Speaker Information
Abigail Smith
Abigail Smith graduated with a BA in Folklore and History and a Master of Library and Information Science from Indiana University. She is the Librarian and Archivist at the New Mexico Museum of Art in Santa Fe, NM, a co-founder of No Name Cinema, an internationally recognized microcinema presenting experimental, avant-garde and personal filmmaking, and a filmmaker and collage artist.
Adam Hart
Adam Hart is a curator at Media Burn Video Archive in Chicago. He is the author of Raising the Dead: The Work of George A. Romero, coming out in March 2024 from Oxford UP, as well as Monstrous Forms: Moving Image Horror Across Media (2019).
Adira-Danique Philyaw
Adira-Danique Philyaw is a social work librarian and archivist that hails from Detroit and currently resides in Florida. She holds a Masters of Science in Information and Bachelor degrees in Social Work and Psychology from Florida State University, along with a Masters of Arts in Literary & Cultural Studies from Carnegie Mellon University. Adira-Danique’s research is centered around bringing awareness to the barriers to access that systematically excluded and traditionally marginalized populations face in the archives. She hopes to empower these individuals to record and preserve their own stories and histories as a means of promoting collective healing from historical trauma and as a way to catalog these groups’ experiences to present a complete telling of American history.
Aditi Prasad
Aditi Prasad (she/her) is currently an M.A. English student at the University of Rochester, as well as a student at the L. Jeffrey Selznick School of Film Preservation. She has an undergraduate degree in Computer Science, and her interests include digital preservation and archival. She hopes to one day contribute to the small but steadily growing field of film preservation in her home country, India.
Afsheen Nomai
Afsheen is the Media Asset and Archive Manager for KEXP radio in Seattle, WA and a core member of the Community Archiving Workshop group. A graduate of the UT, Austin Department of Radio-Television-Film, his film production and exhibition background got him his start in the world of audiovisual archives. Prior to joining KEXP, Afsheen was Technical Director at the Texas Archive of the Moving Image (2008 – 2019) and Audiovisual Archivist at the Austin History Center (2019 – 2023).
Alan Auyeung
Video Archivist and Post Production Specialist, USC Digital Repository. Oversee media collection migration, transfer area of broadcast video equipment setup; and machine maintenance. Prior to joining USC, worked at post-production technical support service provider as an Electronic Technician, with experiences in post-production systems and equipment repair, maintenance, and troubleshooting.
Alex Esenler
Alex is the Deputy Director at OpenArchive, an organization focusing on mobile media archiving, which conducts co-research, builds tools (the Save app), and creates guides. She is a data and database nerd who is passionate about knowledge sharing and building systems that amplify impact, improve workflows, and facilitate collaboration. Alex has been active in the digital and human rights, media and democracy, and communications spaces for nearly a decade through work with mission-oriented organizations such as Global Voices, the Center for Global Communication Studies, and the Annenberg School at the University of Pennsylvania. She holds a Masters of Public Administration from the University of Pennsylvania and a Bachelors in History and Communications from McGill University in Montreal, Canada.
Alisha Perdue
Alisha Perdue is the Senior Marketing Manager at Iron Mountain Entertainment Services (IMES), a division of Iron Mountain, Inc. In her role she builds brand awareness to drive business engagement while helping fulfill a critical community or industry need. She enjoys developing collaborations and partnerships across private, nonprofit, and public sectors. She has extensive experience in the philanthropic sector. She resides in Massachusetts with her family and is a board member on two separate nonprofit board organizations.
Alison Reppert Gerber
As the Preservation Coordinator for the Smithsonian Libraries and Archives (SLA) in Washington, DC, Alison oversees all preservation-related activities, which include collection need and risk assessment, preventive conservation tasks (such as environmental and pest management), budgeting and procurement, and long-term preservation strategies and initiatives. Since coming to the Archives in 2015, Alison has led a pan-institutional audiovisual survey and an audiovisual preservation readiness assessment for eleven participating Smithsonian units. She serves as the Head of the Audiovisual Media Preservation Initiative (AVMPI), an initiative to catalog, digitize, and share SI’s audiovisual collections. Alison is also a member of the Smithsonian’s Preparedness and Response in Collections Emergencies (PRICE) team, supporting logistic-related needs during emergencies, and is overseeing efforts to survey and assess nitrate film to develop a framework for long-term storage and access solutions for the Smithsonian. In 2020, Alison was the recipient of AMIA’s Alan Stark Award.
