2025 | Speaker Information

Adie Montes
Adie Montes (they/them) is a film projectionist and student, originally from Massachusetts. They recently completed the AMIA Pathways internship at Texas Archive of the Moving Image and are currently working as an archival film handler and digitization specialist at the American Genre Film Archive.

Adrianne Lundy
Adrianne Lundy (she/her) is the Archival Collections Assessment Coordinator at the UCLA Film & Television Archive. She holds an MA in Moving Image Archiving and Preservation from New York University and an MFA in Filmmaking from New York Film Academy. Her work focuses on contract law, copyright, and risk assessment in moving image collections.

Agata Zborowska
Agata Zborowska is a cultural historian with a background in cultural studies and cultural anthropology. Her research interests lie in the intersection of material and visual cultures, property relations, and critical archival studies. She is currently a Marie Skłodowska-Curie Global Fellow at the University of Chicago and Katholieke Universiteit Leuven. Her project, “Critical Archives of Ordinariness: Vernacular Moving Image Practices and Migrant Identity in Polish Chicago,” investigates home movies and related oral histories of Polish Chicago before the digital era to challenge and broaden our understanding of evolving migrant and diaspora identities. As a Chicago Film Archives scholar in residence, she works on the Polish diaspora film collection to increase community access to archival material. Her research has been supported by the European Commission, Franke Institute for Humanities University of Chicago, Al Larvick Conservation Fund, and Polish National Science Centre. She is associate editor of the “Historical Journal of Film, Radio and Television.”

Alexandra Beddall
Alexandra Beddall is an archivist, data analyst, and media specialist focused on preserving and activating large-scale legacy collections. She holds an MLIS in Archives & Records Management from the University of Pittsburgh, an MA in Media Studies from the University of Amsterdam, and a BA in Media Studies/Film from Penn State.

Alexandra Trim
Alexandra Trim is the Head of Digital Initiatives at the Georgetown Law Library. Alexandra is responsible for managing large scale digital initiatives including digitization projects, metadata, repository maintenance, and digital preservation. Previously, Alexandra worked as the Digitization Services Coordinator at the University of Maryland Libraries. Alexandra has a Masters in Library and Information Science and a Bachelors in History from the University of South Carolina. Her interests include conducting outreach for digital collections and researching digital accessibility.

Alexis Scargill
Alexis Scargill is the founding archivist of Nebraska Public Media, Nebraska’s statewide public broadcasting network, and serves as co-chair of AMIA’s News, Documentary and Television Committee. A South Jersey native, she began her career as a TV news producer in Boston.

Alison Reppert Gerber
Alison Reppert Gerber is the Head of the Preservation Services Section at the Library of Congress’s National Audio-Visual Conservation Center. In this role, she oversees the program planning and management for the preservation of audio, video, and film collections in support of the Library’s mission. Responsible for the oversight of three laboratories at NAVCC, Alison manages the technical and financial resources allocated to the Preservation Section, establishes priorities, and directs preservation work activities.      Alison was previously Head of Preservation Programs at the Smithsonian Libraries and Archives, where she directed the work of the Archives Conservation Laboratory and the Audiovisual Media Preservation Initiative (AVMPI). She received her MA in Museum Studies from Johns Hopkins University and her BA in Art History, with advanced studies in Chemistry and Religious Studies, from Seton Hill University. She has extensive experience in preventive conservation and treatment of paper, photographic, and audiovisual media; emergency preparedness, response, and training for cultural heritage; and management of cellulose nitrate film collections. In 2020, Alison was the recipient of the Association of Moving Image Archivists (AMIA) Alan Stark Award.

Amanda McQueen
Amanda McQueen is an archivist, historian, and educator at the University of Arkansas at Little Rock Center for Arkansas History and Culture (CAHC). She holds an MA in Moving Image Archiving and Preservation from New York University and an MA and PhD in Communication Arts from the University of Wisconsin-Madison. Her research interests include media industry history and technology, with a special emphasis on nitrate film, and the musical genre on stage and screen. Amanda has over ten years of teaching experience in higher education and currently oversees CAHC’s graduate assistantship program.

Ana Marie
Ana Marie is an archivist at The Museum of Modern Art and, and in her spare time, works on AV preservation with XFR Collective. Originally from the Austin area, she attended The University of Texas and received a BA in Art History, an MSIS in Information Studies, and has held previous positions at New York Public Radio and Phoenix Art Museum.

Andrea Kalas
Andrea Kalas leads Iron Mountain’s Media and Archival Services team that provides archival services to entertainment companies, universities, museums, corporations and individuals who entrust Iron Mountain to both preserve and share them with the world. Previously, Andrea ran the Paramount Archives where she combined her preservation expertise with technical innovation to build what is now one of the world’s most valuable film archives. Before joining Paramount, Andrea served as Head of Preservation at the British Film Institute, Digital Studio Director for Discovery Communications, Archivist for Dreamworks SKG, and preservationist and research data expert at UCLA Film and Television Archive. She is former President of the Association of Moving Image Archivists and a current member of the Academy of Motion Picture Arts and Sciences where she founded the Academy Digital Preservation Forum Initiative. Andrea has preserved or restored over 2000 films over her career, and in 2023 she was the recipient of the HPA Outstanding Achievement in Restoration award for the restoration of The Godfather.

Andrea McCarty
Andrea McCarty is the Head of Media Preservation at Yale University Library and has been working with Yale Special Collections since 2017. She is the former Director of Archives and Asset Management at Home Box Office (HBO) and has worked on archival projects at Northeast Historic Film in Bucksport, Maine and WGBH in Boston. Andrea received a master’s degree in Comparative Media Studies from the Massachusetts Institute of Technology and is a graduate of the L. Jeffrey Selznick School of Film Preservation.

Andy Graham
Andy Graham is the co-founder of Kinonik, a non-profit microcinema in Portland, Maine dedicated to the communal experience of watching films projected on analog formats, programmed primarily from its growing collection of 16mm and 35mm prints. In his professional career Andy was the founder and owner of Portland Color, a digital wide format printing company with roots in the photographic industry. He holds a BA in Art and an MA in Public Policy from the University of Southern Maine.

Andy Uhrich
Andy Uhrich is an Assistant Professor of Moving Image Archiving at the University of Colorado, Boulder. He previously worked  as a media curator and archivist at WashU and Indiana University. He is currently writing a book on film collectors’ role in the development of media archiving. He received his PhD from Indiana University and has a master’s in Moving Image Archiving and Preservation from NYU.

Anna Lynn Martino
Panelist: Anna Lynn Martino, Senior Specialist, Iron Mountain    Anna Lynn Martino has worked in the library and archives profession for more than 15 years and has been responsible for implementing archival standards to improve the preservation and accessibility of a variety of collections including Dreamworks, 21st Century Fox and the UCLA Film Archive. Before joining Iron Mountain’s Media and Archival Services team, Anna Lynn served as the Director of Nickelodeon’s Asset Library and Archives team, where she established the archives at Nickelodeon Animation, and also served as a consultant for a variety of independent school libraries wishing to establish their archives, including Harvard-Westlake School and Mid-Pacific Institute. Anna Lynn holds a master’s degree in Library and Information Studies from UCLA and a BA in Art History from the University of California, Santa Cruz as well as a certificate in Digital Asset Management from Rutgers University Online.

Anna Sidun
Anna Sidun is currently pursuing a Bachelor of Fine Arts in Art History and Film Studies at Concordia University in Montréal (Tiohtià:ke). They moved to Canada from Ukraine and hold a prior degree in Education. Their work has been published in CUJAH, Concordia’s journal of art history.

Annalise Nicholson
Annalise Nicholson is an audiovisual archivist at Moving Image Preservation of Puget Sound (MIPoPS) and a Secretary for the Magnetic Media Crisis Committee. She works with magnetic video and audio materials, provides training and support to MIPoPS partner institutions, and contributes to open-source community resources. She received a Masters in Library and Information Science with a concentration in Archives Management from Simmons University.

Anthony Cocciolo
Anthony Cocciolo is the Dean of the School of Information at Pratt Institute and has been a member of the faculty since 2009. His research and teaching are in the area of archives and digital preservation, and he is the author of Moving Image and Sound Collections for Archivists (Chicago: Society of American Archivists, 2017). He is currently the Principal Investigator for the Digital Preservation Outreach and Education Network (DPOE-N) project funded by the Mellon Foundation.

Aparna Subramanian
Aparna Subramanian is a Fulbright Fellow and alumnus of NYU’s Moving Image Archiving and Preservation program. She has over a decade of experience in audiovisual and film archiving across India, Southeast Asia, and the United States. She is serving on the Board of Directors (2024-2026) at the Association of Moving Image Archivists (AMIA). Aparna specializes in aligning best practices with innovative strategies to navigate the complex intersections of policy, education, and archival practice—particularly in media formats, preservation, collection management, and archival administration.  She has worked as Technical Expert for the National Film Heritage Mission at National Film Archive of India, and as Consultant for Southeast Asian archives through Monolith Technologies. Aparna also has experience of working with the Cooper Hewitt Smithsonian Design Museum, Weill Cornell Medicine, and New York University. She currently works as Film Research Officer at the Film and Television Institute of India.

Ari Negovschi Regalado
Ari Negovschi Regalado (CalArts ’14, UIUC MS/LIS ’22) is the Technical Director at Texas Archive of the Moving Image, a nonprofit media archive located in Austin, TX. She leads their audiovisual digitization and preservation efforts and has collaborated with archives across the state to safeguard Texas’s moving image heritage through workshops, knowledge sharing, and free digitization via the organization’s Texas Film Round-Up program. Interested in blending community engagement with hands-on archival experience, she has worked with ENTRE Film Center, Project Row Houses, and WeLuvVideo to digitize their collections; allowing volunteers, students, and interns to gain real-world experience through hands-on training in preserving moving image materials. Prior to her work at Texas Archive, she preserved the collection of award-winning documentarian Perry Miller Adato while in graduate school at the University of Illinois at Urbana-Champaign, worked as an audiovisual technician at a digitization vendor, and served as an Exhibition Media Production Assistant at the Autry Museum. You can find her on Instagram @media_archivista.

Arthur Cho
Arthur Cho is an AI product builder and independent researcher specializing in conversational AI, speech recognition, and machine learning systems evaluation. He is currently developing Memoirji, a conversational AI tool for oral history preservation, and conducting research on speech-to-text model performance for degraded archival audio. His work focuses on bridging the gap between state-of-the-art AI models and real-world archival applications, with emphasis on infrastructure challenges and cost-benefit analysis for practitioners. Arthur holds a Master of Applied Data Science from the University of Michigan, and is the Chinese-language publisher of Designing Machine Learning Systems by Chip Huyen.

Austin Miller
Austin Miller is a moving-image archivist based in Baltimore, Maryland. He currently serves as Technical Coordinator for the Mid-Atlantic Regional Moving Image Archive (MARMIA), and was previously Preservation Director at Texas Archive of the Moving Image (TAMI). He holds a Master’s in Cinema & Media Studies from the University of Southern California, and a certificate in Film & Media Preservation awarded by the George Eastman Museum.

