manufacturing and industrial operations at Coburg and Burnley in the 1960s. This footage is rare - there are only a handful of examples, all of which are silent – and the content is extraordinary and compelling to watch. These examples mark important milestones in the evolution of the company, when Kodak was transitioning to its new Coburg factory from its manufacturing site at Abbotsford and from its photo-chemical and film processing plant at Burnley.

The footage that we hold shows us the operational workflow of photochemical product mixing and packing, photo- processing and printing. It also shows us a wide range of work undertaken at the large and complex enterprise at Coburg, including office, distribution and transport work. However, it must be noted that the Kodak factory moving footage material is skewed to the representation of particular types of activities, namely those normally undertaken in white light. There is a lack of visual representation of the company’s core business of emulsion making and coating work, and film developing. This gap also exists in the still photographs in our collection, and can largely be explained by the fact that photographic products are light-sensitive and manufacturing and processing must be done in the dark or safe-light conditions, so you couldn’t easily film this particular type of work. Also, there was strict industrial confidentiality around the manufacture of Kodak’s emulsion based products – this protectionism was known in the US as the ‘silver curtain’– and it was likely to have restricted the visual documentation of the manufacturing process. Despite its restricted focus on only some work at Kodak, this footage is nonetheless very significant and allows us to understand more about Australia’s photographic manufacturing industry.

In addition, the footage is not just useful for those interested in Kodak or photographic manufacturing – it is also a great resource for scholars examining broader fields such as labour history, urban history, gender studies and cultural diversity. It highlights the manual and hazardous nature of some of the work, and safety practices used in the factory. It tells us about the architecture, layout and technology of the factory, and the optimism of the company. It locates the factory in its landscape, suggesting the ongoing tension between industry and residential space on our urban fringes. It also gives us insights into the demographic and diversity of the workforce, the division of labour in terms of which tasks were allocated to women versus men, the cultural composition of the labour force, and who was absent in the workforce.

Oral History Interviews

The Kodak collection also includes about 50 important oral history interviews recorded by myself and other Kodak team members in the 2000s. These digital audio recordings are in wav (preservation) and mp3 (access) formats, and have all been transcribed. The content in these interviews tells us about the working lives of former Kodak staff, and in a few cases, families who owned land on which Kodak’s Coburg factory was built. These interviews provide a lot of rich detail about the nature of work at Kodak over time, including information that we would simply otherwise not know as it doesn’t exist in the written or visual archival record. The interviews also provide information about the education and socio-economic background of staff. As such, this audio material is significant for a broad range of reasons, and in an increasing number of cases the interviewee has now passed away, rendering their testimony even more precious and rare.

Thank you to Lesley Alves who conducted many of the interviews with Kodak staff. ASA NSW Branch Newsletter – August 2016 Continues on page 15 14 Continues from page 14 Conclusion

Audio-visual material has had a critical role in providing context to the history of Kodak Australasia. However, accessing its content to facilitate this has not been simple. We have been lucky to have funding for a technician to digitise some of our motion film at low resolution, as well as to apply a ‘preservation wind’ of the film onto an archival core for long term storage in our cool store. This digitisation work has enabled us to view the content of this particular format, often revealing stunning and significant audio-visual content we didn’t know was there, as not all of our motion film was labelled and even if it was we couldn’t necessarily visualise what a particular title was.

However, we have not yet been in a position to view all of our motion film, nor view our video tape material or listen to our audio cassettes, let alone digitise them, and it has also not been possible to digitise all of our thousands of 35mm slides. Hence, a considerable amount of historical information is physically locked into the collection material until we have the means to digitise and document it in future.

In addition, without the contributions of our community of former Kodak staff, historical information about digitised content that we could see might also have been locked in. We have relied on the technical expertise of the former Kodak workers to understand particular work processes and identify locations in the footage. Without their input, our understanding of the collection would be diminished.