Almudena Escobar López
Almudena Escobar López is a scholar, media archivist and curator. She is Assistant Professor on Film History, Film Preservation and Collection Management at the School of Image Arts of the Toronto Metropolitan University. She holds a Master degree in Film & Media Preservation through the L. Jeffrey Selznick School of Film Preservation, and is currently pursuing a PhD in the University of Rochester’s graduate program in Visual and Cultural Studies. Almudena is a collaborator of the Archive/Counter-Archive network and serves on the Board of Trustees of the Visual Studies Workshop as part of their Collections Committee. She has interned and work in several international archives including The Academy Film Archive, The Archives of American Art, or the LUX Artists’ Moving Image archive. As a curator she has presented work at the Museum of Modern Art, Arsenal, Anthology Film Archives, Cineteca Nacional de México, Film Society of Lincoln Center, among others.
Andrew Oran
Andrew Oran joined FotoKem in 2004 to head up Sales and Operations for their new 70mm lab division, following 10 years of 70mm facility management and post production supervision in LA and Europe. His responsibilities at FotoKem now encompass oversight of film preservation and restoration, as well as Dailies and DI Sales for feature films. He regularly advises filmmakers on film capture pipelines, and personally supervises larger scale in-house film projects, from newer films like “Oppenheimer” for Christopher Nolan, to 8K restorations on 70mm classics like “West Side Story” and “My Fair Lady”.
Andrew Watts
Andrew Watts is a PhD candidate in the department of Communication, Media and Film at the University of Calgary. His doctoral dissertation examines 28mm film format and its international history. He is a recipient of the Social Sciences and Humanities Research Council Doctoral Award for his PhD research, and he is also a contributor to the international project entitled Amateur Film between the Wars. His interests include obsolete and amateur media, film technology, and film history.
Ani Kawada
Aloha mai nō! My name is Ani Kawada and I am a graduate student at the University of Hawaiʻi at Mānoa in the dual master’s program for American Studies and Library and Information Science. My interests are in Hawaiian and Indigenous studies, as well as the curation, preservation, and ethics of Hawaiian knowledge in GLAM institutions. I hope to one day use everything I have learned in school to benefit the Hawaiian community and the overall community of Hawaiʻi.
Ashley Tacheira
Ashley Tacheira is an artist and library worker who is passionate about moving images, increasing access to knowledge, and preserving the cultural heritage of diverse communities. Her roles in library public and technical services connected students to educational, technological, and assistive/adaptive resources to achieve their learning goals. Twenty years of analog photography experience informed her work at academic library digitization labs, where she imaged a wide range of fragile materials, from glass plate aerial photographs to 17th century Italian pocket librettos. Ashley is excited to bring her drive, curiosity, and creativity to the cohort and the audiovisual archiving community.
Ben Harry
Curator of Audiovisual Materials and Media Arts History, Special Collections, Brigham Young University. A media historian and audiovisual archivist, Ben Harry earned a master’s degree in Moving Image Archive Studies from UCLA in 2006. Ben has worked previously for the National Baseball Hall of Fame and Museum, the Library of Congress, and the Church History Library of the Church of Jesus Christ of Latter-day Saints. His research interests include archival maintenance of audiovisual materials, digitization and access to archival materials, and historical records and research of radio, television, and the cinema.