Becca Bender
Becca Bender (she/her) is an independent archivist and curator whose work is committed to centering access, collaborating with the communities that an archive represents, and reducing silences in the historical record through preservation, education, and discovery. She’s currently spearheading an initiative to establish the Rhode Island News Media Archive, a publicly-accessible, statewide archive dedicated to preserving local news recorded in moving image and audio formats. She also advises various types of cultural heritage organizations nationwide on how to care for their audiovisual materials, emphasizing the need to balance best practice with the reality on the ground.

Becca Zeiger
Becca Zeiger is an aspiring film archivist who is currently enrolled in the Certificate Program in the L. Jeffrey Selznick School of Film Preservation at the George Eastman Museum in Rochester. She has a B.A. in Studio Arts from Bard College and an MSIS from UT Austin, where she did her capstone project at the Texas Archive of the Moving Image about the history of video stores in Texas. Before moving to Rochester, she worked in the Austin Public Library system for two and half years where she curated monthly media themed displays and hosted a bimonthly public program called Milwood Movie Night and she misses her devoted, supportive and open-minded regular attendees very much. She is passionate about physical media collecting but even more so about physical media sharing and communal film viewing experiences. Her favorite feeling in the world is introducing people to under-seen or forgotten films they may not have otherwise known about.

Ben Compton
Ben Compton is an artist and archivist working in time-based media. With a grounding in music and performance art, Ben often explores the physical presence of audiovisual culture–how sounds and images are tied to objects, people, architecture, and land. He has worked at The Canadian Film Institute, The Liaison of Independent Filmmakers of Toronto, and Debaser, an interdisciplinary arts and music presenter. Most recently, Ben launched Everyone Archives, an Ottawa-based community organization supporting people in preserving their history through archiving workshops and digitization resources. He is currently pursuing an MA in Film + Photography Preservation and Collections Management at Toronto Metropolitan University. Ben is the 2025 recipient of the AMIA Sony Pictures Scholarship.

Benja Thompson
A practicing queer archivist, Benja Thompson interweaves historical truths with radical imagination. They established Marin County’s queer archive and preserved experimental performance history as a 2024 Dance/USA Archive Fellow during their MLIS studies. Their filmwork has shown in microcinemas and festivals across the country, including Other Cinema, Northwest Film Forum, the Peabody Essex Museum, and the Film-Makers’ Coop. They are currently developing an emerging performance practice of embodied cinema alongside producing community-centered art programs.

Bill Banyai
Bill Banyai was VP of Engineering at Complete Genomics, a DNA sequencing company, and COO of Twist Bioscience, a DNA synthesis company. He is currently CTO of Atlas Data Storage, a company that spun out of Twist Bioscience in May 2025. He has a background in semiconductor processing and precision instrumentation. He earned a PhD in Optical Sciences from the University of Arizona in 1988.

Brandon Butler
Brandon Butler is a copyright lawyer and expert on the lawful use of archival materials. He is also Executive Director of the Re:Create Coalition, a broad-based coalition of nonprofits dedicated to the defense of fair use and balanced copyright law. From 2016-2024, Brandon was the Director of Intellectual Property and Licensing at the University of Virginia Library. Previously, he was the Practitioner-in-Residence at the American University Washington College of Law’s Samuelson-Glushko Intellectual Property Clinic, where he taught courses on copyright and fair use, and supervised student attorneys in the representation of artists, filmmakers, publishers, authors, and entrepreneurs in a variety of intellectual property matters. Brandon was also the Director of Public Policy at the Association of Research Libraries, where he advocated for fair copyright and intellectual freedom on behalf of the nation’s most prominent academic and research libraries. Brandon graduated from the University of Virginia School of Law and was an associate at Dow Lohnes LLP (later merged with Cooley LLP), in Washington, D.C. Brandon is the Law and Policy Advisor to the Software Preservation Network, and is an Advisor to the American Law Institute’s Restatement of the Law, Copyright. He is on the editorial board of the Journal of Copyright in Education and Libraries and is the author of a variety of journal articles and book chapters about copyright and fair use. In college, Brandon was the local music reporter for Athens, GA alt-weekly The Flagpole, and he took a semester off to tour the country as a substitute guitarist in his friends’ punk band, Whippersnapper.

Bree’ya N. Brown
Bree’ya N. Brown is the Digital Archivist for Special Collections at the University of North Texas. In this role, her responsibilities include managing digital archives and leading digitization projects. Her academic work spans audiovisual preservation, archival practice, and digital preservation in cultural heritage institutions.

Brian Dunbar
Brian Dunbar is an AV Archivist and Project Manager by trade and volunteers with XFR Collective in his spare time. He has held positions at notable institutions, including CUNY-TV, MoMA, WNYC, and Interference Archive. Brian holds a Bachelor’s degree in Film and Media Arts from Temple University and a Master’s in Moving Image Archiving and Preservation from New York University. His professional focus centers on preserving audiovisual materials and advancing educational initiatives in the field of media preservation.

Brian Meacham
Brian Meacham is the Managing Archivist at the Yale Film Archive, where he oversees acquisition, conservation, preservation, and access to print and pre-print material in the archive’s film collection. Prior to Yale, he worked at the Harvard Film Archive and the Academy Film Archive. A graduate of the Selznick School of Film Preservation at George Eastman Museum, he teaches on film archiving in the Yale Film and Media Studies program, and has published articles in Film Quarterly, The Journal of Film Preservation, and The Moving Image. His current projects include ongoing research into the cultural and technological history of the analog photobooth, as well as the ways in which filmmakers and cinephiles document their movie-going histories.

Brian Real
Brian Real (he/him) is an assistant professor in the School of Information Science at the University of Kentucky. He holds a PhD in information studies and a master of library science from the University of Maryland. His primary research areas are the historical impact of federal policy on film preservation and the modern social impact of public libraries on their communities. He is an active member of the Association of Moving Image Archivists (AMIA), serving on its Advocacy Committee of the Board and acting as the reviews editor for The Moving Image.

Brianna Toth
Brianna Toth currently works for the Smithsonian Libraries & Archives Audiovisual Media Preservation Initiative (AVMPI) as their Video Preservation Specialist and served as the Co-Chair of the Magnetic Media Crisis Committee (MMCC). Her research is concerned with the obsolescence of technical expertise in relation to the maintenance and preservation of analog video decks. In tandem with this research, she worked as AMIA’s Program Manager for Online Education and served as the Co-Chair of the Continuing Education Advisory (CEA) Task Force from 2021 – 2023. Brianna holds a Masters in Library Information Science with a focus on Media Archival Studies (MLIS MAS) from UCLA.

C. Díaz
C. Díaz is an artist, archivist, and co-founder of ENTRE Film Center & Regional Archive. Founded in 2021, ENTRE’s mission is to provide access to knowledge and skills in filmmaking and archival practices, inviting more voices to document, share and preserve expansive narratives of US/Mexico border communities. C. lives and works in the Rio Grande Valley of South Texas, designing public programming that uplifts and preserves the cultural legacy of the region through audio/visual archives and experimental cinema. Their art practice centers archives, celluloid, text, and telluric material to investigate relationships between somatic-cerebral landscapes, the natural world, and desire. C. has worked on various film restorations, oral history projects, and home movie collections as a colorist, editor, and digitization specialist for the Academy of Motion Pictures Arts and Sciences, NMAAHC at The Smithsonian, and The Estate of Ana Mendieta. They currently serve on the board of the Center for Home Movies and are a co-coordinator for the AMIA Mentorship Program. They were an Assembling Voices Fellow in 2023, an Interchange Artist Grant Fellow in 2021, awarded the Mike Kelley Foundation for the Arts Grant in 2019, and an Artist in Residence at the Echo Park Film Center in 2016.

Caitlin McGrath
Caitlin McGrath is Executive Director of the Greenbelt Cinema, in Greenbelt, MD. She received her PhD in 2010 from the University of Chicago in Cinema and Media Studies. Her scholarly interests include late-silent-era camera movement, spaces of display (department stores, world’s fairs, urban streets) and their relationship to film style, and home movies, specifically of the 1939 NY World’s Fair.     In 2014, she founded and incorporated a non-profit, Friends of Greenbelt Theatre, which won the City of Greenbelt’s bid to run the historic cinema in Roosevelt Center in 2015. She also serves as Chair of the Roosevelt Center Merchant Association, which is dedicated to the economic revitalization of historic Greenbelt. Dr. McGrath has lived in Greenbelt, with her husband and two children, since 2011.

Caitlin Sheil
Caitlin Sheil is a recent MLIS graduate from San José State University whose work brings together hands-on media experience and a strong commitment to archival preservation. Before entering the field, she worked as a foley artist, sound editor, producer, and in the cinema lens industry, which helped shape her interest in the material and mechanical challenges of moving-image history.  She is actively involved in the archival community, serving on the Outreach Committee of the Los Angeles Archivists Collective (LAAC), the Local Arrangements Committee for the Society of California Archivists (SCA), and the Membership Committee for the Society of American Archivists (SAA).  Caitlin is especially interested in magnetic media preservation and the intersection of the magnetic media crisis with the growing need for machine repair expertise. She also cares deeply about revisionist history and archival repatriation—and, as a lifelong dinosaur enthusiast, she believes that archives, much like fossils, reveal new stories when we’re willing to dig a little deeper.

Camila Zimmerman
Camila Zimmerman is a preservationist and audiovisual technician. She received a Bachelor of Arts in Music and Greek and Roman Studies from Rhodes College, and a Master of Arts in Musicology and a Master of Science in Library Science from the University of North Texas. She is presently an audiovisual technician at the University of Georgia. Her research interests include the adoption and adaptation of mythology in opera, preservation surveys and their effects on institutional practices, audiovisual archives, digital preservation, and digitization best practices.

Camille Townson
Camille Townson is the South Side Home Movie Project Manager and recipient of the 2022 AMIA Pathways Fellowship. They fell in love with film while working as a darkroom assistant throughout their adolescence and young adulthood.

Charlotte Barker
Charlotte Barker is the Director of Film Restoration and Preservation at Paramount Pictures, where she has worked since 2005 and has led the studio’s restoration program since 2019. She oversees a team dedicated to safeguarding and revitalizing Paramount’s motion picture legacy, with major projects including White Christmas, To Catch a Thief, Sunset Boulevard, and Dragonslayer. Under her leadership, Paramount’s restoration of Sunset Boulevard received the first DEG EnTech Award for Technology Innovation in Film Restoration in 2025 and in 2023, her team earned the inaugural Hollywood Professional Association Award for Best Restoration for The Godfather. She continues to champion innovative approaches to film restoration, ensuring Paramount’s archive is preserved with exceptional technical fidelity. Charlotte is one of the leading historians on the VistaVision widescreen process, having spent more than a decade researching its history, verifying technical details, and uncovering long-lost documentation. She is currently writing the definitive book on the subject and frequently presents her work at major film festivals and industry conferences, including the TCM Classic Film Festival, Il Cinema Ritrovato, SMPTE, and the ASC.

