The Program

Sessions, workshops, and screenings are being added as they are finalized by speakers.

10:00 AM (Pacific) | Separate Registration Required
Web Archiving for all! archiveweb.page

Lorena Ramirez-Lopez, webrecorder
Ilya Kreymer, webrecorder
Emma Dickson, webrecorder

ArchiveWeb.page, a brand-new high-fidelity web archiving system available as a Chrome extension from the Chrome Web Store. This new tool is similar to a webrecorderÆs desktop version for web archiving, but as an extension, it allows for personal web archiving directly in the browser for Chromium-based browsers.

Website: https://archiveweb.page/
GitHub Repo: https://github.com/webrecorder/archiveweb.page

10:00 AM (Pacific) | Separate Registration Required
Web Archiving Browsertrix-crawler

Lorena Ramirez-Lopez, webrecorder
Ilya Kreymer, webrecorder
Emma Dickson, webrecorder

Browsertrix Crawler is a simplified browser-based high-fidelity crawling system, designed to run a single crawl in a single Docker container. It allows for personal web archiving via your terminal. GitHub Repo: https://github.com/webrecorder/browsertrix-crawler

5:00 PM (Pacific) | More information
Spring Student Mixer!

Share a virtual drink with current students, prospective students, and recent grads and chat about the conference, classes, the job market, and any other questions you have!

9:00 AM (Pacific) | Stage A
Conference Welcome

9:05 AM (Pacific) | Stage A
Opening Plenary: Let’s Get Uncomfy Together: A Conversation About Diversity, Internationalization and Enacting Meaningful Change at AMIA Today and Beyond

Andrea Leigh, Library of Congress
Juana Suárez, NYU
Michael Pazmino, UCLA Film & Television Archive
Pamela Vizner Oyarce, AVP

Moderated by AMIA board members Juana Suárez and Andrea Leigh, this opening plenary will be a frank exchange between colleagues about the present state of diversity, equity, inclusion, and belonging in our field, while visioning solutions to unroot the systemic inequities in our institutions in the near and not so distant future. In 2016 AMIA hosted its first plenary on diversity, inclusion, and equity. The panelists challenged our membership to put DEI at the center of all aspects of our work as moving image archivists – from curation, to collection development, to hiring practices and beyond. In the five years since, much has been accomplished but more needs to be done to support the needs of groups that have been traditionally underrepresented in our field. So, in 2021 the work continues. We have learned that conversations about diversity are not always easy, but we ALL should share the responsibility to overcome our discomfort and engage in open and honest discussions if we’re going to affect meaningful, sustainable, and lasting change.

10:00 AM (Pacific) | Stage A
Digital Repositories in Mexico

Jo Ana Morfin, Mem≤rica, Mexico haz Memoria
David Esquivel, Mem≤rica

The Mexican Coordination of Historical and Cultural Memory (CMHCM, by its initials in Spanish) was created in November 2018 by the current president of Mexico AndrΘs Manuel L≤pez Obrador. Within CMHCM attributes and responsibilities is to create a digital repository that brings together digital objects and collections regarding Mexico┤s bio-cultural, historical and artistic legacy from across GLAMUR institutions. In order to meet this aim, in February 2020 -with the name of Memorica-, an initial version of the digital repository was launched. This paper will describe the efforts and decision making processes behind the project. We will argue how Mem≤rica seeks to provide a robust platform and a conceptual framework that will enable the collection, management, aggregation and retrieval of digital collections in a useful and reusable way. We will introduce the technological infrastructure of Mem≤rica thus describing how it is built upon existing technologies which have been already tested within projects of similar scale and potential. In addition to this, we will outline how the repository attempts to facilitate sustainable innovation through APIs, interoperability, efficient scalability, containers, among others. Finally, we will highlight how the use of free and open source tools, libraries and codes, as well as controlled vocabularies and ontologies, will provide Mem≤rica with the capacity to harvest and collect data from digital platforms, memory organisations and individuals in Mexico and worldwide.

10:00 AM (Pacific) | Stage D
International Student Chapters Summit: A Collaborative Mapping of Education Beyond North America

Guillaume Boure, Co-founder and co-chair û AMIA Student Chapter at INA sup
Louise Gerbelle, Co-founder and co-chair û AMIA Student Chapter at INA sup
Micah Gottlieb, Co-chair AMIA Student Chapter at UCLA

Is now the right time for AMIA to go international? As of today, there are twelve student chapters, spread over two continents, four countries and too many different time zones. And yet, most of these programs are located in North America, and all but one are English-taught. 2020-21 has been a challenging time for everyone, including the educational community; but these challenges came with opportunities too, including a rapidly expanding cross-pollination of ideas and practices online. While we gradually come to terms with the idea of unplugging from Zoom, a growing number of newcomers are wondering how accessible AMIA will become to them in a post-pandemic world. This session, sponsored by the Education Committee, will open a conversation on how student chapters could increase mutual understanding and cooperation with their peers abroad. Join us in completing a map of education programs across the globe that are, soon will be, or once were part of the audiovisual heritage landscape, so we can collectively decide where to boldly go next!

10:00 AM (Pacific) | Stage B
Visions 2031: The State of the Archive

John Polito, AudioMechanics
Randal Luckow, WarnerMedia
Karen Chan, Asian Film Archive
Angela Schmidt, Alaska Film Archives
Joe Travers, Zappa Family Trust
Viviana García-Besné, Permanencia Voluntaria
Xaviera Flores, UCLA Chicano Studies Research Center
Joshua Ng, Archives New Zealand Te Rua Mahara o te Kāwanatanga
Hilary Howell, Iron Mountain Entertainment Services
Rachael Stoeltje, Indiana University Libraries Moving Image Archive
Linda Tadic, Digital Bedrock
May Hong HaDuong, UCLA Film and Television Archive
Heather Linville, Library of Congress
Karen Cariani, GBH Media Library and Archives
Brad Collar, WarnerMedia Archives

A variety of lightning talk perspectives from those working with media collections in different ways and in different types of organizations.á What do archives look like in 2031? What does a day in the life of a media archivist look like? What does media preservation mean?á What new technologies are in play? Any (or all) of these questions are open for discussion. This is the first in a continuing series of talks by thought leaders looking at the future of our profession. A short discussion of what has been presented will close the session.