Brian Virostek
Brian Virostek is an experimental filmmaker and archivist. A settler of Eastern European descent, he attended BealArt in his hometown of London, Ontario, and obtained an MFA in studio arts at Concordia University in Montreal. His films have screened at the Images Film Festival in Toronto and Fracto in Berlin. He works as an audio-visual archivist for Library and Archives Canada
Caleb Simonds
A graduate of the University of Washington’s MLIS program in 2022, Caleb processed film and digitized requests for researchers in the university library’s Moving Image Archive. While attending UW, he completed field work digitizing videotape at Seattle’s Moving Image Preservation of Puget Sound (MIPoPS), including materials from the 1999 Seattle WTO protests. He is currently at the National Baseball Hall of Fame and Museum in Cooperstown, NY, working in the Photo Archives. Caleb is also helping to restore staff and patron accessibility to the museum’s Recorded Media Archive through the inspection and preservation of moving image materials.
Carmel Curtis
Carmel Curtis (she/her/hers) is a moving image archivist and curator. Over the past decade, she has been committed to connecting communities to media that centers underrepresented narratives and motion-picture practices. Carmel currently works in the Moving Image Archive of Indiana University, one of the world’s largest collections of educational, non-theatrical film.
Caroline Rubens
Caroline Rubens is the Archive Director at Appalshop, a media arts center located in rural Appalachia. Rubens holds an MA in Moving Image Archiving and Preservation (’06) from NYU’s Tisch School of the Arts and advocates in various forums for the preservation of independent and community media. She believes that enriching the archival records of historically underrepresented groups encourages new scholarship and understanding and helps communities and individuals to re-envision the future.
Carolyn Faber
Carolyn Faber is the Media Collections Librarian at the School of the Art Institute of Chicago’s John M. Flaxman Library and Special Collections. She has worked with audiovisual collections held by independent archives, non-profit arts organizations, production companies and commercial stock footage libraries for 25 years.
Cassandra Moore
Cassandra Moore is the Vice President of Mastering and Archive at NBCUniversal and has worked at the studio for 19 years. She is a highly skilled professional in 4K DolbyVision & HDR Mastering, Feature Film Restoration, Production Management, and Process Improvement. Having worked for 30 years with top talent in the Entertainment Industry she knows that making sure films are presented in the best possible format with the highest quality images and sound is important to filmmakers, the industry and the consumer. Restoring the NBCUniversal 111 year old library is the great honor and passion of her career.
Chalida Uabumrungjit
Chalida Uabumrungjit serves as the Director of the Thai Film Archive since 2018. She graduated in film from Thammasat University and film archiving from University of East Anglia,UK. She coordinated programmes of Thai films for various international festivals and was also involved in making a number of experimental films and documentaries before joining the film archive. From 2013-2022, she is one of the Executive Committee of FIAF(International Federation of Film Archives).
Charles Tepperman
Charles Tepperman is associate professor in the Department of Communication, Media, and Film at the University of Calgary. He is the author of “Amateur Cinema: The Rise of North American Moviemaking, 1923–1960,” co-editor of “Canadian Cinema in the New Millennium,” and director of the Amateur Movie Database project. His work on Canadian cinema, film history, and amateur media has appeared in Screen, Film History, Media Industries Journal, The Moving Image, and the Canadian Journal of Film Studies.
Chloe McLaren
Chloe McLaren is a fully remote Metadata Librarian for Cornell University, where she works with their institutional repository, digital collections, and AV streaming (along with lots of other unrelated things). She is physically based in Chicago.
Chris Carranza
Chris Carranza (they/them) was born and raised in the Rio Grande Valley. They earned a B.A. in Rhetoric & Composition at the University of Texas at Austin. Their work has focused on accessibility design, communications, and history. Chris is a museum educator and artist. They are working to curate queer performances and hope to one day be a performing arts historian and archivist. Their interest lies in the curation of diverse, inclusive, and accessible audiovisual materials.
Chris D. Reeder
Chris D. Reeder is a curator with formal training in anthropology, sociology, and contemporary art. with special interests in local non/institutional archives, chris’ interest center the importance of archives as vital tools in preserving public and plural memory. through their research, writing, and curatorial wlork, chris focuses on the power of archives as not only repositories of history but also as tools for social change that challenge dominant narratives. with their passion for archival work, chris seeks to explore the connection between local archives and the contemporary moment at KYUK.