Charlotte C. Thai
Charlotte C. Thai works as the Sr. Manager, Archives & Metadata at the Warner Bros. Discovery Global Archives & Preservation Services. Prior to her role at WBD GAPS she worked as an Archives Manager at the HBO Archives, a Project Archivist at the Stanford University Libraries & Special Collections, and as a Digital Asset Specialist at Blizzard Entertainment. Throughout her 15-year career in the archives profession she has designed, implemented, and documented best practices for preservation of many types of collections, including computer games, production artwork, and now classic costumes. Prior to working as an archivist, she worked for almost a decade as a writer and editor for Tips & Tricks, a monthly video game strategy guide magazine. She received both her undergraduate (B.A. in English) and graduate (Master’s in Library & Information Science) degrees from the University of California, Los Angeles.

Chinyere E Oteh
First and foremost, I am *A Creative* who experiences the world as: a fotografer, storyTELLer, founder + futurist, a privacy + security focused librarian archivist, and a facilitator + instructor. My work is anchored in community-centered arts and mutual aid practices. *Indigeneity is my Praxis* I am based on the land of the Lumbee + Piscataway peoples (Baltimore, MD) with roots in the heart chakra (St. Louis, MO) of the United States, Anishinaabe Land (northern Michigan), and Igboland (SE Nigeria).      A 2022 graduate of the iSchool at U of I Urbana Champaign, I earned an MS in Library and Information Science as a Spectrum Scholar and American Association of University Women (AAUW) career development grantee. I earned a BA in Social Thought + Analysis at Washington University in St. Louis. Centering care in my personal and professional endeavors, I am energized by exploring the intersections of library and information science, history, and memory. Currently, I am a memory worker fellow with the Autistic Voices Oral History Project (tAVOHP), an Autistic-led initiative dedicated to preserving the stories of Autistic people through video, audio, and written interviews. It is the first and only large-scale initiative dedicated to creating an archive of Autistic experiences through oral history.    As the principal and founder of the creative consultancy, CHIdeation, I offer thought partnership to creatives and other professionals who are committed to indigenous-based self-actualization. I work alongside you to achieve your personal and professional goals. Let’s bring your IDEAS to LIFE!  https://bio.site/ceochichi

Chris Nicols
Chris Nicols is an AV archivist and digital asset manager with experiences at the NYC Department of Records Municipal Archives, the AARP, Miami-Dade College and as a volunteer in the AV archiving group XFR Collective. He holds Bachelor’s degrees in History and Humanity from the University of Oregon and a Master’s in Moving Image Archiving and Preservation from New York University.

Chris Winters
Chris Winters serves as the Audiovisual Digitization and Preservation Assistant at California Revealed. A native of Northern California, Chris has cultivated a lifelong passion for history. He graduated from Sacramento State in 2022 with a B.A. in History, and is currently advancing his expertise by pursuing a Master of Library and Information Science with a concentration in archival studies at San José State University.

Christian Balistreri
Christian Balistreri has been working in the film archival field since 2016. He got his start as co-founder of the Patricia Mellencamp Film and Television Archive while  an undergraduate student at the University of Wisconsin-Milwaukee, from which he received a BA in Film Studies and English in 2018. He graduated from the L. Jeffrey Selznick School of Film Preservation in 2020 and obtained an MA in English from the University of Rochester in 2021, and has since worked as a Fellow at theRockefeller Archive Center, as a Film Technician at Northeast Historic Film, and as a freelance archivist and projectionist. He is currently an Archives Technician in the Moving Image Section of the Library of Congress’s National Audio-Visual Conservation Center.

Connie Li
Connie (she/they) is an artist and writer raised in Georgia, currently living in Baltimore, whose creative practice across multiple disciplines concerns our dynamic relationships to place, memory and embodied knowledge, and kin. Community gatherings and collaboration anchor her work as a member of the 2640 Space Collective, a student of herbalism and Chinese medicine, and a violinist/composer.  They also write poetry, essays, and reviews of experimental performances and recorded music, found in I Care If You Listen, Which Sinfonia, and Burnaway. Connie is a current MLIS student at the University of Maryland, College Park, concentrating in Archives & Digital Curation.

Dan Hockstein
Dan Hockstein is an Archivist at Library of Congress’ American Folklife Center. He has a personal and professional interest in the digitization and preservation of cultural heritage, with an emphasis on legacy audiovisual media – the people and stories held on it, and the crucial knowledge surrounding the technology used to record and preserve them. His experience in audiovisual preservation has included work with vendors and cultural heritage institutions in digitization, quality control, and programmatic development.

Doug Sylvester
Doug Sylvester is CEO of PRO-TEK Vaults. He has over 25 years of board, executive leadership, and operational roles in business services, early-stage digital media, and traditional media companies. Doug joined PRO-TEK in 2022. Previously he was an Executive Vice President at GSN, owner of Game Show Network and GSN Games. Before GSN he was CEO and a Member of the Board of Directors of CAPS Payroll, a payroll services company serving entertainment industry clients. Prior to CAPS Payroll, Doug spent 13 years at Vubiquity—a leading global provider of premium content services—where he served as President, COO, and Chief Strategy Officer. He is a member of the Academy of Television Arts & Sciences, the Association of Moving Image Archivists, and the Society of American Archivists.

Draye Wilson
Draye Wilson is an audiovisual archivist based in New York City. Currently, Draye is working with Electronic Arts Intermix and Third World Newsreel. Previously, Draye has worked with organizations such as Meredith Monk’s House Foundation for the Arts, Blank Forms, Brooklyn Museum, and Wisconsin Center for Film and Theatre Research. Draye is particularly interested in working with underground and radical material, as well as experimental cinema and music.

Edda Manriquez
Edda Manriquez is the Assistant Manager of Public Access, at the Academy Film Archive, where she provides access to the Academy’s extensive motion picture collection. She manages the Academy Film Archive’s exhibition loans program which lends prints and other moving image material to the Academy Museum of Motion Pictures and other qualified cultural institutions all around the world. She earned her master’s degree in Film and Video from the California Institute of the Arts and her undergraduate degree in Visual Arts, Communications, and Stage Management from the University of California, San Diego.

Elise Schierbeek
Elise Schierbeek is a writer, film programmer, and media archivist in Chicago. Day to day, Elise works as the Digital Collection and Media Manager at Video Data Bank, overseeing digital access, media production, and all things web. For many formative years, she worked in archives and distribution at Kartemquin Films and the Flaxman Library 16mm Film Study Collection. Elise is a film programmer for Onion City Experimental Film Festival and runs the itinerant curatorial project Employees Only.

Elizabeth Hansen
Elizabeth Hansen has more than 20 years of experience in archives, museums, and media. She is Managing Director of the Texas Archive of the Moving Image and previously served as TAMI’s Outreach and Education Manager (2008–2013). Hansen has worked for the Country Music Hall of Fame and Museum, the LBJ Presidential Library, Kansas City PBS, the National Educational Telecommunications Association, and the Stax Museum of Soul Music. Her archival research has supported documentaries such as Winnebago Man, Karen Dalton: In My Own Time, and See Know Evil. She holds a master’s degree in Media Studies from the University of Texas at Austin and is a Certified Archivist.

Emily Nabasny
Emily Nabasny is currently contracting at the Smithsonian  National Museum of African American History and Culture (NMAAHC) as a Media Archives Specialist, and is a member of the Magnetic Media Crisis Committee (MMCC). Her work spans film, analog video, digital assets, and delving into the mystical arts of magnetic media. Emily is a graduate of the Moving Image Archiving and Preservation (MIAP) program at NYU Tisch School of the Arts.

Eric Dawson
Eric Dawson is Manager of the Calvin M. McClung Historical Collection, the Special Collections and History department of the Knox County Public Library. He holds a Bachelor’s degree in English and a Master’s degree in Information Science, both from the University of Tennessee in Knoxville. He was Arts & Entertainment editor of the alt-weekly newspaper Knoxville Voice, and continues to contribute articles to various publications on the history of film and music in Tennessee. Before assuming the role of Manager at the McClung Collection, he served as assistant audio-visual archivist, then Director, of the Tennessee Archive of Moving Image and Sound (TAMIS), the audio-visual component of the McClung Collection. He has created several archival films incorporating TAMIS’s home movie and newsreel collections, including Electric Appalachia and Suttree.

Eric Allen Hatch
Eric Allen Hatch is a co-founder and co-owner of Beyond Video, an all-volunteer non-profit video-rental store in Baltimore’s Remington neighborhood. Since opening to the public in 2018, Beyond Video has built a collection of 41,000+ titles on the DVD, blu-ray, VHS, and 4K UHD formats. Eric is also the co-founder and director of programming for New/Next Film Festival, which launched after Eric departed Maryland Film Festival, which he programmed for over a decade. In his youth, Eric managed Video Americain, the Baltimore/DC/Delaware mom and pop video-rental store whose flagship location can be seen in John Waters’ SERIAL MOM.

Ethan Lewis
Ethan Lewis is a certificate student at The L. Jeffrey Selznick School of Film Preservation. Most recently, he was the external digitization services coordinator at the University of Maryland library, where he project-managed digitization work involving external vendors. He holds an MLIS from the University of Maryland, a digital asset management certificate from Rutgers University, and a BS in Radio-Television-Film production from the University of Texas at Austin.

Fabio Bedoya
Fabio Bedoya is a Film Restoration Technician and Colorist whose work is focused on commercial film restoration and image fidelity. He operates as a master trainer with Filmworkz, sharing workflow expertise and restoration practice among professional labs and archives. Independently, he develops tools and methods to lower the barrier for archives and non-profit institutions to achieve commercial-grade restoration outcomes on constrained budgets. He has delivered numerous workshops worldwide, presenting new findings on chroma reconstruction and spatial recovery, and participates regularly in international film archive conferences to exchange research, refine methods, and collaborate with peers across the preservation field.

Fatemeh Rezaei
Fatemeh Rezaei serves as University Archivist and Digital & Audiovisual Archivist at the University of Baltimore, where she leads preservation and access initiatives for legacy media and spearheads UBalt’s digital preservation program. She manages the WMAR-TV News Collection (1948-1993), a local television news archive, and has completed two CLIR Recordings at Risk projects. She holds an MLIS and the Society of American Archivists’ Digital Archives Specialist (DAS) Certificate, is a Certified Archivist (Academy of Certified Archivists), and holds Graduate Certificates in User Experience (UX) Design and UX Research Design. She is pursuing a doctorate in Information & Interaction Design focused on interfaces for novice archival users.

Fernanda Parrado
Fernanda Parrado is a filmmaker and film archivist born and raised in Brazil. Member of the Academy of Motion Picture Arts and Sciences Gold Program and the Brazilian Film Academy, she has directed and preserved many national and international films, while being part of renowned festivals. She is also the founder of the Brazilian production company CELLULOID and a researcher at the Museum of Image and Sound Campinas (MIS-Campinas), currently contributing with the appropriation of the analogue medium as a form of protest and resistance for the Latinx community.

Fin Hatfield
Fin Hatfield is an audiovisual archivist and historian based in Northern Virginia. They hold a Master’s degree in History from the Université d’Orléans, France, focusing on magic lanterns in the 19th century, and a Master’s degree in Moving Image Archiving and Preservation from New York University specializing in videotape cleaning. They are currently working with MARMIA to clean and process the George Udel Collection.