10:25 AM | Stage A
Synanon on Film: Unraveling the Outtakes of a California Community

Brian Belak, University of California, Los Angeles

Beginning as an innovative rehabilitation group in Southern California in the 1950s, the Synanon Foundation steadily grew into a major alternative lifestyle community with locations nationwide and membership in the thousands. After declaring themselves a religion in the 1970s, the organization eventually closed following a series of incidents, including the founder pleading no contest to conspiracy to commit murder. ôSynanon on Filmö will cover research into SynanonÆs history and internal filmmaking practice as part of processing and inspecting the film collection at UCLA Library Special Collections. The collection includes many unassembled outtake rolls that present a challenge to match with finished films for preservation and management. By discussing the Synanon films as a case study, this presentation will demonstrate an approach to preserving a complex and controversial film collection, including organization, repair, digitization, and respecting donorsÆ privacy policies.

11:15 AM (Pacific) | Stage A
On the Crisis of Cinemateca Brasileira and CTav: Update, Current Status and Further Actions

Juana Suárez, NYU

A summary of local and international actions that have taken place in response to the crisis of the Cinemateca Brasileira in Sπo Paulo, a crisis further aggravated by similar political attacks, budget cuts, and laying off personnel at the CTav (Audiovisual Technical Center) in Rio de Janeiro. In both cases, the circumstances are aggravated by the dramatic impact of the Coronavirus in Brazil, and the erratic and repressive response of Jair BolsonaroÆs government. By presenting an analysis of some of the results and an update of recent events, I invite collective thinking for further action so that individuals, institutions, and associations keep lobbying in favor of these two important heritage institutions and our colleagues in Brazil

11:15 AM (Pacific) | Stage C
Flying Farmers Films: Access and Preservation of a Time Capsule

Patrice-Andre Prud’homme, Oklahoma State University

The Flying Farmers films are a time capsule. In 1944, the Oklahoma Flying Farmers organization was envisioned and born in Stillwater, OK. The Flying Farmers had a direct impact on agricultural communities, where farmers and ranchers across the United States envisioned how airplanes could be of great practical value to them. Ultimately, the organization became international in scope and is known today as the International Flying Farmers. With support of the National Film Preservation Foundation, the Oklahoma State University (OSU) Archives was able to preserve these unique nitrate films and make them available online. This presentation will give a snapshot of how OSU successfully completed the grant project in order to showcase the story of the life of farmers and their families using airplanes as part of their farming operations in the 1940s.

11:15 AM (Pacific) | Stage E
Roundtable: Meet the ADIFP Cohort Part 2!

CK Ming, Smithsonian Institute

After the success of the ADIFP Cohort panel in November this is another opportunity to meet the inaugural ADIFP cohort and hear about their current projects!

12:15 PM (Pacific) | Link
A/V Geeks Livestream

12:15 PM (Pacific) | Stage D
Pavilion Lightning Talks, Tech Talks and Visions

Linda Tadic, Digital Bedrock
Bertram Lyons, AVP
Regina Efimchik, Rutgers

Join us for Lightning Talks, Visions of 2031, and Tech Talks from our exhibitors. The Pavilion is a great hub of information! In this session, you’ll see live lightning talks, a few of the Visions 2031 talks you may have missed, and Tech Talks from our exhibitors. Then during the day, take time to go to the Pavilion and visit some of the booths! If you see one of our partners and sponsors online – just click their name and say hi – they continue to support AMIA and the conference and make our programs possible.

1:00 PM (Pacific) | Stage A
Taking Stock of Amateur Film: Advancing Preservation Through Online Resources

Patricia Ledesma Villon, UCLA MLIS/MAS / AMIA Small Gauge/Amateur Film Committee
Charles Tepperman, University of Calgary
Sarah Mainville, Michigan State University Libraries
Eric Theise, Software Developer

Students, scholars, and archivists now spend a majority of their time working from home and have limited opportunities to acquire in-person hands-on knowledge and brush up on new skills due to the ongoing COVID-19 pandemic. During this time, free online resources remain fundamental to archival scholarship and the furthering of film and celluloid-related knowledge and practices. This panel, presented by the AMIA Small Gauge and Amateur Film Committee, will (re)highlight the importance of three different small gauge and amateur film online resources: Film Forever: The Home Film Preservation Guide, the Amateur Movie Database, and the Horizontal Boundaries Film Stock Database. Panelists will discuss their resourceÆs formation and creation, recent work, and their contributions to celluloid scholarship and preservation.

1:00 PM (Pacific) | Stage B
Describing the Ken Kesey and the Merry Pranksters Audiovisual collection

Brianna Toth, Academy Film Archive
Caitlin Denny, UCLA Graduate Program in Library & Information Science
Todd Wiener, UCLA Film & Television Archive

How can one describe a collection, if the content defies archival standards? Do these concepts allow the flexibility to accommodate the unusual, eccentric or under-represented? Furthermore, can creative improvisations be employed in the archival practices of arrangement and description to provide access? These questions must be asked when attempting to describe the irreverent ethos of the KEN KESEY COLLECTION OF MERRY PRANKSTERS HOME MOVIES AND OTHER MATERIALS collectionÆs subject matter. In addition to the content, the arrangement (or lack thereof), communal authorship, and conflicting legacy records, problematize the application of concepts such as respect des fonds, provenance, and original order. This presentation will discuss the collaboration, alternative approaches to descriptive standards and consolidation of 10 years of documentation from multiple preservation projects that were necessary to arrange and describe this collection. Challenges and potential recommendations for complex moving image collections will be discussed and never-before-seen footage will be screened.

2:15 PM (Pacific) | Stage A
Public Access is Different: Digitizing The Video Access Project Collection

Mia Ferm, Oregon Historical Society

The nature of public access television is in its DIY spirit. Often produced by volunteer crews, this form of community media sought to demystify television, put the tools of production into the hands of community members, and use television as a creative medium. Produced with varying levels of expertise and aims, it also prompts interesting considerations for the video archivist: from reused (but not fully erased) tapes, and sometimes wild variation (on purpose and not) in color balance and exposure within a program or even just between cameras. How does one capture an accurate representation of these programs during the digitization process? Ongoing efforts to digitize The Video Access Project collection of ╛ö U-matic tapes at the Oregon Historical Society will serve as a case study to explore these questions, featuring clips and images of the projectÆs unique, enduring, and topical content.