I am grateful to Kodak Australasia for preserving their audio-visual material for so many decades before it was acquired by Museums Victoria, and I am also grateful for the longevity in my role which has allowed me to delve into the collection and the company history in depth. I look forward to viewing more of this material as time goes by - always with a critical contemporary eye to its content and original aims and audiences – and making it accessible to bring Kodak’s history alive for future generations.

Suzy Goss, ASA VIC Communications Officer New grad chat with Suzy Goss: workshops part 2

Your professional development will probably include attendance of workshops about subjects that are of interest to you, or that develop your understanding about an area of your job - hopefully both! Don’t limit yourself solely to events run for archivists, make sure you hear from colleagues in the wider GLAMR (galleries, libraries, archives, museums and records) sector as well as other sectors such as business, IT and design.

A few weeks ago I attended a workshop run by General Assembly called Personal Branding for Introverts that I’d like to share some points from. I recommend getting along to one of these if you can, it’s free and no-one is trying to sell anything or make you do “networking”!

Personal branding is a corporate way of saying “label yourself before others mislabel you”. Whenever you communicate in your professional capacity, make sure it’s consistent with your label a.k.a. your values. If you’re unsure of what values you project, a quick Google of yourself will quickly let you know! If you don’t enjoy what you see, you might need to “define your core message” - that’s corporate-speak for understanding your skills, your values and your goals.

Good advice was to keep a list of your key strengths and skills, of areas at work that you are influencing, and of your achievements, so that you can communicate it when you need to (like in your performance review). You could also practice talking about your strengths and goals so that when you need to talk about yourself you are able to easily say what you want to say. Yes, practice out loud!

As I’m stepping into the role of ASA VIC Branch Communications Officer, this is my final New Grad Chat. If you have an idea for a monthly column, I’d like to hear from you - go on!

Personal Branding for Introverts delivered by John Maltby and Caitlin Fairchild: https://johnmaltby.com.au/event/personal-branding-introverts-free-workshop/

ASA NSW Branch Newsletter – August 2016 15 Cropped image: Kathryn Dan receiving a gift from Mike Jones on behalf of the ASA VIC Branch at the ASA VIC AGM, Kathleen Syme Library, Carlton, 1 August 2018 / Photographer: Nik McGrath Suzy Goss, ASA VIC Communications Officer ASA VIC Branch AGM 2018

Was this AGM the best yet? Certainly it was the only one to have included a sampling of 30 year old port!

The ASA VIC Branch AGM was preceded by longtime ASA member Kathryn Dan’s review of years gone by - a story told in a series of “archives” found as she packed her house up for a move to a job at ANU, in Canberra. The items included a bottle of port of somewhat uncertain provenance (a speaker gift from the 1992 or 93 ASA conference) which the room was keen to sample. Making the point that to “keep things alive” it is as important to look back at where we have been as it is to look forward, she recollected her fist conference in 1991 when the first ASA Code of Ethics was produced. Next she produced a document from 1997 - Managing Digital Records. Moving forward to 2004, she noted that the issues then facing professional associations included public awareness and communication, relationships with similar organisations, educational environment, Indigenous issues and membership. In the next step forward, we are now discovering how to work together with other professions.

Melbourne will miss you Kathryn, thank you so much for all you’ve done for ASA VIC over the years. And thanks for the port!

The AGM then began with an acknowledgement of country, and a quick introduction from the outgoing co-convenor. Highlights of 2017-2018 were the ASA conference in Melbourne - which was the first to use the Code of Conduct, now adopted by ASA as ‘Aims and Expected Behaviours’. The regional event in Sale was a hit as was the combined RIMPA, ALIA and MA (VIC) end-of-year shindig in 2017.