George Figgs
A born-and-bred Baltimorean, George Figgs is a cornerstone of the Baltimore film scene. Figgs is a musician, painter and poet who worked on almost every film John Waters made, beginning in the late 1960s through the early 80s. During the 90s, he ran the Orpheum Cinema (an arthouse theater he founded in Fells Point) all while working as a union projectionist. He donated the George Udel Collection to MARMIA in 2022.

Graham Marshall
Graham Marshall has been a Preservation Manager at Paramount Pictures since 2022 and started his career at the studio in 2017 as a Media Archival intern. He graduated with an MLIS degree from UCLA’s Graduate School of Education & Information Studies with a focus on Media Archival Studies in 2018. His work spans the studio’s catalog throughout the 20th century and has special interests in the Silent era and animation. He has preserved over 200 features and shorts, which have played at the Venice International Film Festival, Il Cinema Ritrovato, Cinecon Classic Film Festival, San Diego Comic-Con, and the TCM Classic Film Festival.

Guha Shankar
Guha Shankar is Senior folklife specialist at the American Folklife Center, Library of Congress. At the Center he serves as director of the Civil Rights History Project, a national video oral history collecting initiative with activists in the Long Black Freedom Struggle. He is also project coordinator of Ancestral Voices, a collaborative curatorial initiative with indigenous communities Shankar’s educational training and experience is in documentary film-making and multi-media production. He also teaches documentary field methods in university and community settings, writes for a range of publications, and provides research and reference assistance to a variety of patrons in his current position at the national library. His research interests include diasporic community formations in the Caribbean, ethnographic media, visual representation, and performance studies.

Hugo Ljungbäck
Hugo Ljungbäck is a filmmaker, archivist, and media scholar. His work focuses on queer cinema, experimental film and video, media archaeology, and archival practice, and his essays have appeared in Found Footage Magazine, New Review of Film and Television Studies, Cinema & Cie, and Media, War & Conflict, as well as in The Archivability of Television. He is also co-editor of a special issue of Synoptique on media-archival pedagogy. His award-winning films and videos interrogate queer history, representation, identity, and sexuality through an autobiographical lens and have screened at film festivals, art galleries, and museums internationally. He is currently a PhD Student in Cinema and Media Studies at the University of Chicago, and holds an MFA in Studio Art from the University of North Carolina at Chapel Hill and a BFA in Film from the University of Wisconsin–Milwaukee.

Janine Winfree
Janine Winfree is the Assistant Audiovisual Archivist at the Tennessee Archive of Moving Image and Sound (TAMIS), the audiovisual department of the Calvin M. McClung Historical Collection of the Knox County Public Library in Knoxville, TN. She holds a Master’s degree from the University of Tennessee’s School of Information Sciences and a certificate in film preservation from The L. Jeffrey Selznick School in Rochester, NY. Her experience with archives spans internships and fellowships at UT Martin, Y-12 National Security Complex, Smithsonian Institution, National Film and Sound Archive of Australia, and the Great Smoky Mountains National Park. She is also a published local historian, contributing a chapter on film editor Laura Thornburgh for Knoxville Lives V. Previously, she served as the Urban Renewal Project Archivist at the Beck Cultural Exchange Center.

Jeff McCarty
Jeff McCarty is a Senior Film Preservation Manager at Paramount Pictures, where he supervises restorations of landmark films including The Godfather, Reds, Once Upon a Time in the West, Roman Holiday, Nashville, and Saturday Night Fever, along with more than 300 other classics. His work has been recognized with the 2023 Hollywood Professional Association Award for Outstanding Achievement in Film Restoration (The Godfather), and a 2024 nomination (The Day of the Locust). He is also a filmmaker, film critic, and of course, a true film lover.

Jeffrey Obike
Jeffrey Obike is a filmmaker and photographer based in Baltimore, Maryland. He is currently a Producer at Wide Angle Productions (Wide Angle Youth Media) and has been creating films with the organization since 2021. Previously, he co-founded Fortune Visuals, a production company specializing in music videos and branded storytelling. His work spans documentaries, fashion films, and commercial projects for clients such as NBCUniversal, Visit Baltimore, and others.  Jeffrey holds a BFA in Cinema Arts and Sciences from Columbia College Chicago. He views film and photography as a form of anthropology, capturing life as it is today for future generations to reference as history.

Jen O’Leary Hashida
Jen O’Leary Hashida is the Manager of Restoration and Preservation at NBCUniversal where she manages projects including film digitization, tape migration, and feature restorations. She started as an intern at NBCU in 2015, and worked her way up through the Archive, becoming Manager of the Restoration and Preservation team in 2021. She holds an MA in Moving Image Archive Studies from UCLA and is the Chair of AMIA’s Education Committee. In 2023, she won the Rising Star award from the Digital Entertainment Group.

Jenna Simpson
Jenna Simpson is the assistant collections manager in Media Collections at Colonial Williamsburg’s John D. Rockefeller Jr. Library.  Trained as a historian (PhD, American Studies, William & Mary) with an interest in early 20th century American history and popular culture, she now works to share the institutional history and ongoing activities of Colonial Williamsburg with staff and researchers.  Her day-to-day work is primarily in digital asset management, but she also helps to care for the library’s motion picture and audio collections, which document educational programming, archaeology, architectural restoration, and special events in Williamsburg, Virginia from the 1920s through the present.

Joshua Yocum
Joshua Yocum works at the George Eastman Museum’s digital lab, Film Preservation Services, as a Preservation Officer and is a member of the Magnetic Media Crisis Committee. He is a graduate of The L. Jeffrey Selznick School of Film Preservation and has worked previously at Northwestern University where his work focused on magnetic media and film digitization. Josh is interested in making open source software and hardware more accessible to archives and exploring new technological approaches to digital preservation.

JT Takagi
JT Takagi (she/her) is an independent film maker, sound recordist and the executive director of Third World Newsreel (www.twn.org).  TWN is a progressive alternative media center, working to advance storytelling and media arts for cultural and social justice, through educational distribution, exhibition, preservation, production and training.  For over a decade, with support from MIAP interns, graduates, members of XFER collective and CAW, and nire recently with TWN Archival coordinator Draye Wilson,  she has been overseeing the preservation of TWN’s Newsreel 16mm films (1967-1972). Her own films are primarily on Asian/Asian American and immigrant issues, and as a sound engineer, she has recorded numerous public television and theatrical documentaries.

Juana Suárez
Juana Suárez combines careers as a scholar, film critic, and media archivist/preservation activist. Her research interests include Media Preservation, Film Archives, Media Archeology, Administration of Memory Institutions, Film Studies, Latin American/Latino-a Cinema, Cultural Studies and Literature, Women’s and Gender Studies, and Immigration Studies.  She is an Associate Professor at the NYU Martin Scorsese Department of Cinema Studies, and director of the Moving Image Archiving and Preservation Program (MIAP). Working with NYU MIAP professors, alumni, and students, she has organized and participated in the NYU – MIAP Audiovisual Preservation Exchange Program (APEX) since 2013. APEX has taken place in Colombia, Uruguay, Argentina, Chile, Spain, Brazil, Puerto Rico, Greece, Ecuador, and México (Chiapas and Guadalajara); this program has forged partnerships with almost 50 archival institutions in those countries, becoming a major catalyst for collaboration and strengthening of global audiovisual preservation projects.      She serves as Trustee for the Flaherty Seminar Board, the Digital Preservation Outreach and Education Network (DPOE-N) Board of Directors, and has served on the Board of Directors of the Association of Moving Image Archivists (AMIA). In all of them, her advocacy is oriented to the awareness of income, gender, and opportunity gaps at the international level so that we share archival and educational resources while also acknowledging and including knowledge from global geographies.

Justin Green
Justin Green is a library worker, filmmaker, and labor/community organizer in Austin, Texas. As the Assistant Manager of the Howson Branch at Austin Public Library, he developed Film Strip Club—an adult 16mm direct animation workshop that is free and open to the public. Attendees draw, paint, and scratch directly on film to create their own animations, which are then professionally digitized by Texas Archive of the Moving Image. Through this program, Justin and TAMI have built an enduring community around the archival process with hundreds of participants over the last year. Outside the library, Justin works on independent films as a producer, assistant director, editor, and actor. He holds a bachelor’s degree in Film Studies from Wesleyan University.

Justin Lemons
Justin Lemons is the Preservation and Acquisitions Librarian for the University of North Texas Special Collections department and teaches Special Materials Preservation for UNT’s College of Information. He earned a BFA in Drawing and Painting and an MLIS in Library Science, both from the University of North Texas. He is an active member of the Association of Moving Image Archivists’ Community Archiving Workshop Training of Trainers program. He also owns and operates the Infinite Ohm recording studio in Denton, TX and runs a small record label with the same name.

Justin Misch
Justin Misch is the founder and CEO of Origins Archival, a white-glove film preservation studio devoted to the meticulous art and craft of 8mm, 16mm, and 35mm film digitization and restoration. A graduate of ArtCenter College of Design with a BFA in Film, he approaches each project with precision, craftsmanship, and a deep love for the enduring magic of celluloid. Guided by the same reverence and principles, Justin also serves as managing partner of Morning of the Earth, working alongside the film’s legendary creator, Albert Falzon OAM, to oversee the stewardship and creative evolution of the iconic 1972 surf film and its global cultural legacy. He personally restored each of the 150,000 frames for the film’s 50th-anniversary 4K remaster—widely regarded as the most meticulously restored surf film in history—and also produced Spoons: A Santa Barbara Story, a feature documentary exploring the roots of modern surfing and the profound influence of Renny Yater and George Greenough, whose innovations shaped surf culture and can still be seen in virtually every surfboard design around the world today. An avid filmmaker himself, Justin continues to shoot primarily on film, honoring the medium that fuels his life’s work.

Kaitlyn Palone
Kaitlyn Palone graduated with her MLIS from the University of Oklahoma in 2016. Shortly after she began her position as a metadata and cataloging librarian at the University of Central Oklahoma. In addition to her cataloging responsibilities, she is also the Coordinator of Preservation and manages the campus zine library. Kaitlyn is part of the Zine Thesaurus Management Collective through the Anchor Zine Archive and has been involved with CAW since 2023. When not working, Kaitlyn loves to embroider, watch movies, listen to music, and spend time with her family and two cats.

Karin Carlson-Snider
Karin Carlson-Snider is the Vault Manager at Northeast Historic Film in Bucksport, Maine.  She has been at the archive for almost 15 years during which time she has worked on several grant funded digitization projects focused on home movies and television news and programming.   She is a graduate of the L. Jeffery Selznick School of Film Preservation and holds a BA in History from the University of Wisconsin-Madison, a MFA in Digital Video Production from Governor’s State University in Illinois, and a MA in Public History from Duquesne University in Pittsburgh.