2:15 PM (Pacific) | Stage B
Discovering The HistoryMakers: Creating Partnerships, Ensuring Discoverability, and Enduring Preservation

David Gibson, Library of Congress
Andrea Leigh, Library of Congress
Laura Drake Davis, Library of Congress

Celebrating its 20th anniversary in 2020, The HistoryMakers, ôThe NationÆs Largest African American Video Oral History Collectionö, is comprised of over 3,000 oral history interviews with additional interviews occurring annually. The Library of Congress partnered with The HistoryMakers to ensure long-term preservation of this important collection and to prepare descriptive records that will facilitate discovery and use. Speakers in this session will describe inclusive descriptive efforts, the potential of linked data compliant unique identifiers for each interview, and bulk ingest using a combination of manual, semi-automated, and automated techniques. This session illustrates the need for practitioners across library and archive disciplines to work cooperatively as the profession navigates between the analog and digital, incorporates linked data principles, and ensures the long-term sustainability of significant large-scale moving image collections.

2:15 PM (Pacific) | Stage E
Roundtable: How to Share Amazing Stories of Your Collection

Melanie Rozencwajg, Archive Valley

Case studies and ideas of how to share amazing stories from archival collection for content creators to discover ideas for future collaboration

2:40 PM (Pacific) | Stage A
Finding Films & Filmmakers With Public Library Sources

Josh B Mabe, Chicago Public Library

Films from a long-shuttered Co-op end up in a closet. 37 years later the films are dragged out and shown as a curiosity. Some are quite good. But who is this female Polish immigrant underground filmmaker using the pseudonym HJ Roman? A beloved Super 8 Chicago filmmaker named Norm Bruns passed away from AIDS in 1990. Friends assume the films are lost and over the years calls to suspected relatives and partners are fruitless. Where are the films? Thankfully, some of these mysteries were cracked with the use of common public library resources like genealogical databases, reverse directories, microfilmed newspapers, and the patience and cooperation of fellow librarians.

3:15 PM (Pacific) | Stage D
Tour: Asian Film Archive

Karen Chan, Asian Film Archive

Based in Singapore, the Asian Film Archive (AFA) is a transnational archive that preserves the cinematic treasures of Asia, focusing especially on films that are not already saved. This tour gives an insight to the work of the AFA through its collection, programmes, and the collaborative nature of its partnerships. We will be available to take questions during the session.

5:00 PM (Pacific) | Stage E
Archival Screening Night

Brittan Dunham, ASN Co-Chair
Genevieve Havemeyer-King, ASN Cochair

Archival Screening Night is a showcase for AMIA members’ recent acquisitions, discoveries and preservation efforts. The program represents the magnificent spectrum of media formats, works, and collections protected and preserved by the AMIA community.

9:00 AM (Pacific) | Stage A
Keynote: Manuelito {Manny} Wheeler

Born and raised on the Navajo Nation, Manuelito Wheeler is currently the Director of the Navajo Nation Museum in Window Rock, AZ. Since taking this position in 2008, he has worked with staff to see the completion of numerous exhibits which are 100% Native-built from concept, curation, and creation. Along with this, he has led his small team in creating innovative projects which influence and preserve Navajo culture. In the pursuit of native language preservation, the Navajo Nation Museum has partnered with major motion picture studios like Lucasfilm Ltd. (Navajo Star Wars), Walt Disney Pictures and Deluxe Studios (Finding Nemo) to dub popular movies into the Navajo language (DinΘ Bizaad). Under WheelerÆs direction, the Navajo Nation Museum has also worked with world renowned artist Ai Weiwei, partnering him with Navajo artist Bert Benally to create a site-specific installation piece in a remote canyon on the Navajo Nation. Wheeler attended Arizona State University where he earned his BA in Art History.

Navajo Star Wars will screen during the conference on Thursday evening. See the schedule for time and how to view.

10:00 AM | Stage B
Artificial Intelligence for the Preservation of Archives in Latin America.

Georgina Sanabria Medina, Universidad Nacional Aut≤noma de MΘxico
Perla Olivia Rodrφguez ResΘndiz, Universidad Nacional Aut≤noma de MΘxico

The objective of this presentation is to establish the importance of the implementation of artificial intelligence tools for the preservation of the digital documents that house the archives of Latin America. It is true that in Latin America many archives have not started the digitization process of their collections, it seems that preservation has stagnated there. Many times this happens due to lack of technological resources and the little training that there is in the staff. This means that the progress in preserving collections is limited. However, despite these problems that plague the region, it is necessary to talk about the next step: artificial intelligence. What are the alternatives for the implementation of AI in the archives of Latin America? How viable is its application? How does it contribute to improving the processes that are carried out? All these questions will be discussed in the session.

10:00 AM | Stage A
Borderlands | The Cinematic Spectacle of Pancho Villa’s Posthumous Career

Marco Macias, Hays State University

During his lifetime, Francisco Villa was filmed, photographed, and written about by international journalists, filmmakers, novelists, and political figures. Yet, it is in film that his most enduring image has transcended and had the greatest impact. This intervention examines how this image was crafted and re-fashioned through the decades as cinema evolved in both Mexico and the United States. In life, most national and foreign films represented the revolution as a spectacular folk-show, and Villa was at their central stage. But after his assassination in 1923, the image of Villa took on a new role that over time changed from a drunken bandit to a Robin Hood figure, redeemer of those that the old regime had exploited. In Mexico, the cinematic lens captured archetypes created over time that sought to create a society loyal to the revolution through the incorporation of prominent revolutionary figures who were unapologetic and operated in a carefully curated countryside that glorified a movement by highlighting the bravery of men and downplaying the harsh conditions of the battlefields. In the United States, the premiere of Viva Villa! in 1934 not only created a vision of Villa but projected an image of Mexico internationally that perpetuated stereotypes still prevalent today.

10:00 AM | Stage C
Advancing the Profession: Findings from the AMIA Salary and Demographics Surveys

Brian Real, Southern Connecticut State University
Teague Schneiter, Academy of Motion Picture Arts and Sciences
Brenda Flora, Amistad Research Center

In 2019, AMIA launched its first survey of the audiovisual archiving field. This was followed by a revised study in 2020, the AMIA Annual Salary & Demographics Survey of the Field. The panelists will discuss how these studies were informed by similar surveys commissioned by the Society of American Archivists, American Alliance of Museums, and American Library Association. Like these other studies from our allied cultural heritage professions, the AMIA surveys demonstrate that diversity is lacking in our field and that we will need to make serious and deliberate efforts to fix this. The panelists will discuss some of the actions that AMIA has already taken in response to this. Additionally, the panelists will highlight salary trends for the media archives profession, discuss how salary transparency has been a positive development in other fields, and present data on how the COVID-19 has impacted media archivistsÆ working styles and career stability.