Ten new committee members were elected:

Imogen Telfer - Co-convenor

Imogen is a Records Officer in the Information Governance and Engagement team at the University of Melbourne, and is currently fuelling her passion for sound heritage with a bit more study on the side. She says, “I’m so appreciative of the warm and engaged community that is the Victorian Branch and I’m excited to continue contributing in a new way as Co-Convenor”. ASA NSW Branch Newsletter – August 2016 Continues on page 17 16 Continues from page 16

Cropped image: Kathryn Dan’s personal ASA archive material including an ‘Archives Australia ‘92 Windows on Australian Archivy Programme and Timetable, Prepared in the Charles Sturt University Regional Archives, Revised April 1992’ with Kathryn’s ink lines in the printed text, shared at the ASA VIC AGM, Kathleen Syme Library, Carlton, 1 August 2018 / Photographer: Nik McGrath Nicola Laurent - Co-convenor

Nicola is the Senior Project Archivist on the Find & Connect web resource at the eScholarship Research Centre, University of Melbourne. She is a Councillor for the ASA where she represents the interests of the Victorian Branch and newer professionals and she’s looking forward to being Co-Convenor of the Victorian Branch for another year.

Saribel Minero - Committee Member

Saribel has been the Records and Archives Officer at Museums Victoria since 2004. Last year she joined ASA as a Committee Member, and has joined again this year: “I am so happy for doing it”. She has also joined for the first time RIMPA - Victorian Branch as a Councillor, as she feels both associations will help in her professional development to see both fields and learn from them.

Constance Thurley-Hart - Committee Member

Constance is a Project Archivist on the Find & Connect web resource and, more recently, on the Return Reconcile Renew project, both at the eScholarship Research Centre, University of Melbourne. She has been involved with the ASA Victorian Branch for the last year and is looking forward to increasing her involvement in her new position as Committee Member.

Mike Jones - Committee Member

Mike has worked in the GLAM sector for more than ten years, as an archivist, researcher, and consultant. He is in the process of finishing his PhD at the University of Melbourne (where he also works), and is looking forward to being part of the new Victorian Branch Committee.

Suzy Goss - Communications Officer

Suzy is an Access Services Officer at PROV and started her GLAM career in primary school as a student librarian! She has worked in government records and archives for six years and recently completed a Master’s in Information Studies from Victoria University of Wellington (NZ). She enjoys the multi-disciplinary aspect of archives and is especially interested in

ASAinformation NSW Branch culture Newsletter and how– August archivists 2016 are developing digital capability. Continues on page 18 17 Continues from page 17

Cropped image: Fraser Faithfull and Michaela Hart at the ASA VIC AGM, Kathleen Syme Library, Carlton, 1 August 2018 / Photographer: Nik McGrath Nik McGrath - Committee Member

Nik’s job as archivist at Museums Victoria is to preserve the 164 years of memory, and to tell stories from, the Museums Victoria Archives. She recognises that as an archivist she is part of a broader GLAM community. She enjoys building community as a committee member of newCardigan and ASA Victorian Branch. She’s passionate about telling stories, which has been a rewarding part of her role as editor of the ASA VIC newsletter over the past two years, and she says she’s excited to see it take a new direction.

Rachel Naughton – Treasurer

Rachel has been on the Committee of the ASA Victorian Branch since 2000 and occupied most positions in that time. For 22 years she has been the Archivist & Museum Manager for the Catholic Archdiocese of Melbourne, where she has organised the Archive for ease of management and access. In between, she does search and retrieval for the Executive and for Parishes, assists the public in their enquiries and produces a bi-annual historical magazine for which she is sometimes editor. She is also currently engaged in a joint project with the University of Melbourne, researching the contribution to Victoria’s cultural life of Victoria’s first Catholic Bishop.

Susannah Tindall – Secretary

Susannah is a new graduate in the Records and Archives profession, currently working as a Records Officer at Monash University. She has been an ASA member since 2016, and is very excited to join the ASA Victorian Branch as Secretary!

Fraser Faithfull – Committee Member

Fraser works in records and archives for three non-profit organisations: The Australian and New Zealand College of Anaesthetists, Good Shepherd Australia New Zealand, and the Catholic Archdiocese of Melbourne. He’s been a member of the Branch Committee for four years now and says that he feels really energised by the wonderful team that has served over that time, and it is his pleasure to be able to contribute for another year.