Kate Dollenmayer
Kate Dollenmayer (she/they) lives and works on Lisjan Ohlone land in the East San Francisco Bay Area of California. Currently a film archivist at Prelinger Archives, Kate previously worked at the Academy Film Archive and the Wende Museum of the Cold War. Kate is also a filmmaker, a member of the Black Hole Collective Film Lab, and a volunteer at Home Movie Days and Community Archiving Workshops.

Kate Murray
Kate Murray is a Digital Projects Coordinator at the Library of Congress where she leads the Federal Agencies Digital Guidelines Initiative (FADGI) Audio-Visual Working Group and the Sustainability of Digital Formats website. Kate is a member of AMIA (Preservation Committee co-chair 2010-2013), IASA (Technical Committee member), SMPTE and ISO/TC171/SC2 (PDF standards committees). She is the co-founder of the C2PA for G+LAM (Coalition for Content Provenance and Authenticity for Government plus Libraries, Archives and Museums) Community of Practice in 2025. In 2019, she received one of the inaugural Joint Technical Symposium (JTS) Awards for outstanding contributions to the technology of the audiovisual archiving field. In 2021, she received the NDSA Excellent Award for Individuals for making a significant contribution to the digital preservation community through advances in theory or practice. In 2022, she was a finalist for the DPC 20th Anniversary Award on behalf of FADGI’s cumulative body of work. A global leader in digital file formats research and audiovisual preservation, she is the LC liaison to the PDF Association, Vice Chair of the Digital Preservation Coalition’s (DPC) Executive Board and Vice Chair of the DPC Americas stakeholder committee. Kate received her undergraduate degree in Medieval Literature from Columbia University and her MBIBL from the University of Cape Town.

Katherine Klosek
Katherine Klosek is the Director of Information Policy and Federal Relations at the Association of Research Libraries (ARL). In this role, Katherine leads the Association’s information policy and advocacy portfolio which includes accessibility, balanced copyright, and online speech. As the staff lead for ARL’s Advocacy and Public Policy Committee, Katherine works closely with ARL members to influence and respond to critical legal, regulatory, and policy developments across legislative, administrative, and judicial arenas.

Kathy Rose O’Regan
Kathy Rose O’Regan is the Executive Director of San Francisco Film Preserve (SFFP). SFFP’s mission is to restore, preserve, and provide access to the world’s cinematic heritage. Originally from Galway in the west of Ireland, Kathy has been based in San Francisco for seventeen years. She served as the Senior Film Restorer for San Francisco Silent Film Festival, overseeing all operations of the preservation department and managing the restoration of dozens of silent era titles. Previously, she managed the preservation department of the Bay Area Video Coalition. Kathy is a graduate of the L. Jeffrey Selznick School of Film Preservation, a recipient of a National Film and Sound Archive of Australia fellowship, and a steering committee member of Women and Film History International.

Kayla Henry-Griffin
Kayla Henry-Griffin (they/them) considers themselves an audiovisual archivist and a time-based media conservator (and various other titles). They are a Media Collection Specialist for the Audiovisual Media Preservation Initiative (AVMPI). They attended New York University’s Moving Image Archiving and Preservation (MIAP) program, where they studied preservation and conservation of audiovisual materials, community archiving, and video game preservation.

Kaz Mendoza Rodriguez
Kaz Mendoza Rodriguez (they/them) is a Chicago-based documentary filmmaker and museum professional, who has recently begun merging their two passions through film preservation and archiving work. As part of their Pathways Fellowship with the Association of Moving Image Archivists (AMIA), Kaz interned at Media Burn Archive over the summer, where they developed a strong commitment to aiding the magnetic media crisis. In partnership with the Filipino American Historical Society of Chicago, Kaz successfully digitized and preserved 40 videotapes from their A/V collection, which are now being thoughtfully curated into film programs for a wider audience. With a special focus on community-based media, Kaz is dedicated to preserving underrepresented histories and examining how archival work can shape public understanding of historical narratives.

Kelli Shay Hix
Kelli Shay Hix is an archivist, educator, and artist. She is a core member of the Community Archiving Workshop (CAW) Collective and a Fulbright Specialist. She co-authored the study, Mapping the Magnetic Media Landscape, published by BAVC Media, September 2025. Her past clients include the Smithsonian Institution, the National Geographic Society, and the Country Music Hall of Fame and Museum.

Kelly R. Haydon
Kelly R. Haydon is a multimedia archivist and educator who has worked with Mount Sinai Health Systems, Queens College, Human Rights Watch, CUNY-TV, New York University, Bay Area Video Coalition, and is a longtime volunteer with XFR Collective. Her work focuses on audiovisual preservation, digital archiving, and supporting community-based archives through teaching and collaboration.

Kevin L. Glick
Kevin is the Product Manager for the Aviary platform, where he is responsible for defining the product roadmap, overseeing product development and maintenance, market positioning, and customer strategy. Before joining Aviary, Kevin spent two decades as an archivist at Yale University Library’s Manuscripts & Archives, specializing in digitization, digital libraries, digital preservation, and technology issues within special collections and archives.

Kevina Tidwell
Kevina Tidwell is the Special Collections and Outreach Librarian at CBH. In this role she provides reference services and teaches classes on archival research to groups ranging from primary school to college to older adults. She previously worked as an archival producer for documentary films and television. She holds an MLIS from the Pratt School of Information and a BA in American History from Arizona State University.

Kim Kölle Valentine
Kim Kölle Valentine is a video artist and PhD student in Film and Digital Media at the University of California, Santa Cruz. Her research interests include feminist and queer media praxis, particularly the infrastructures of distribution, media collections and conceptions of community through media practice. Her video work involves animation, installation, and single-channel performance that refigures categorizations and representations of femininity.

Kira Sobers
Kira Sobers is the head of the Digitization and Access Department at the Smithsonian Libraries and Archives where she has worked since 2008. She oversees the digitization workflow of all image and audiovisual formats from initial cataloging to online access. She served as the technical point of contact on two pan-Institutional projects to survey and assess the Smithsonian’s audiovisual materials and is the acting head of the Audiovisual Media Preservation Initiative.

Kirk Mudle
Kirk Mudle is the Program Manager for the Digital Preservation Outreach & Education Network (DPOE-N), a joint initiative between Pratt Institute School of Information and New York University. He also serves as the Director of Advocacy for the Archivists Round Table of Metropolitan New York, Inc. and the Archive Manager for the New York African Film Festival, Inc. Kirk holds an MA in Cinema Studies from San Francisco State University and an MA in Moving Image Archiving and Preservation from NYU. His current research focuses on digital and software preservation, staffing and training in cultural heritage institutions, and time-based media conservation.

Kristin MacDonough
Kristin MacDonough works as the Archive and Collection Manager at Video Data Bank (VDB). Prior to her current role, Kristin worked as the Assistant Media Conservator at the Art Institute of Chicago, where she collaborated with colleagues to implement guidelines and procedures relating to time-based media artworks. Outside of work, Kristin empowers others to engage with at-risk and under-supported audiovisual collections through mentorship and by organizing workshops and courses on caring for AV media. Kristin holds an MA from the Moving Image Archiving and Preservation program at New York University. She previously worked at VDB as the Digitization Specialist, and has also worked for other organizations including The StandBy Program and Bay Area Video Coalition.

Lance Watsky
Lance Watsky holds a Master of Arts in the Preservation and Restoration of Motion Pictures and Sound Recordings from California State University, Chico. He is the Founder and Chief Operating Officer of LandA Consulting Group LLC, where he helps organizations develop strategies for preservation and digitization. He has served as an Adjunct Professor at Clark Atlanta University and the Program Coordinator for UCLA’s Moving Image Archive Studies M.A. program, and he will soon be joining Kennesaw State University as a Student Academic Advisor. He also served for seven years as Chair of SMPTE’s James A. Lindner Archival Technology Medal Committee.

Laura Jean Treat Liebhaber
Laura Jean Treat Liebhaber is a Curator at the University of California Santa Barbara Library Department of Special Research Collections where she manages the acquisition, preservation of, and access to their  Film & Television and Local History Collections and provides research and instruction support for students and faculty. At UCSB, she co-founded the Santa Barbara Community Archives Project (SBCAP) and founded the Surf Industry & Culture Initiative (SIC). Laura has held several leadership positions within AMIA, most recently on AMIA’s Board of Directors. Her interests include local television, home movies, surf media, and community-based archiving within Santa Barbara County and California’s Central Coast.

Leila Sherbini
Leila Sherbini (she/her) is currently based in Lansing, MI where she works as a Media Preservation Resident Librarian at Michigan State University. There, Sherbini is working on a two-year long project to inspect, digitize, and make accessible early public access television from the university’s WKAR collection. Originally from the Chicagoland area, she has had the pleasure of working with a number of different local film organizations including Chicago Filmmakers, the Chicago Film Society, and Reeling: The Chicago International LGBTQ+ Film Festival. She received her Masters of Science in Library and Information Science from University of Illinois Urbana Champaign in 2023 and a Bachelor’s of Art in Radio/Television/Film from Northwestern University in 2017. She is also involved with organizations such as Community Archive Workshop (CAW) and freelances as an archival producer occasionally. Her real passions in life are her cats, watching anime, and being hyper competitive at board and video games.

Leopold Krist
Leopold Krist has been working with motion picture films since 1994. He studied film production at Bard College and taught filmmaking at the NW Film Center. His postproduction expertise spans roles as a motion picture processing lab technician at Kodak Advanced Materials and Chemicals and various motion picture processing facilities including ColorLab and A-1 Reversal Film Lab. Most recently, as the Leon Levy Motion Picture Archivist at the Wildlife Conservation Society from 2022 to 2024, he managed over $75,000 in preservation grants and processed 1,200+ reels of historical wildlife films from the Bronx Zoo’s collection. A sample of this rare collection can be found online at https://library.wcs.org/Archives/DigitalCollections.aspx . A graduate of the L. Jeffrey Selznick School of Film Preservation, Leopold is a native New Yorker who specializes in audiovisual collection management, vendor coordination, and large-scale digitization projects.

Libby Savage Hopfauf
Libby Savage Hopfauf is Co-Chair of the Magnetic Media Crisis Committee (MMCC), Executive Director of Moving Image Preservation of Puget Sound (MIPoPS), and the Audiovisual Archivist at the Seattle Municipal Archives. She received a Master’s in Library and Information Science and a certificate in Nonprofit Management from the University of Washington and a Bachelor of Arts in Creative Writing with a minor in Sociology from Western Washington University. Libby is dedicated to creating accessible resources for archivists, promoting intuitive use of open-source tools to support sustainable digitization practices and address the ongoing magnetic media crisis.

Linda L. Smith
Linda is an archivist and librarian who is deeply committed to working with community and art archives. She also works to demystify archival training, to empower all who are interested in supporting community memory. After interning at two places that flooded, she chose to marry her passions and this need into her upcoming thesis project.