10:25 AM | Stage B
Overcoming Challenges in Scaling Up Digitization Projects During the Pandemic

Robin C Pike, University of Maryland
Pamela McClanahan, University of Maryland

The University of Maryland Libraries received a National Endowment for the Humanities grant in 2019 to digitize the Dance Exchange collection, a video collection of performances and rehearsals and their corresponding paper programs. This paper will discuss a brief history of the project and content, best practice technical standards implemented by the Libraries and expanded for this project, scaling up workflows built to handle a project of a few hundred items to a project of over 1,100 items, changing digitization workflows due to pandemic closures and the need to move the project work remotely, and a repository and digital preservation archive migration that occurred during the course of the project. The report will share how we overcame challenges and will implement the changes we made to future av digitization projects.

10:25 AM | Stage A
Borderlands | Medics on the Move: Travelling Doctors; Tourists, Witnesses or Prospectors?

Angela Saward, Wellcome Collection

Medics and doctors have been in a privileged position historically: their profession is not only borderless, but is a passport to normally inaccessible places. In light of our understanding of colonial encounters, how problematic are these filmed meetings? To what degree do they represent historical fact or myth? The session looks at the surprising scope of medical film archives, focusing on several films shot in the Americas 1930-70s from Wellcome Collection, London. Henry Wellcome, an American by birth, founder of the museum and library now known as Wellcome Collection, traveled to South America as an agent to a pharmaceutical company in the 1870s in pursuit of cinchona, used in the production of quinine, a treatment for malaria. Through film depicting a series of journeys in the Americas, three film ‘encounters’ are viewed. The first, World Tour of 1935, when hundreds of members of the British Medical Association with their families embarked England and traveled across the Atlantic, through North-America/Canada, and then by sea to Melbourne, Australia, for an annual meeting. One of the itineraries took the travelling doctors fleetingly through a æremoteÆ Indian village at Isleta, New Mexico, Grand Canyon and beyond. WellcomeÆs laboratories had obtained samples of curare derived from tree bark, used in arrow poison by indigenous hunters in South America. This was developed into a drug used as a muscle relaxant for surgery and ECT in the 1940s. South East Ecuador, where quinine had been discovered, visited by Wellcome on plant hunting expeditions in the 1870s, was also the location of Dr Wilburn Henry FergusonÆs anthropological medical research amongst the Jivaro people. Ferguson set out to find out the secret behind shrinking human heads with the view that this might help combat cancer. Needing further funding in the 1960s and 70s, he co-opted his indigenous hosts in re-creating their encounter. Both Wellcome and Ferguson laid claim to preserving indigenous rights, although the filmic record suggests mixed feelings from those First Nation Peoples.

11:15 AM | Stage A
Borderlands | From North to South: The Arctic Travel-Lecture Films of Lewis and Betty Rasmussen

Liz Czach, University of Alberta, Canada

During the summer months of 1947 Lewis and Betty Rasmussen, an American couple from Racine Wisconsin, completed a feature-length 16mm color documentary film entitled Arctic Holiday about the so-called “Caribou Eskimo.” Enthusiastic amateur film hobbyists, they were keen on translating their love of travel and filmmaking into a way to make a living and Artic Holiday proved to be their successful entry into the world of lecture filmmaking. From the mid-1940s through to the late-1950s, the Rasmussen’s would go on to complete almost a dozen feature-length lecture films about Canada and its northern and Arctic reaches including Arctic Journey, Canoe Country, James Bay Country, Newfoundland and Labrador, North of South, and The Great Mackenzie, amongst others. In addition to collecting images of the north, the Rasmussens also acquired Inuit and Indigenous items which they featured in their films and eventually donated to The Kenosha Public Museum (Kenosha Wisconsin) in the early 1970s.In this presentation I will look more closely at the Rasmussen’s Arctic Journey, a film they premiered in 1950 which depicts their travels around Hudson’s Bay. Of specific interest is a 4 ╜ minute section entitled ôStone and Ivory Carvingsö that shows detailed images of carvings that the RasmussenÆs acquired during their travels. The RasmussensÆ collection of Inuit carving coincides exactly with the period during which James Houston, a white southerner from Montreal, was making bulk purchases of Inuit carvings in the same region under the auspices of Canadian Handicrafts Guild. Famously, Houston’s subsequent show of Inuit carvings in Montreal sold out almost immediately and he is credited with the birth of modern Inuit sculpture. The Rasmussens, I will argue, are an interesting footnote in this crucial moment in the development of a southern art market for Inuit sculpture. As tourist-filmmakers traveling in the Arctic, the Rasmussens were precisely the kind of qallunaat (non-Inuit) that provided the litmus test for what kinds of objects the southern ‘white man’ would find appealing.

11:15 AM | Stage D
You Should Probably Submit that to The Moving Image

Devin Orgeron, NCSU
Liza Palmer, University of North Carolina Wilmington
Snowden Becker, Myriad Consulting
Brian Real, Southern Connecticut State University

Or “Publishing is Fun and Will Make you Rich: An Open Forum on the Journal, on Publishing, and on Why that Needn’t Terrify You.” Sponsored by AMIA’s Publications Committee, this is an open forum about The Moving Image and publishing within our community more broadly. Learn about the journal and hear about where we are headed in 2021-2022. Some published authors and committee members as well as some of the journal’s editors and editorial board members will be present to answer questions and demystify the process. Get to know The Moving Image and have a say in the shape it takes in years to come! Let’s share our ideas about the journal’s future and our futures as writers.

11:15 AM | Stage C
Developing National and International Home Movies Networks

Dwight Swanson, Independent
Gianmarco Torri, INEDITS
Annamaria Motrescu-Mayes, Amateur Cinema Studies Network
Karianne Fiorini, Re-Framing Home Movies
Lorena Escala Vignolo, Cine Amateur Peruano

Home movies are among the most intimate of films and have traditionally been collected primarily by municipal or regional archives as examples of documentation of local life. In recent years, however, both in-person and online events and projects have allowed for broader considerations of the films, especially during the past year when archives have been regularly sharing their programs with audiences around the world. This panel, which is targeted at archives that hold amateur collections, is the first attempt to pull together organizations that manage home movie and amateur film networking projects on national and international levels. The panel will focus on the possibilities and needs of broader international coordination of home movie organizations and networks, and each panelist will present its networking activities and strategies, as well as the results of their most recent activities, in order to foster a discussion on shared goals.

