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Keywords: film archives
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Journal Articles
Feminist Media Histories (2016) 2 (1): 29–44.
Published: 01 January 2016
... feminization of filmmaking and film archival practices, which have been made visible through digital methodologies. FIGURE 1. The SP-ARK archival interface. (© Adventure Pictures Ltd.) FIGURE 1. The SP-ARK archival interface. (© Adventure Pictures Ltd.) FIGURE 2. Visual design of the DFAP...
Abstract
Through an analysis of the SP-ARK archive and the archival structure developed by the DEEP FILM Access Project (DFAP), which was a collaboration among film researchers, computer scientists, archival institutions, and a film production company, this essay explores the dailiness and feminization of filmmaking and film archival practices, which have been made visible through digital methodologies.
Journal Articles
Feminist Media Histories (2016) 2 (1): 7–28.
Published: 01 January 2016
... (1958 [2013]), 114 FIGURE 5. HuNI: Helping Humanities Researchers Get Lucky . (Deb Verhoeven and Viveka da Costa.) fmh201621verhovid01 4722636449001 digital humanities film archives ontologies search serendipity NOTES I thank Mike Jones, Toby Burrows, Clare Bradford, and...
Abstract
This essay explores the ways in which new developments in digital research infrastructure change our expectations of archival research and offer opportunities for a newly energized feminist approach to the archive. A specific platform, the Humanities Networked Infrastructure, is explored as an example of how digital technologies enable the coproduction of the archive and at the same time extend the possibilities for serendipitous discovery.
Journal Articles
Feminist Media Histories (2016) 2 (1): 87–92.
Published: 01 January 2016
... University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints . 2016 archivists early cinema film archives interviews NOTES 1. Moviolas are U.S.-made (since 1924) and Steenbecks are Dutch-made (since 1953) film-viewing and editing...
Abstract
This article explores the work that female archivists undertake today. It is based upon a series of six interviews—conducted largely in Europe in 2015—with noted female archivists, curators, and programmers. Through conversations with Bryony Dixon (British Film Institute), Giovanna Fossati (EYE Film Institute, Amsterdam), Karola Gramann (Kinothek Asta Nielsen, Frankfurt), Mariann Lewinsky (Il Cinema Ritrovato, Bologna), Elif Rongen-Kaynakçi (EYE Film Institute, Amsterdam), and Meg Labrum (National Film and Sound Archive, Canberra), it argues that women have a disproportionate impact upon the programming of silent film at festivals. It also suggests that there is a growing public that is attracted to festivals such as Il Cinema Ritrovato precisely because these festivals give us access to a vision of film history and feminism that we cannot find in traditional history books. Finally, it asks how these women work and, specifically, how the change to digital has impacted archival outreach and access today.