Thank you to all outgoing committee members, and thank you to new and ongoing committee members for stepping forward! Here’s to another productive and exciting year. ASA NSW Branch Newsletter – August 2016 18 Upcoming events Events at a Glance

3 August - 6 November TarraWarra Biennial 2018: From Will to Form TarraWarra p19 Museum of Art 4 September The Last 100 Days Shrine of p20 Remembrance 5 September Homer and the Archaeology of Crete Melb Uni p20 5 September Making Futures: A Slam Event MM p21 9 - 12 September inForum 2018 RIMPA p21 11 September Victorian Collections Day MA VIC p22 13 September WRITING & CONCEPTS Eugenia Flynn: Beyond indifference, more than ACCA p22 difference 14 September The Biennial RHSV conference: War, Peace, Protest: Fifty Year Reflections RHSV p23 on 1968 15 September September cardiParty nC p23 15 September - Evolution: Torres Strait Islander Masks Bunjilaka p24 28 January 2019 22 September - 2018 Archibald Prize Geelong Gallery p24 18 November 22 September - Jessie Boylan: Rupture Bendigo Art p25 10 February 2019 Gallery 25 - 28 September 2018 ASA Conference - Archives in a Blade Runner Age - Identity and ASA p25 Memory, Evidence and Accountability 27 September - New Works from Derek Swalwell Modern Times p26 7 October 6 October- JOSH X MUIR Koorie Heritage p26 25 November Trust

TarraWarra Museum of Art TarraWarra Biennial 2018: From Will to Form

For the sixth TarraWarra Biennial, 23 artists and one artist group from across Dates 3 August - 6 November Australia will present anarchic and persistent energies in a range of sculpture, painting, performance and film works. For some artists, will is drawn from a Venue TarraWarra Museum of relationship to country and earth, while for others it is channeled through the Art psyche. Other artists highlight the role of the body as either a conduit for, or a 313 Healesville-Yarra concealer of, wilful forces. Glen Road Healesville VIC 3777 For more information please visit: http://www.twma.com.au/exhibition/from-will-to-form-tarrawarra-biennial-2018/ Cost $0 - $10

ASA NSW Branch Newsletter – August 2016 19 Upcoming events

Shrine of Remembrance The Last 100 Days

What were the experiences of the Australians fighting on the Western Front in the Date Tuesday 4 September final battles of the First World War? Sourced from soldier’s diaries and letters, Will Davies pieces together their experiences from Amiens to the Hindenburg line. Time Midday

For more details and to book please visit: Venue Shrine of https://www.shrine.org.au/Visit-the-Shrine/Talks-and-Events/The-Last-100-Days Remembrance Auditorium Birdwood Avenue Melbourne

Cost $0 - $5

University of Melbourne Homer and the Archaeology of Crete

Professor Antonis Kotsonas offers a regional and diachronic analysis of Homeric Date Wednesday 5 September stories about Crete, an assessment of the reception of these stories by the island’s inhabitants throughout antiquity, and an account of their impact on Time 7pm to 8pm Medieval to modern literature and art. Venue University of Melbourne

Elisabeth Murdoch For more details and to book please visit: Theatre A - G06 https://events.unimelb.edu.au/events/11015-homer-and-the-archaeology-of-crete Spencer Road Parkville campus

Cost Free

ASA NSW Branch Newsletter – August 2016 20 Upcoming events

Melbourne Museum Making Futures: A Slam Event

This dynamic presentation will reveal how our responses to the past can influence Date Wednesday 5 September the future. It will delve into museum collections to see what secrets they hold, and if they can help us understand ourselves better. Time 5:30pm to 7pm

This event is the result of a collaboration between scholars, artists and museum Venue Melbourne Museum experts, and follows in the footsteps of other Anthropocene Slam events 11 Nicholson Street worldwide. Carlton