11:40 AM | Stage A
Borderlands | Rescuing Argentine Antarctic Cinema

Andres Levinson, Museo del Cine

The first Argentine film dedicated to Antarctica was made by Eugenio Py in 1902, since then, countless explorers, travelers, scientists and filmmakers have been interested in filming the Antarctic continent. Among them JosΘ Manuel Moneta meteorologist, Antarctic explorer and diplomat, who participated in four annual campaigns during the twenties and made the remarkable documentary Among the ice of the Orkney Islands (1928), an invaluable document of Argentine scientific activities in the white continent. This film was the kick off of our project, two years then more than one hundred Antarctic films from different institutions and film collectors has been identified and many of them preserved, restored and screened for a broader audience.

12:15 PM | Stage D
Tour: Vanderbilt Television News Archive

Nathan Jones, Vanderbilt Television News Archive
Jim Duran, Vanderbilt Television News Archive

Founded in 1968, Vanderbilt Television News Archive is located on the campus of Vanderbilt University, in vibrant Nashville, Tennessee. Join us for a virtual tour. We will provide an overview of how the archive evolved from a location in the Central Library to our current location, The Baker Building. The archiveÆs staff will also discuss the evolution of our operations from analog to digital, and how it shaped the archive today.

1:00 PM | Stage A
Borderlands | Archives as a Borderland: Navigating USIA Research at NARA

Audrey Amidon, National Archives and Records Administration
Heidi Holmstrom, National Archives and Records Administration
Ivy Donnell, National Archives and Records Administration
Brian Real, Southern Connecticut State University

Focusing on a selection of animated shorts produced by the United States Information Agency (USIA), this session will trace the path of an unprocessed group of films, starting with their creation as a U.S. product under the guise of local production across the border in Mexico, continuing with processing, preservation, and digitization at the National Archives and Records Administration (NARA), and ending with their potential use by researchers in the National Archives catalog. Using this example, we will investigate how the archives is a borderland serving as a site for the interplay between archivists’ resources and researcher expectations. With archival researchers increasingly expecting records to be available online or accessible in digital form, and archival institutions still working through decades of unprocessed collections, a mismatch occurs when research interest grows faster than staff are able to tackle the backlog. The films of the USIA are increasingly popular among scholars and are referenced in papers, panels, and articles. Archivists and preservation specialists at NARA have worked through processing and preservation on hundreds of titles, but many are still undescribed, and only a relatively small number have been digitized. Offering the USIA’s animated short films from Mexico as a case study, we hope to demystify and make visible the work of the National Archives and pave the way for a discussion on how to achieve the most from this valuable collection. The session will incorporate short clips from the films. Speakers will include co-chairs Heidi Holmstrom and Audrey Amidon, motion picture preservation specialists at NARA, to introduce the topic and describe the work of processing archivist Michael Taylor, who has spent the last seven years working through the backlog of USIA films. Also speaking will be motion picture preservation specialist Ivy Donnell, who preserved and digitized the Mexican cartoons, and Dr. Brian Real, an information and film studies scholar who uses USIA films in both sides of his research.

1:00 PM | Stage B
Mostly Lost Presents: The Lost Origins of Silent Horror Icons

Rachel Del Gaudio, Library of Congress
Robert Stone, Library of Congress
Kelly Robinson, Independent

This presentation channels the spirit of the Library of Congress Mostly Lost film identification workshop. About 70% of American silent feature films no longer exist. While the loss of so many silent films is a tragedy, it has been especially devastating for the horror genre. For almost any horror character icon you can think of Dracula, Frankenstein’s monster, or even general creatures like mummies and werewolves the very first appearance of that character on screen is lost. Lost along with them is the genre’s history. How different might werewolf movies be today if the very first werewolf film made had survived? The loss of 101 Bison’s 1913 film The Werewolf means few people are aware that film’s first wolfman was actually a wolfwoman. This talk by long-time Mostly Lost attendee Kelly Robinson will bring to light this and other lost film stories, changing the way we perceive horror history.

1:00 PM (Pacific) | Stage D
Pavilion Lightning Talks, Tech Talks and Visions

Regina Efimchik, Rutgers
Visions 2031: Heather Linville, Library of Congress
Visions 2031: Xaviera Flores, UCLA Chicano Studies Research Center
Visions 2031: Karen Chan, Asian Film Archive
Visions 2031: Joe Travers, Zappa Family Trust
Visions 2031: Linda Tadic, Digital Bedrock
Tech Talk: Kyle Evans, Seagate Powered by TapeArk

2:15 PM | Stage D
The Fair Use Doctor Is In: Come with Your Questions!

Patricia Aufderheide, American University
Jenni Matz, Television Academy (Emmys)
Peter Jaszi, American University

Sponsored by AMIA’s Copyright Committee, this program will feature a leading expert on fair use, Peter Jaszi, in direct engagement with participants, using their issues to model fair use reasoning in order to teach how to problem-solve in the workplace.

2:15 PM | Stage B
Poster: Streaming State: Experiments in Archives, Remote Learning, and Student Curation

Courtney Fellion, San Francisco State University

ôThe Archive Projectö is a new initiative launched by the SFSU School of Cinema in 2020 as a volunteer-led program to promote student engagement with the School of CinemaÆs instructional film collection and the student film archives dating back to the 1970s. Due to ongoing budget cuts, the school has not prioritized cataloging or organizing the majority of these materials. As a short term solution, the undergraduate film exhibitions course CINE 601 was redesigned to explore the archive through student-curated film programs. Utilizing the rough, digital copies of the student film collection, the class researched and developed six curated film programs to share on the class website ôStreaming State,ö and secured screening permissions from alumni filmmakers. This poster examines these student-led curation projects and also details some of the opportunities of online learning through archives, such as community building through the alumni networks and broadening the audience through online screenings.