Linda Tadic
Linda Tadic is Founder/CEO of Digital Bedrock, a managed digital preservation service. Her over 35 years’ experience includes positions at HBO, the Media Archives and Peabody Awards Collection at the University of Georgia, ARTstor, and Pacific Film Archive. She has also taught as an Adjunct Professor at two major graduate programs focused on audiovisual archiving and preservation: UCLA’s Department of Information Studies, teaching a course on Digital Asset Management; and at NYU’s Moving Image Archiving and Preservation program, teaching a course on Collection Management. She is a founding member and former president of AMIA. Linda consults and lectures on digital asset management, audiovisual and digital preservation, metadata, and the impact of digital preservation on the environment. Linda was the recipient of the 2021 SMPTE James A. Lindner Archival Technology Medal in recognition of her leadership, research, and work in digital asset management, audiovisual and digital preservation, copyright, metadata, and the environmental impact of digital preservation.

Lisa Shin
Lisa Shin is an early-career Research Librarian for Health Sciences and Engineering at the University of Ottawa. She has a deep love for film festivals and connecting the community through them. Her other interests include “cinemeducation” and using audiovisual materials in instructional settings.

Louisa Trott
Louisa has worked with small gauge and amateur film collections at regional and national film archives in the UK and US. She is a graduate of the University of East Anglia’s film archiving master’s program, and co-founded the Tennessee Archive of Moving Image and Sound in Knoxville.   She is currently Arts & Humanities Librarian at the University of Tennessee, Knoxville, and serves as co-chair of AMIA’s Conference Committee and the Small Gauge and Amateur Film Committee.

Margaret Compton
Margaret Compton is the Film Archivist for the University of Georgia’s Brown Media Archives and Peabody Awards Collection. She oversees preservation of television newsfilm, home movies, historic campus footage, Peabody Awards entries, town films, and more in formats dating from 1916 to today. She is the author of the “Small Gauge and Amateur Film Bibliography” (Film History 15:2, 2003) and author of articles on exploring television archives, itinerant filmmakers’ Georgia films, a National Film Registry essay, and an article on dating a 28mm home movie that is recognized as the earliest footage of African Americans playing baseball.

Marie Lascu
Marie Lascu is a founding member of the Community Archiving Workshop (CAW) Collective and is the Digital Archivist for Ballet Tech, a NYC public dance school. She has worked as an audiovisual archiving consultant for over a decade with many organizations, including Crowing Rooster Arts, Third World Newsreel, Smithsonian Institution, Film at Lincoln Center, and Philadelphia Folklore Project. She was a member of the NYC-based XFR Collective from 2015-2024, and is a 2012 graduate of the Moving Image Archiving and Preservation (MIAP) program at New York University.

Mark Coulbourne
Mark Coulbourne is the Head of Preservation, at the University of Maryland, College Park.  He has a Masters in Library and Information Science from the University of Maryland, College Park and a Bachelor of Science from Towson University.  He has worked in Preservation at the University of Maryland since 2017. He is also an Adjunct Professor in Preservation at the University of Maryland.  His research interests include the potential risks of interfiling polyester film with acetate film that has advanced vinegar syndrome.  Finally, he has authored a number of articles that are centered on practical applications in preservation and conservation.

Mark Quigley
Mark Quigley is the John H. Mitchell Television Curator for the UCLA Film & Television Archive. Projects include  curation of screenings at the Billy Wilder Theater (Hammer Museum), including “Shot on Videotape: Social Issue Dramas Preserved by UCLA” (2020) and “Tell It Like It Is: The Watts Writers Workshop on Television” (2022). Preservation projects include episodes of Stars of Jazz (ABC, 1956-58) and the Chicanx public affairs series Reflecciones (KABC, 1973-74). Publications include Hallmark Hall Of Fame: The First 50 Years (UC, 2001). Quigley previously served as an Adjunct Professor for UCLA’s Moving Image Archive Studies (MIAS) program. He holds a Master of Fine Arts from UCLA’s School of Theater, Film, and Digital Media.

Mary Huelsbeck
Mary Huelsbeck has been the Assistant Director of the Wisconsin Center for Film and Theater Research at the University of Wisconsin-Madison since March 2012. She has over twenty-five years of experience managing film, videotape, audio, photograph, manuscript and three dimensional object collections in museums, libraries, and archives.  She is a long-time member of the Association of Moving Image Archivists.

Maryam Mustafa
Maryam Mustafa was born and raised in the Washington, D.C. area, with roots in Sialkot, Punjab, Atlanta, New York City and Huntington, Virginia. I’m interested in Islamic spirituality, philosophy, film and media studies, knowledge and racial/socio-economic justice. In my research and creative work, I am seeking how to connect memories of grief, love and loss to social justice, Islam, philosophy through research and visual and performing arts.

May Hong HaDuong
May Hong HaDuong joined the UCLA Film & Television Archive as its fourth director in 2021, bringing more than two decades of experience in moving image collection access, conservation, and broader preservation issues. Prior to leading the Archive, she spent 13 years at the Academy Film Archive, where she oversaw access to its vast moving image collections.  HaDuong’s connection to UCLA spans many years: she earned her graduate degree from the UCLA Moving Image Archive Studies program, contributed to a major collaborative project focused on LGBTQIA+ moving image history, and taught several courses before returning to campus to lead the Archive.  She currently serves on the National Film Preservation Board, the Board of Directors of the ONE Institute, the UCLA Chancellor’s Council on the Arts, and UCLA’s Community Engagement Advisors Network.

Megan Cromwell
Megan Cromwell is the Assistant Chief Data Officer for NOAA’s National Ocean Service (NOS), providing internal support and external advocacy to support NOAA’s mission. Sitting in the Information Management Office (IMO), Megan provides data governance expertise to the IMO Senior Leadership Team, Data Governance Committee, and individually to each program office by evaluating, planning, and implementing measures to increase data governance maturity across NOS and NOAA as a whole. She has a Marine Science Bachelor’s of Science with a GIS certification minor from the University of Southern Mississippi and a Master’s Degree in Environmental Geoscience through the Mississippi State University.

Passionate about all data, but oceanographic imagery in particular, Megan has embraced the need for technological solutions such as leveraging artificial intelligence and machine learning techniques to manage NOAA’s “Big Data” problem, particularly to facilitate data access. Working within the oceanographic community, Megan strives to build mutually beneficial partnerships including supporting the development of training data and tools such as FathomNet.

Mercer Zervopoulos
Mercer Zervopoulos is an independent moving-image archivist and A/V artist. In 2024, they completed the AMIA Pathways Program, interning at MARMIA in Baltimore. Prior to being accepted into the Pathways Program, they managed an archival stock-footage business in Philadelphia. They also volunteered with several community archives in Philadelphia, including the William Way Center, where they assisted with A/V collections. Toward the end of 2024, Mercer relocated to New York City and has since been working independently or volunteering at community archive spaces while seeking full-time archivist positions. Their newest project, Video Zine Archive, aims to serve as both a preservation initiative and a community-building tool for video mixtape creators.

Mia Cooper Ferm
Mia Cooper Ferm is the Media Archivist at Oregon Public Broadcasting since 2023. She also is a long-time co-director for Cinema Project, a Portland-based non-profit that presents experimental film and video of the past and present. She holds an MA in Preservation and Presentation of the Moving Image from the University of Amsterdam, an MA in Cinema Studies from NYU, and her BA from University San Diego, California in Film Theory, History, and Production.

Michael Marlatt
Dr. Michael Marlatt is a disabled archival and museum accessibility consultant based in St. Andrews, New Brunswick. Michael graduated from Toronto Metropolitan University’s (Formerly Ryerson University) Film + Photography Preservation and Collections Management MA program in 2017. In 2024, Michael received his PhD in the Communication & Culture program at York University where he wrote his dissertation “No one said anything about driving in Film Preservation 101!”: The Lived Experience of Disability, Chronic Illness, and Neurodiversity in Moving Image Archival Education. Michael hosts archival accessibility/mental health workshops, speaks at conferences, and publishes on accessibility barriers that exist within archives and how to address them. His workshops have been held in multiple countries and hosted by film archives, broadcast media archives, government archives, museums, medical archives, universities, archival professional organizations, and more.

Michael Metzger
Michael Metzger is the Pick-Laudati Academic Curator of Cinema and Media Arts at the Block Museum at Northwestern University.     Since 2018 he has directed the Block Cinema screening series at Northwestern, where he has organized over 200 film screenings, workshops, and public programs. His curatorial efforts include installations by artists Paul Chan, Isaac Julien, Sky Hopinka, and Dario Robleto, and he is the editor of The Heart’s Knowledge: Science and Empathy in the Art of Dario Robleto (2023). With J.P. Sniadecki, Michael co-led the Climate Crisis + Media Arts Working Group (CC+MA) at Northwestern from 2020-2024. Michael holds a Ph.D. in Art History from Stanford University.

Michael Schneider
Michael Schneider is the Chief Sales Officer at Digital Film Technology (DFT), headquartered in Darmstadt, Germany. He brings over 25 years of experience driving sales growth and forging strategic partnerships in the archive and broadcast industries.  Michael holds an engineering degree from Hochschule RheinMain in Wiesbaden, Germany. Throughout his career, he has specialized in connecting sales, business development, product development, application management, and marketing on the vendor side, while also engaging closely with application and workflow management on the customer side.  His core expertise lies in film scanning and digitization, digital film restoration and preservation, storage architecture, media asset management, S2021 standards, and broadcast infrastructure.  Before joining DFT, Michael held senior positions at leading companies including Arvato Systems, Vidispine, Axon, Grass Valley, and Philips.

Mitch Peyser
After many years mining archives to create and promote classic music and video collections for Time Life, Mitch is now curating, creating, monetizing, launching and managing YouTube channels. His clients include The Academy of Country Music and Tennessee Ernie Ford. He also works with Spotted Dog Entertainment, which licenses and manages content for major classic comedy libraries such as The Smothers Brothers and Laugh-In. For Time Life, Mitch generated hundreds of millions of $$s through all channels of direct to consumer marketing including web, email, television commercials and infomercials. He has fostered long-term successful business relationships with major brands including Disney, The Rock and Roll Hall of Fame and Museum, The Grand Ole Opry, The Academy of Country Music and The Country Music Association.

Mojo Lorwin
Mojo Lorwin is a New York City-based filmmaker who teaches film studies at Westchester Community College. His 2019 short Summer in the City is a dream logic black comic exploration of climate change which won the “Best Brooklyn Project” award at the Brooklyn Film Festival in 2020. He is interested in films which bridge the gap between experimental narrative techniques and subversive politics, particularly surreal and absurdist films of the 1960s and 1970s. His love for these films, along with his family connection to the project, drew him to Moi-même.

Molly Tighe
Molly Tighe (she/her) is Archives Manager at WQED Multimedia in Pittsburgh where she manages collections for the nation’s first community-supported public media station.  She received her MLIS from the University of Pittsburgh with a focus on Archives & Records Management.  Prior to joining WQED, she managed archival collections at Chatham University, the Mattress Factory Museum, the Pittsburgh Symphony, and the Andy Warhol Museum.  Tighe’s work focuses on digital preservation, collections stewardship, outreach, and copyright and she has presented broadly on collections access, web archiving, and collaborative projects.