Cost $8 - $12 For more details and to book please visit: https://museumsvictoria.com.au/melbournemuseum/whats-on/making-futures-a-slam-event/

Records and Information Management Professionals Australasia inForum 2018

Presentations from local and international cutting-edge speakers who’ll examine Dates 9 - 12 September the digital world from tactical, operational and strategic perspectives. Venue Wrest Point For more details and to register please visit: 410 Sandy Bay Road http://inforum.net.au/ Sandy Bay Tasmania 7005

Cost $330 - $1,793

ASA NSW Branch Newsletter – August 2016 21 Upcoming events

Museums Australia (Victoria) Victorian Collections Day

A full day of information and workshops aimed at the community collecting sector Date Tuesday 11 September to help you achieve the best care for your collection. Time 10am to 4pm Hear from museum and gallery industry experts on topics including collection Venue State Library Victoria management, conservation and exhibition skills. 328 Swanston Street For more details and to book please visit: Melbourne https://mavic.asn.au/events?date=2018-9-11 Cost $20 - $30

Australian Centre for Contemporary Art WRITING & CONCEPTS Eugenia Flynn: Beyond indifference, more than difference Date Thursday 13 September

Time 6pm This lecture explores alternative narratives, ideas of re-centring and notions of multiplicity in order to challenge and provoke. Venue ACCA 111 Sturt Street For more details and to book please visit: Southbank https://acca.melbourne/program/writing-concepts-eugenia-flynn-beyond-indifference-more-than-difference/

Cost Free

ASA NSW Branch Newsletter – August 2016 22 Upcoming events

Royal Historical Society of Victoria The Biennial RHSV conference: War, Peace, Protest: Fifty Year Reflections on 1968

The program includes the launch of exhibition 70s Melbourne followed by the Dates 14 - 16 September RHSV Augustus Wolskel lecture delivered by Peter Edwards. The keynote will be delivered by Seamus O’Hanlon. A full program of speakers includes Richard Venue RHSV Broome, Charles Sowerine and Rebecca and Jean McLean reflecting on their 239 A’Beckett Street documentary, Save Our Sons following its screening. Melbourne

For more details and to register please visit: Cost $40 - $80 http://www.historyvictoria.org.au/rhsvevents/whats-on

newCardigan September cardiParty

Make a Zine workshop! Date Saturday 15 September

More details will be available soon at: Venue The Park Hotel https://newcardigan.org/category/cardiparties/ 191 Nicholson Street Abbotsford

Cost Free

ASA NSW Branch Newsletter – August 2016 23 Upcoming events

Bunjilaka Aboriginal Cultural Centre Evolution: Torres Strait Islander Masks

The exhibition highlights the significance of masks in Torres Strait Islander Dates 15 September - 28 ceremonies and culture and their evolution to the present day through the January 2019 commission works of eight artists from the Torres Strait and Northern Peninsula area. Venue Bunjilaka Aboriginal Cultural Centre Developed by the National Museum of Australia in partnership with the Gab Titui Melbourne Museum Centre and its parent body, the Torres Strait Regional Authority. 11 Nicholson Street Carlton For details and to book please visit: https://museumsvictoria.com.au/bunjilaka/whats-on/evolution-torres-strait-islander-masks/ Cost $0 - $15

Geelong Gallery 2018 Archibald Prize

First awarded in 1921, the Art Gallery of New South Wales’ Archibald Prize is Dates 22 September - 18 Australia’s favourite art award, and one of its most prestigious. Awarded to the November best portrait painging, with subjects often including politicians, celebrities, sporting heroes, authors and artists. The Geelong Gallery is the exclusive Victorian venue Venue Geelong Gallery for the 2018 Archibald Prize. Little Malop Street Geelong VIC 3220 For more details and to book please visit: https://www.geelonggallery.org.au/whats-on/exhibitions/2018-archibald-prize Cost $7 - $40