2:15 PM | Stage B
Poster: Mexicanos in Oregon: Improving Access to their stories through metadata

Valeria Dßvila, Oregon State University Libraries

In spring term 2020, the Oregon Multicultural Archives at the Oregon State University Libraries and Press collaborated with the OSU course Ethnic Studies 416/516 Migrant Health on an oral history assignment involving the Erlinda Gonzales-Berry Papers Collection, 1943-2010. The students listened to the oral history interviews and wrote interviewee bios, summaries, and historical context essays in Spanish and English, as the majority of the interviews are in Spanish. Parting from the bilingual metadata created by the students, my work as a Library Diversity Scholar consisted of reviewing, correcting, and in some cases translating and creating metadata with the aim to enhancing the online finding aid and help make these oral histories more discoverable and accessible for research. By focusing on the metadata creation and revision workflow for this project, this poster offers an easy-to-implement model for improving oral history discoverability and access especially useful to academic libraries and archives.

2:15 PM | Stage B
Poster: Expanding Access to Brazilian Home Movies – A Cinelimite Case Study

William Marc Plotnick, Cinelimite Inc. / NYU MIAP

Cinelimite Inc. is a new American non-profit company dedicated to expanding access to Brazilian cinema and audiovisual history in the United States. One of their missions is to highlight how amateur film and filmmakers have recorded moments of Brazil throughout the 20th century that reflect the diverse culture of that country, equal to any feature length or professionally produced work. Upon creating an open call for people in Brazil to send Cinelimite their home movies here in the United States, and some significant outreach efforts, the company was sent over eighty super-8mm home films. After significant efforts to repair and scan these works under a low budget, a majority of them can now be freely seen on their website. With this poster session, Cinelimite co-founders William Plotnick and Gustavo Menezes will talk about the importance of amateur film preservation and access in Latin American countries such as Brazil.

2:15 PM | Stage E
Roundtable: AMIA Continuing Education

Brianna Toth, Academy Film Archive
Andy Uhrich, Washington University Libraries

As the CEA Task Force continues its online programming, join co-chairs Brianna Toth and Andy Uhrich for a discussion of what’s next and what’s needed.

5:00 PM | Link
Screening: Star Wars: A New Hope in Navajo

9:00 AM | Stage A
A Keynote Conversation with Mario Van Peebles and Michael B. Gllespie

“Born of a revolutionary bloodline to activist filmmaker, Melvin Van Peebles, you could say that Mario Van Peebles was born to make films that nudge our social consciousness and encourage us to answer questions we hadn’t thought to ask. “ – Allison Kugel, The Spectrum

Mario Van Peebles’ made his film debut playing a younger version of his father Melvin’s character in the senior Van Peebles’ 1971’s Sweet Sweetback’s Baadasssss Song. Throughout his career, he’s brought challenging, compelling material to the screen, making his feature directorial debut with the 1991 hit New Jack City, followed by Posse (1993), and Panther (1995). He has earned critical acclaim in films such as Michael Mann’s Oscar-nominated Ali for his role as real-life minister and human rights activist Malcolm X; the multi-award-winning Cotton Club (1984) written and directed by Francis Ford Coppola; Clint Eastwood’s Heartbreak Ridge (1986); and several projects with director Ava DuVernay. His films include the hip-hop coming-of-age film We the Party (2012), which he wrote, directed and produced; his documentary short Bring Your ‘A’ Game (2009); and Baadasssss! (2003), his odyssey about the making of his father’s groundbreaking film Sweet Sweetback’s Baadasssss Song (1971), this time playing his father. He recently directed the Salt-N-Pepa story, is currently directing The Wu-Tang Clan Saga for Hulu, and is working on the revival of Melvin Van Peebles’ seminal 1971 musical “Ain’t Supposed to Die a Natural Death” for Broadway.

Mario Van Peebles will be in conversation with Michael B. Gillespie, author of Film Blackness: American Cinema and the Idea of Black Film (Duke University Press, 2016) and co-editor of Black One Shot, an art criticism series on ASAP/J. He is an associate professor of film at the City College of New York and the Graduate Center, CUNY.

10:00 AM | Stage B
Poster: You’ll never QC alone: applications of automated quality control aids

Andrew Weaver, University of Washington Libraries
Susie Cummings, National Public Radio

While cultural heritage institutions rush to reformat rapidly degrading audiovisual collections, the high volume of throughput results in a whole slew of challenges – one being quality control of digitized assets. With digital proxies becoming the primary means of future access to these collections, organizations are caught between two competing realities: the importance of ensuring 100% accuracy of transfers and the lack of dedicated staffing for quality control. To help address this problem, Andrew Weaver (University of Washington Libraries) and Susie Cummings (NPR) have developed and implemented automated tools built around open-source software to help practitioners rapidly scan digitized assets and identify files for more focused quality control analysis. This poster will present their work on ‘audioqc’ a tool for quickly applying metrics to audio streams (from both audiovisual and pure audio sources) as well as experimentation in applying the methodology of audioqc to other sources such as DPX film scans.

10:00 AM | Stage B
Poster: As the Reel Turns: An Undergraduate Experience Working with Film

Katie Higley, Central Michigan University

My poster presentation highlights my undergraduate student experience processing and describing an archival film collection, and my summer 2020 digital internship in which I encoded a EAD finding aid on the same small film project. I completed this task without the University having a Library School program, an Audiovisual Archivist, or an ongoing budget for the project. This experience has allowed me to find common ground while studying Public History, Museum Studies, Cinema Studies, and Anthropology. I have learned skills and the practical application of best standards and archival theory. After my experience with the film collection, I want to pursue a career in Audiovisual Archiving.

10:00 AM | Stage B
Poster: The Long Journey of Eugenio Cardini and His Films

Lorena Bordigoni, Independent Researcher

This presentation is about the discovery of two Argentinian films considered long lost. In 1902 Eugenio Cardini bought a CinΘmatographe LumiΦre in France, with which he shot some of the first films ever made in South America. None of these films were preserved in their original format, and one of them was considered, until now, completely lost. In 2020 two of these films, in the original Lumiere format, were discovered in Lodz, Poland. After some research we managed to reconstruct these reels’ odyssey: from Buenos Aires to London, then to Paris, to Germany and finally to Poland. A digitization and restoration project will make these films available for the public.