Monica A. Sosa
Monica A. Sosa (she/her) is a left-handed, segunda lovin’, rasquache tlachache artist. A community arts administrator by profession and grassroots organizer and fronteriza de corazón, her experience as a queer mama raised by women on the borderlands is what continues to guide her values, work and life design. Monica is passionate about supporting folks in realizing their ideas and uplifting historically excluded and marginalized communities by exploring outside the binary and beyond societal constructs. She is a Worker-Owner at ENTRE Film Center & Regional Archive, an artist-run creative cooperative that centers the collection, preservation and curation of community-made-and-maintained archives, and is the Project Curatorial Manager of the community archival project, Boca Chica, Corazón Grande.

Morgan Oscar Morel
Morgan Morel has been the Video Lab Supervisor at NAVCC since February 2023. He has worked at many audiovisual preservation labs, from large vendors to small non-profit labs. He has a passion for preserving tape-based media and is interested in designing digitization stations and workflows that can create the highest quality digitization transfers. While working for BAVC Media he designed a curriculum for teaching archivists the basics of video playback and preservation. He is always working to enhance the state of the art of video preservation, and improve the infrastructure of LC’ Video Lab. He is particularly interested in creating affordable and open-source video preservation workflows that can be used by community-based archives and institutions to preserve their at-risk media.

Nathan Holmes
Nathan Holmes is an Associate Professor at SUNY Purchase College. He is the author of Welcome to Fear City: Crime Film, Crisis and the Urban Imagination (SUNY Press 2018) his recent essays for New Review of Film and Television, Imaginations, and Race and the Suburbs in American Cinema (ed. Merrill Schleier, 2021) explore the relation between film genres, social space, and the built environment. In addition to teaching classes in film and media preservation, he has written booklet essays for Fun City Editions and Canadian International Pictures, and is currently working on a book about Canadian film and the culture of social democracy in the 1970s.

Nicholas Saul Avedisian-Cohen
Nicholas Avedisian-Cohen is an audiovisual archivist at the Visual Collections Repository in Montreal, Quebec, where he works with various celluloid and tape formats as well as born-digital archives. He holds an MLIS and is pursuing a doctorate in Film and Moving Image Studies on Cold War documentary.

Oliver Gaycken
Oliver Gaycken is an Associate Professor in the Department of English and a core faculty member of the Programs in Comparative Literature and Cinema & Media Studies at the University of Maryland, College Park. He is the author of Devices of Curiosity: Early Cinema and Popular Science (Oxford University Press 2015). His articles have appeared in Historical Journal of Film, Radio, and Television; Science in Context; Journal of Visual Culture; Early Popular Visual Culture; Screen; and the collection Learning with the Lights Off.

Owen Gottlieb
Owen Gottlieb is an Associate Professor of Interactive Games and Media at the Rochester Institute of Technology where he is also the Founder and Director of the Interaction, Media, and Learning Lab, with a branch of research dedicated to the history of instructional media. His team’s learning games have been recognized internationally at venues including the Smithsonian American Museum of Art, IndieCade, Now Play This London, and Meaningful Play. He is currently working on a book about Instructional Television (ITV) in the United States and Canada. Gottlieb’s chapter “Heritage in Search of a Home: Archiving the Learning Designs and Artistry of Instructional Television of the 1970s and 1980s” appears in the Archivability of Television (eds. Bratslavksy and Peterson, University of Georgia Press, June 2025).

Pamela A. McClanahan

Pamela A. McClanahan has been with University of Maryland Libraries since 2019 and currently serves as the Head of the Digital Collections unit overseeing digitization operations for the Libraries. She completed the Harvard Leadership Institute for Academic Librarians in 2023 and the Society of American Archivists Digital Archives Specialist Certificate in 2021. Previously, McClanahan had a career in nonprofit fundraising and project management. As a 2017 National Digital Stewardship Resident, she completed a fellowship on digital libraries at Smithsonian Libraries. She has her MLS from the University of Maryland ischool specializing in Archives, Records and Information Management and holds a BA in History from Hood College.

Patricia Aufderheide
Patricia Aufderheide is University Professor of Communication Studies in the School of Communication at American University in Washington, D.C. She founded the School’s Center for Media & Social Impact, where she continues as Senior Research Fellow. Her books include Kartemquin Films: Documentaries on the Frontlines of Democracy (University of California), Reclaiming Fair Use: How to Put Balance Back in Copyright (University of Chicago), with Peter Jaszi; Documentary: A Very Short Introduction (Oxford), The Daily Planet (University of Minnesota Press), and Communications Policy in the Public Interest (Guilford Press). She has been a Fulbright Research Fellow in Brazil (1994-5), Australia (2017), and South Korea (2024). She is also a John Simon Guggenheim fellow (1994) and has served as a juror at the Sundance Film Festival among others.

Philip Sulentic
Philip Sulentic graduated from Dominican University with a Masters in Library and Information Sciences, concentrating on archival management. He began working for WPA Film Library in 2016 as a Researcher and Cataloger, continuing to do so during the company’s transition to MPI Stock Footage Archive. In addition to cataloging and digitizing MPI’s moving image collections, Phil works with colleagues to promote clips and collections through the company’s social media profile.

Rachel Antell
Rachel Antell has worked in documentary film production for over two decades, but found her true passion in archival producing. In 2014 she co-founded Sub-Basement Archival, where she’s had the honor of being archival producer on dozens of documentaries that have screened worldwide, and garnered FOCAL Awards and an Emmy nomination for research and use of archival footage. In 2023, Rachel co-founded the Archival Producers Alliance (APA) to organize archival producers, educate the film community about the craft, and advocate for the field. The APA’s first initiative addresses Generative AI’s impact on documentary film and archival work.

Rai Terry
Rai Terry (they/them) is an AudioVisual archivist, artist, and scholar whose work centers the everyday lives, visual cultures, and media histories of Black, queer, and other marginalized communities. Rooted in both creative and critical practice, their work explores how personal memory, community archives, and obsolete media formats carry affective and historical weight. As the founder of Auntie Penny’s Tapes, they are committed to collecting videotape and creating archives that challenge institutional silences and prioritize care, context, and consent.  Rai’s practice moves fluidly between digitization, video and sound installation, oral history, and archival curation. Whether restoring home movies, facilitating workshops, or producing experimental media, they draw from jazz aesthetics, family storytelling, and a nonlinear sense of time to reimagine how archives live and breathe outside of dominant narratives. Their scholarship and practice are deeply informed by a belief that archiving is not just a technical act, but a political and creative one.  They are currently pursuing a master’s degree in Library and Information Science at Simmons University. Rai is an inaugural Association of Moving Image Archivists Pathways Fellow and a former Center for the Study of Slavery and Justice Fellow at Brown University. They earned their undergraduate degree in Black Studies from Brandeis University. Recently, they were awarded the Josephine Foreman scholarship from SAA.

Rebecca Fraimow
Rebecca Fraimow is the Manager of Digital Assets and Operations at the WGBH Archives and the American Archive of Public Broadcasting, as well as the project lead on the development and distribution of the PBCore metadata schema. Rebecca has presented workshops and webinars around audiovisual preservation and metadata for institutions including the Association of Moving Image Archivists, the New England Document Conservation Center, and New England Archivists, among others. Prior to joining GBH, Rebecca performed audiovisual preservation work for the Dance Heritage Coalition and was a founding member of XFR Collective. Rebecca is also an author and award-winning podcaster.

Rebecca M. Gordon
Rebecca M. Gordon is the Tompkins Conservation Collections processing archivist at Stanford University Libraries & Special Collections. She recently completed her assignment as the Dolby Media Archivist for Silicon Valley Archives at Stanford. Before arriving at Stanford she was on the team at Queen’s University’s Vulnerable Media Lab that digitally restored several films by revolutionary filmmaker Sara Gomez. Prior to working as an archivist, she taught film/media studies and the humanities for two decades. She received her PhD in English and American Studies from Indiana University, and a masters in Film + Photo Preservation and Collections Management from Toronto Metropolitan University.

Rob Kasunic
Rob Kasunic is a copyright lawyer and adjunct professor of law at American University’s Washington College of law. Until recently, Rob was the Associate Register of Copyrights and Director of Registration Policy and Practice at the United States Copyright Office. He served in the Office for over 25 years, including 13 years in the Office of the General Counsel. He has been teaching copyright law for over 30 years, initially at the University of Baltimore School of Law and also at the Georgetown University Law Center. He is the author of numerous published law review articles on copyright law and has a particular interest in the fair use doctrine. He received is B.A. from Columbia University and his J.D. from the University of Baltimore School of Law.

Sara Chapman
Sara Chapman is the executive director of Media Burn, where she has devoted the past 20 years of her life to preserving tapes from the Guerrilla Television era and bringing them the wide public attention they deserve. She’s also an avid open water swimmer and former co-chair of her Masters swim team, the Chicago Smelts.

Sarah Berry
Sarah Berry is the Digital Archivist at Utah State University Libraries’ Special Collections and Archives. She is responsible for preserving digital archival and audiovisual materials and managing public access through USU’s digital repositories. She specializes in asset management, born-digital processing, and archival media instruction. Sarah also oversees the Northwestern Band of the Shoshone Nation (NWBSN) collection in partnership with the Northwestern Shoshone Tribal Library and works closely with tribal communities in Utah. Sarah has a Master’s degree in Public History and a Bachelor’s degree in International Studies, and is a co-host of “Eating the Past,” a food history podcast on Utah Public Radio.

Sarah V. Hartzell
Sarah Hartzell (she/her) is an audiovisual preservationist with a background in film history. In her current position as AV Preservation & Digitization Specialist at The Ohio State University Libraries, she is responsible for the physical care of a vast range of AV materials and spearheads their digitization for preservation and access. She is an active participant in advocacy and outreach efforts to promote and celebrate audiovisual heritage, like Columbus Home Movie Day and the OSUL Scan-a-thon. She has previously worked with collections at the New York Public Library, the Rhode Island Historical Society, and the Wildlife Conservation Society. She holds a Master of Arts in Moving Image Archiving and Preservation from New York University and a Bachelor of Arts in Film & Screen Studies and Communications from Pace University.

Sasha Fleishman
Sasha Fleishman (they/them) is a writer, researcher and performer with a passion for multimedia storytelling and disability advocacy. Sam contributes interviewing, project management, and editing expertise, alongside a personal interest in social science journalism to The Autistic Voices Oral History Project. Sam was professionally identified as Autistic at the age of 24, which inspired an on-going educational pursuit of autism and neurodiversity. Currently, Sam works as a training coordinator at Massachusetts Advocates Standing Strong, where they bring their lived experience as a late-diagnosed Autistic individual to the field. Sam is a proud member of the queer community, a lover of antiques and vintage clothing, and a devoted cat parent to her beloved orange tabby, Anouk.

Siobhan Cernugelj Hagan
Siobhan Cernugelj Hagan holds an M.A. in Moving Image Archiving and Preservation from NYU’s Tisch School of the Arts and has worked at a variety of organizations including the UCLA Library, the Smithsonian Institution, and the DC Public Library. Siobhan is also the founder of MARMIA—the Mid-Atlantic Regional Moving Image Archive—a community-centered organization based in her hometown of Baltimore, MD.