ASA NSW Branch Newsletter – August 2016 24 Upcoming events

Bendigo Art Gallery Jessie Boylan: Rupture

Rupture investigates the ways in which the body and the world mimic each other Dates 22 September - 10 in modes of panic and crisis. In this immersive video and sound installation, February Central Victorian based artist Jessie Boylan collaborates with trauma-informed psychotherapist Jenna Tuke, digital media artist Linda Dement and writer and Venue Bendigo Art Gallery performer Virginia Barratt to interpret how symptoms of ‘disorder’ can be seen as 42 View Street an appropriate response to personal traumas and global catastrophe. Bendigo VIC 3550

For more details please visit: Cost $0 - $12 http://www.bendigoartgallery.com.au/Exhibitions/Upcoming/Jessie_Boylan_Rupture

Australian Society of Archivists 2018 ASA Conference - Archives in a Blade Runner Age - Identity and Memory, Evidence and Accountability

In an era of fake news, alternative facts and technological disruption, how can Dates 25 - 28 September we nurture reliable shared memory that provides the foundation for identity and ensures the accountability of our institutions to society? Venue The Astral Crown Perth Fifty years after the publication of Phillip K Dick’s novella, Do Androids Dream of Great Eastern Highway Electric Sleep, we invite you to Perth, Western Australia, to consider the impact of Burswood WA 6100 the digital and communications revolutions on the roles of archives and archivists. Cost $200 - $820 Inspired by Ridley Scott’s interpretation of Dick’s iconic novella and the cyberpunk genre, we ask you to imagine the implications and consequences of technology on our work and our collections; to view past, present and future through a glass, differently.

For more details and to register please visit: https://www.archivists.org.au/learning-publications/2018-conference

ASA NSW Branch Newsletter – August 2016 25 Upcoming events

Modern Times New Works from Derek Swalwell

New photographic work by artist Derke Swalwell. Dates 27 September - 7 October For more details please visit: https://www.moderntimes.com.au/exhibition/upcoming-exhibition-featuring-new-works-derek-swalwell/ Venue Modern Times Gallery 311 Smith Street Fitzroy

Cost Free

Koorie Heritage Trust JOSH X MUIR

Josh Muir is a contemporary artist with a distinctive street art aesthetic. His Dates 6 October - 24 brightly coloured and multi-layered works embody the wonder of possibility. This November immersive exhibition includes 24 new works. Venue Koorie Heritage Trust For more details please visit: Gallery Level 1 http://koorieheritagetrust.com.au/exhibitions/coming-soon-josh-x-muir/?epage=1 Yarra Building Federation Square Cnr Swanston and Flinders Streets Melbourne

Cost Gold coin donation

ASA NSW Branch Newsletter – August 2016 26 VIC Branch Information

CONTACT DETAILS FOR THE 2018-2019 VIC BRANCH COMMITTEE Did you know that Co-Convenors donations to the ASA Imogen Telfer and Nicola Laurent are tax deductible? [email protected] [email protected] Donations to the ASA go Secretary to support Susannah Tindall • Awards [email protected] • Scholarships Treasurer • Courses Rachel Naughton • Publications

Communications Officer Enquiries on how to donate: Suzy Goss Mark Brogan (ASA Treasurer) [email protected]

Newsletter editor Nik McGrath Donate to the ASA and support your

Elected Committee Members community! Constance Thurley-Hart Saribel Minero Do you have a GLAM event you to contribute to the ASA Nik McGrath Mike Jones VIC Branch newsletter? Fraser Faithfull Contact us with the full details at [email protected]. Our newsletter comes out in the last week of every month (except December), with content required by the 15th of the month for inclusion.

PREVIOUS MINUTES & NEWSLETTERS OF THE VIC BRANCH

At the VIC Branch website you will find:

• Annual Reports to Council

• AGM Minutes

• Newsletters

• Rules

• Branch Minutes https://www.archivists.org.au/community/branches/victoria383

ASA NSW Branch Newsletter – August 2016 27