10:00 AM | Stage B
Poster: Introducing a Project to Recover and Exhibit Peruvian Amateur Films

Lorena Escala Vignolo, EQZE Alumni

The poster presentation will focus on a project derived from the master’s degree thesis I started at Elφas Querejeta Zine Eskola (San Sebastian) centered on the reflection on home movies and amateur films from my country, Per·. The encounter with some Super-8 mm films from an amateur filmmaker from the Amazon and the task of digitizing them, along with another 42 orphan film reels bought in Lima by the director of MUTA International Found-Footage Film Festival, and the proliferation of online exhibitions due to the pandemic, got me the idea of creating a portal for sharing some of these moving images. As there is no public entity, at a national or local range, that digitizes and promotes the caring for home movies, private initiatives are crucial. With the support of my school’s teachers and my mentor from the AMIA DIFP, www.cineamateurperuano.org was born. It suddenly came to my mind to turn it into a way to link existing related projects on the field. So far, it is just a platform to share home movies, plan Home Movie Days and search for new material. Some people interested or who is already working on digitization has contacted me though the site. On one hand, the poster will point out to the problems I have found so far, but also the possibilities to make this idea grow to formalize a digital archive with a proper catalogue and easy access for the general public. I think the issues of the proliferation of people getting digital copies of their home movies by themselves and throwing the originals, the acquisition of orphan films by privates who are not thinking of these artifacts as heritage, the lack of proper equipment and the disaggregation of projects about small gauge films are common, specially, in Latin America. This will be a good opportunity to discuss on those things and, at the same time, to put peruvian amateur and home movies production on a wider scope, which is something almost unknown.

10:00 AM | Stage A
Borderlands | Reel Histories: In Conversation with filmmaker and documentarian John J. Valadez

Annette Rodriguez, University of North Carolina
John J. Valadez, Michigan State University

John J. Valadez is a Peabody Awardûwinning filmmaker who has written and directed a dozen nationally broadcast documentary films for PBS over the past 18 years. Valadez’s films have tackled such diverse subjects as the unlawful imprisonment of a Black Panther Party leader; Latino gangs in Chicago; segregation in America’s schools; the history and impact of Latino civil rights on American society; and the genocide of Native Americans in the Southwest. They have garnered top prizes at film festivals from San Francisco to Mumbai; have been broadcast across the United States and Europe; and have been featured at major museums and cultural institutionsùplaces like The Museum of Modern Art and the Lincoln Center in New York City or the National Gallery of Art and the Hirschhorn Museum in Washington, D.C. Valadez’s major films include: The Head of Joaquin Murrieta (2016), Prejudice and Pride (2013 Latino Americans/PBS), War and Peace (2013 Latino Americans/PBS), The Longoria Affair (2010 PBS/Independent Lens), The Chicano Wave (2009 Latin Music USA/PBS), The Last Conquistador (2008 PBS/POV), Arise (2006), High Stakes Testing (2005 CNN), Beyond Brown (2004 PBS), Visiones: Latino Arts and Culture (2004 PBS), The Divide (2003 Matters of Race/PBS), Soul Survivors (1997 Making Peace/PBS) and Passin’ It On (1994 PBS/POV). A Rockefeller Fellow, PBS/CPB Producers Academy Fellow and twice a New York Foundation for the Arts Fellow, Valadez is a founding member of the National Association of Latino Independent Producers. Annette M. Rodrφguez is an assistant professor in the department of American Studies at the University of North Carolina at Chapel Hill. Her research focuses on public rituals of violence. She teaches courses on the intersection of literary analysis and U.S. histories.

10:00 AM | Stage C
Debugging DV

Dave Rice, CUNY
Libby Hopfauf, MIPoPS
Andrew Weaver, University of Washington Libraries

The struggle and process of debugging is often where we learn the most. This panel focuses on adventures in debugging throughout the components of the NEH-funded DVRescue project which addresses the preservation of DV tape. The panelists shall review learned lessons from experiences in designing DV tape transfer stations, developing software to analyze and reconstruct obsolete media, and debugging a format that can behave unpredictably due to inconsistent implementation and tape damage.

11:15 AM | Stage A
Borderlands | Community Video Archives in MΘxico: Spaces in Common and Spaces in Dispute

Walter Forsberg, Laboratorio Experimental de Cine, Mexico
Tzutzumatzin Soto, Cineteca nacional
Hermenegildo Rojas, TV Tamix

In Mexico, a historical tradition of experiences appealing to ôthe communityö exists, in both indigenous peoples and in mestizo groups, as a political experience against the official discourse of the nation and outside networks of governmental support. This panel proposes a discussion on the conceptual differences of ôthe communityö in Mexican audiovisual archiving projects and practices. Through case studies of three recent and ongoing projects, this panel will reflect on community video archive experiences as local strategies that serve not only as accounts of the past, but as contemporary dialogues about national heritage that create visualizations of how ideas of community are understood. It will investigate the coincidence of definitions around ôthe community,ö highlighting: maneuvers of discovery and concealment of notions about heritage, imaginary and real territorial boundaries, and zones of identity where tenets of classical archival science can both operate successfully and fail abysmally. This panel will discuss its topic with a broad spectrum of perspectives–from a deputy director of a national collecting institution volunteering her time, to a for-profit video producer operating a community center, to an illegal immigrant building digitization capacities. The case studies are unique and will not be duplicated in other panels. This panel will involve some translation for non-Spanish speakers. Participants are intermediate-to-advanced in their public speaking skill levels and experience.

11:15 AM | Stage B
Mediate: A Collaborative Annotation Tool for Data Driven Audiovisual Research

Josh Romphf, University of Rochester
Clara Auclair, University of Rochester and University Paris Diderot
Emily Sherwood, University of Rochester

Mediate is a web-based platform that allows users to upload audiovisual media; produce real-time notes; collaboratively generate automated and manual annotations on the basis of customized schema; preserve the annotations as data that can be queried; and export the data in CSV and JSON formats. Unlike many current platforms for analyzing audiovisual content, Mediate includes a user-friendly annotation interface that mimics non-linear editing programs, ease of use for content management, and controlled access for media and data.á Platform demonstration and use cases will address: 1. Generating crowd-sourced temporal metadata that can be easily exported. 2. Labeling moving image training sets for machine learning projects. 3. Previewing files and sharing notes on collaborative restoration projects. 4. Enabling controlled access to collection materials for research, scholarly presentations, and instructional aids for film education. 5. Promoting cross-institutional research on collections through the use of controlled vocabularies to produce shared data.