Stephanie Sapienza
Stephanie Sapienza is the Digital Humanities Archivist at the Maryland Institute for Technology in the Humanities at the University of Maryland. She works at the intersection of digital storytelling, linked data, and digital curation, with a focus on endangered and orphaned media collections. Her research explores how collections circulate and re-emerge over time and how linked data can reconnect dispersed cultural materials. She also teaches a course on digital storytelling with archives as an affiliate of UMD’s Cinema and Media Studies program.

Taylor E. Burch
Taylor E. Burch is a Los Angeles–based recent graduate of the L. Jeffrey Selznick School of Film Preservation at the George Eastman Museum. Her work has focused on nitrate film, including Gone With the Wind screen tests, and she is the recipient of the Louis B. Mayer Foundation Fellowship hosted by the Bundesarchiv in Berlin, where her research explores Weimar-era women filmmakers. She also received the Nancy Mysel Preservation Scholarship from New York Women in Film & Television. Prior to her archival training, she worked as an Entertainment Editor at Getty Images and as a touring musician, producing and performing internationally.

Teague Schneiter
Teague Schneiter (she/her) is a moving image archivist, memory worker, and strategist who has spent her career working in cultural heritage, oral history, human rights, technology, and DEI initiatives. She currently serves as Adjunct Professor for the Louisiana State University’s online MLIS program. Her most recent prior role was as Deputy Director for a non-profit initiative OpenArchive that co-develops responsive, secure, verifiable, and ethical archiving tools and resources with human rights defenders and NGOs to advance justice and accountability. Teague also currently serves as co-lead and Director for the Autistic Voices Oral History Project and current Director of the AMIA Pathways Program. From 2012 to 2024 Teague served as Director of the Academy of Motion Picture Arts and Sciences’ Oral History Projects department and Visual History Program. As the initiative’s founder, she was responsible for strategic planning; developing born digital video production, research, description, metadata and access practices specific to oral history; collection development; digital preservation planning; curatorial projects; cross-institutional initiatives; and outreach. Under her leadership, the project recorded over 260 oral histories in 13 languages and 11 countries; and over 1,500 legacy interviews were collected and preserved. She has been involved in multiple grants projects, including co-developing an oral history project dedicated to documenting the stories of Latina/o/x and Latin American filmmakers which resulted in a richly searchable multilingual website using OHMS for the Getty’s 2017 PST:LA/LA cultural festival. Prior to this leadership role, Teague had 10 years of moving image research, curatorial, and audiovisual collection management experience, working with oral history and other cultural heritage materials in Australia, the Netherlands, and North America; for human rights organization WITNESS and indigenous media organization IsumaTV. Teague has served on the Board for the AMIA and as its Vice President, working on initiatives related to making a more welcoming professional ecosystem, continuing education, advocacy and equity. She is the author of a report commissioned by the National Film Preservation Board on cultural equity and inclusion in the field of audiovisual archiving, and an early founder of AMIA’s Pathways fellowship. Her writing has been published in archival and media journals worldwide. Teague is a graduate of the University of Amsterdam’s MA in Preservation & Presentation of the Moving Image.

Tim Knapp
Tim Knapp is the COO of PRO-TEK Vaults, managing the Burbank and Thousand Oaks, CA locations. Tim brings more than 40 years of experience in motion and still imaging at Kodak, Technicolor and PRO-TEK Vaults — in film and digital imaging engineering and management roles. Tim has an in-depth understanding of the capabilities and challenges of managing film, tape and digital assets, including the issues and opportunities they present for archivists as they face aging media libraries and an increasingly digital future. He is currently a member of the Association of Moving Image Archivists, the Society of American Archivists, and an elected Associate Member of the American Society of Cinematographers.

Timothy Yim-Stueve
Timothy Yim-Stueve is a writer, film archivist, and programmer. Originally from Oregon, he relocated to Rochester, New York to receive his MA in Film Preservation and Restoration from the George Eastman Museum and University of Rochester. During this time he specialized in film restoration and data preservation, especially LTO tape storage. During an internship at the Strong Museum of Play, Yim-Stueve began work on his book on video game preservation, “Start, Select, Save” (forthcoming 2026). For the past two years, Yim-Stueve has been the manager of the historic repertory cinema, the Dryden Theatre where he recently programmed a film series, “Stop Motion as an Artform.” He is currently relocating to Los Angeles.

Todd Mitchell
Todd Mitchell is the Film Preservation Laboratory Supervisor at the Library of Congress’s National Audio-Visual Conservation Center.  Todd directs both photochemical and digital preservation operations in the Film Lab.  He learned filmmaking at the University of Colorado Boulder, and studied different computer languages, which he ultimately applied toward motion picture digital imaging.  After spending nearly a decade scanning and film recording visual effects on over 100 movies at Industrial Light & Magic, he joined Technicolor in the new realm of digital intermediates.  This approach in which entire films are digitized and color graded, gave him the opportunity to use his visual effects background to improve Technicolor’s scanning and film recording operations. For nearly 20 years, he contributed to hundreds of new productions and hundreds more digital restorations of movie classics, including Snow White and the Seven Dwarfs (1937), Mr. Hulot’s Holiday (1953), Lola Montès (1955), The Rocky Horror Picture Show (1973), and The Other Side of the Wind (2018).

Tom Lorenz
Tom Lorenz studied audio engineering in Berlin (Germany) from 1987 to 1993. After his graduation as a sound engineer (Diplom-Tonmeister), he worked as a support engineer for an audio restoration system. From 1995 to 2002 he worked as a project engineer for sound and radio studio installations. In 2002, he joined HDA/Cube-Tec as a sales engineer. Since 2005 he has held a leading position in the company as head of sales and managing partner. He has worked closely with archivists around the world for more than 20 years to provide new technologies for safeguarding audiovisual heritage and software solutions for managing digitization workflows.

Travis L. Wagner
Travis L. Wagner is an assistant professor in the School of Information Sciences at the University of Illinois Urbana-Champaign. Wagner’s research interests include critical information studies, queer archives, and LGBTQIA+ advocacy in sociotechnical systems. Their work investigates how LGBTQIA+ communities create identity in opposition to sociotechnical systems that characterize and limit those identities. Multiple projects within the classroom and with community organizations have led to Wagner exploring and publishing the unique relationships between obsolete archival mediums and queer counter-historical work across archival contexts. Their recent publications include articles in the Journal of Information Science, Journal of the American Medical Informatics Association and Artifact & Apparatus. Wagner earned their PhD in information science from the University of South Carolina (USC) and served as a postdoctoral fellow at the Center for Archival Futures (CAFe) and the Recovery and Reuse of Archival Data Lab (RRAD) within UMD’s College of Information. They are the co-creator of the Queer Cola Oral History and Digital Archive.

Tuesday Sweeney
Tuesday Sweeney resides in Brooklyn, New York, and earned her bachelor’s in Art History from the University of Colorado Boulder in 2023. She currently works for Filmic Technologies as the Project Manager, assisting in team operations and implementing client feedback in development of the inspection-based digitization scanner, the EZ16. After completing a fellowship working with Lasergraphics ScanStation, Tuesday grew an interest in accessibility and how technology can best help archives achieve their access goals. She is a strong believer in mass digitization, and has witnessed firsthand how different levels of access to content can help foster unexpected connections and new opportunities.

Veronica Luke
Veronica Luke is the Archival Film Manager at Origins Archival, where she manages the intake and preparation of archival films and material sourced from institutions and personal collections. She is currently getting her master’s degree in Library and Information Sciences from the University of California, Los Angeles. Within her media archival studies specialization, Veronica is interested in the means in which individuals create autobiographies via personal archives and how an individuals’ archives come to reflect a whole, as well as the importance of screening archival materials like small gauge film in their original format.

Walter Forsberg
Walter Forsberg has worked for the Smithsonian Institution since 2014, now serving as Curator of Audiovisual Media at Smithsonian Libraries and Archives.

Wendy Levy
Wendy Levy’s creative work takes place at the intersection of storytelling, innovation and social justice. As the Executive Director of The Alliance for Media Arts + Culture, she is focused on catalyzing collaboration, innovation, and cultural impact for the media arts field. Previously, Wendy was a Senior Consultant at Sundance, helping develop the Sundance/Skoll Stories of Change Program and the New Frontier Story Lab. Wendy also directed the MacArthur Foundation-funded Producers Institute for New Media Technologies, the first public media Innovation Lab in the US. Wendy is the recipient of the Princess Grace Statue Award for distinguished contribution to the media arts field and under her leadership, the Alliance was awarded the MIT Solve Prize for Reimagining Pathways to Employment in the US – for Arts2Work, the first federally-registered national Apprenticeship Program in Media Arts + Creative Technologies.

Wilde Davis
Wilde Davis is a Los Angeles-based film programmer and moving image archivist. Originally from Indiana, they are pursuing an MLIS degree at UCLA, specializing in Media Archival Studies. Their research focuses on immersive media conservation and audiovisual repatriation. They serve as a Co-Chair of UCLA’s AMIA Student Chapter and as a 2025 AMIA Pathways Fellow. As the California Revealed Memory Lab Intern, they assessed existing digitization equipment, interviewed memory labs across the state, and developed a memory lab handbook and resource guide. Currently, they are assisting filmmaker Gina Kim in preserving her virtual reality and immersive media works. Upon graduating, they hope to pursue a career in time-based media conservation. They received their BSFS in Culture and Politics from Georgetown University in 2019. Prior to attending UCLA, they were the Head of Marketing and Communications and a programmer for Fringe! Queer Film & Arts Fest in London.

Williams Rossa Cole
Williams Cole has been producing, directing, editing and archival producing documentary film for nearly 25 years. He produced Gumbo Coalition with Academy Award winner Barbara Kopple, which premiered on Max in 2023 and just completed directing Rebel Wife, which broadcast on RTE in the summer of 2024. Among his other credits are Sundance premieres Finding Fela and 99%: The Occupy Wall Street Collaborative Film, the HBO film Gun Fight, Giuliani Time, Barney’s Wall and Rebel Rossa (now available on Amazon Prime).  Williams earned a MSc (distinction) at the London School of Economics on a US-UK Fulbright Scholarship and graduated from Columbia University (magna cum laude). He was a founding contributing editor of The Brooklyn Rail, a monthly publication on arts and politics. Recently he completed an AI Strategy Certificate at eCornell and is engaged in the Information Warfare Certificate at University of Arizona while also studying cybersecurity concepts and tools. In 2024 he published the academic peer-reviewed article “Beyond Deepfakes: Synthetic Moving Imagery and the Future of History” in The Journal of Information Warfare and is currently engaged in a research project with Prof. Pat Aufderheide of American University around archives and AI.

Xihao Xing
Xihao Xing is a second-year Master’s student at the L. Jeffrey Selznick School of Film Preservation at the George Eastman Museum. In May 2024, Xihao interned at the Xia’men University Film Archive in China, where he contributed to the digital restoration of director Xie Fei’s A Mongolian Tale (1995). Xihao holds a BS in Bioinformatics from the Chinese University of Hong Kong, Shenzhen, where he was actively involved in organizing and programming local film screenings and exhibitions.