11:15 AM | Stage E
Roundtable: Collaboration and Camaraderie : Non-Institutional Routes of Cataloguing

Iyesha Geeth Abbas, Independant Researcher

Through case studies and surrounding discussions, this round table aims to shed light on forms of film cataloguing that have emerged outside institutionalised archiving in India. These archival practices that have been nurtured by communities of cinephiles, collectors, music and dance lovers have proven to be crucial resources for film archives, historians and academics. Contradicting the finiteness of certain standard cataloguing models, we encounter metadata mining characterised by open-ended rigour, imagination and zeal. By citing specific examples of the resurrection of filmographies by online communities; institutional “disobedience”; and hopeful collaborations between different forms of archives, the roundtable seeks to further open the discussion with all.

12:15 PM | Stage D
Tour: Amercian Genre Film Archive

Alicia Coombs, American Genre Film Archive
Sebastian del Castillo, American Genre Film Archive
Ivan Peycheff, American Genre Film Archive

The American Genre Film Archive in Austin, Texas is dedicated to the preservation and restoration of films in areas traditionally overlooked by cultural institutions – including horror, exploitation and action. This tour and presentation will take you through the physical archive and go in-depth as to how AGFA expands its nonprofit mission with theatrical distribution, home video releases and in-house scanning and restoration.

12:15 PM
News, Documentary, & Television Committee Meeting

1:00 PM | Stage A
Borderlands | La Vida Fronteriza: Home Movies from the Rio Grande Valley

Caitlin Diaz, Shiny Kid, Inc.

The Rio Grande Valley is a stretch of land in South Texas that straddles two worlds: Mexico and the United States. Many inhabitants of this borderland split their lives between the US and Mexico, and I am interested in home movies that illustrate this unique fusion lifestyle. This session will be a mix of case study in archival practices alongside a presentation of home movies from the area. In 2016, I finally convinced my grandmother to hand over the 31 reels of Super 8 film my grandfather shot in the 1970s so that I could digitize it for the family. I will describe the process of prepping, cleaning, digitizing, remastering color and audio, and archiving these films. In collaboration with the Texas Archive of the Moving Image, the Museum of South Texas History and other historical societies in the Rio Grande Valley, I will also show a short reel of other home movies from the area that highlight traditions and landscapes of this borderland. Home movies offer a glimpse into the lives of those who have come before us, honoring their spirits and the land they called home. A long-term goal is to establish a home movie archive in the Rio Grande Valley with a collection of films from both the US and Mexico.

1:00 PM | Stage B
Media Ecology Project Update: Collaborative DH Synergies to Produce New Research in Visual Culture History

Mark Williams, Dartmouth College
Shiyang Jiang, New York University MIAP Program MA student
John Bell, Dartmouth College
Becca Bender, Rhode Island Historical Society

This panel will present a comprehensive update of The Media Ecology Project (MEP), including details on the progress made in relation to two advanced NEH grants that focus on very different subject matter: very early cinema (“Understanding Visual Culture Through Silent Film Collections”) and 1950s-1970s television civil rights newsfilm (ôThe Accessible Civil Rights Heritage [ACRH] Projectö). The panel will focus on the development of The Semantic Annotation Tool (SAT), which enables new capacities to create time-based annotations that enhance search and discovery across participating archives. We will report on innovations in gathering and organizing archival materials and metadata across multiple archives; innovations in the development and coordination of machine reading and machine vision tools; the development of new research to enable access of moving image culture for blind and low-vision users; and the development of capacities for output from The Semantic Annotation Tool into the Scalar digital publishing platform.

1:00 PM | Stage C
Hack Day Awards

Annie Schweikert, Stanford University
Morgan Morel, BAVC

There will be awards for Best Solution to the Issue, Crowd Favorite, and Best Embodiment of the Hackday Ethos! For more info: https://wiki.diglib.org/AMIA-DLF_Hack_Day_2021.

1:00 PM |
Copyright Committee Meeting: “Copyright Strategies – in the pandemic and beyond”

2:15 PM | Stage A
Borderlands | On the Border by the Sea: Archiving Amigoland

Dolissa Medina , Filmmaker
Angela Reginato , Co-Producer and Editor

Filmmaker Dolissa Medina presents a program of archival material gleaned while conducting research for her current film project, Small Town, Turn Away. The film is a feature-length personal documentary portrait of the director’s Mexican-American border hometown of Brownsville, Texas 30 years after she left as a queer teenager, following in the footsteps of an older cousin who died from AIDS. Over the past five years, the filmmaker has collected material from sources including the Texas Archive of the Moving Image, the Catholic Diocese of Brownsville, The Ronald Reagan Presidential Library, local news stations, and previous generations of documentary filmmakers. The archives have helped her piece together news events she either witnessed or participated in as a teenager coming of age in South Texas during the 1980s. Featured footage includes the original Sanctuary Movement for Central

American refugees, Reagan’s re-election campaign visit in 1984, the 1988 “Tienda Amigo” building collapse tragedy, and the ritual murders of 1989, in which a cult of drug smugglers sacrificed victims to magically protect their operation. Also featured will be Super-8 home movies of Brownsville’s Charro Days fiesta, a celebration of friendship with the town’s sister city of Matamoros, Mexico, held each February since The program is a portrait of Brownsville and the Rio Grande Valley that is rarely seen. The film program will end with some samples of Medina’s previous and current work showcasing her use of archival material. Angela Reginato, co-producer and editor of Small Town, Turn Away, will join Medina for a Q&A.

5:00 PM
Screening: Sweet Sweetback’s Badasssss Song

Released 50 years ago, Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song opened the door not only for black filmmaking but for independent movies in general. Included in MoMA’s permanent collection and considered to be among the most significant features ever by an African-American filmmaker, Sweet Sweetback is a brutal and shocking story of survival and is credited as one of the first blaxploitation films.

Director/writer/producer/editor/composer Melvin Van Peebles stars as a black orphan raised in a brothel and groomed to be a sex show performer. Set up by his boss and two corrupt cops for a murder he didn’t commit, Sweetback escapes custody and is thrust into an increasingly hallucinogenic world of violence and bigotry where no one can be trusted, and the possibility of death lurks at every corner. Featuring a rousing score from a nascent Earth, Wind, & Fire, as well as surrealist visuals from stalwart genre cinematographer Robert Maxwell (THE CANDY SNATCHERS), Van Peebles creates an unforgettable study of perseverance in the face of racism.

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