CK Ming
CK is a Media Conservation and Digitization Specialist. A graduate of the Moving Image Archiving and Preservation Program at NYU, they have worked at a variety of archives across the country. They are the former Project Manager and Archivist at the South Side Home Movie Project at the University of Chicago. They serve on the boards of The Center for Home Movies, The National Film Preservation Board, Chicago Film Archives, and the AMIA Pathways Fellowship Advisory Board.
Connie Xuncax
Connie Xuncax is currently an archival studies student at Pasadena City College. She received her B.A. in Cinema and Television Arts & Gender and Women’s Studies from California State University—Northridge before entering the archival world to explore her passion for film history and its hidden gems. Previously, she worked at the Academy Film Archive as an intern and project researcher, where she assisted in creating data for the InFrame project. She was the first project researcher to focus on indigenous people in American cinema culture.
Crystal Z Campbell
Crystal Z Campbell is a multidisciplinary artist, experimental filmmaker, and writer of Black, Filipinx, and Chinese descents. Campbell finds complexity in public secrets-fragments of information known by many but undertold or unspoken. Campbell’s works use underloved archival material to consider historical gaps in the narrative of the 1921 Tulsa Race Massacre, revisit questions of immortality and medical ethics with Henrietta Lacks’ “immortal” cell line, and salvage a 35mm film from a demolished Black activist theater in Brooklyn as a relic of gentrification. Select honors include a 2022 Creative Capital award, Guggenheim Fellowship in Fine Arts, Harvard Radcliffe Fellowship, Pollock-Krasner Award, Rijksakademie, and Whitney ISP Fellowship. Exhibitions and screenings include Artists Space, MOMA, Drawing Center, SFMOMA, ICA-Philadelphia, REDCAT, SculptureCenter, and Berlinale Forum Expanded amongst others. Campbell was a featured filmmaker at the 67th Flaherty Film Seminar, and their film, REVOLVER, received the Silver Hugo at the Chicago International Film Festival. Campbell is a Visiting Associate Professor in Art and Media Study at the University at Buffalo and is currently the 2023-2024 Freund Fellow at Washington University in St. Louis.
Daniel Melfi
Daniel Melfi is a Canadian journalist, publisher and researcher, based in Berlin. In 2020, Melfi founded and launched 20 Seconds Magazine, a biannual print-only publication for experimental music and art. As a researcher, Melfi has worked with Bologna’s Home Movies, the Italian national archive of family film and Arsenal – Institute for Film and Video Art, in Berlin. He is undertaking studies to complete an MA degree in Film Preservation and Collections Management at Toronto Metropolitan University.
Dave Rodriguez
Dave Rodriguez is an audiovisual archivist, librarian, and filmmaker originally from Miami, FL. He currently works at Florida State University as the Digital Services Librarian where his work focuses on maintaining the library’s open-source technology stack, web presence, and digital repository infrastructure. Before working at FSU, his career spanned positions at George Eastman Museum, Bard College, Continental Film & Digital Laboratory, O Cinema Miami Beach, the Coral Gables Art Cinema, and the University of Miami. He hold degrees from New College of Florida (BA, Literature, 2009), the University of Florida (MA, Film & Media Studies, 2011), The L. Jeffrey Selznick School of Film Preservation (Certificate, 2012), and Florida State University (MS, Information Science, 2018). His 16mm film and digital video works have been exhibited in galleries and festivals across North America and Europe.
David Walsh
David Walsh is the Training and Outreach Coordinator at FIAF. David Walsh began as a film archivist at the Imperial War Museum in 1975, having studied chemistry at Oxford University. He was head of the Technical Commission of the International Federation of Film Archives (FIAF) from 2011 to 2016. Since 2016 he has been FIAF’s Training and Outreach Coordinator, assisting those seeking to preserve film collections around the world.
Débora Butruce
Débora Butruce is an audiovisual preservationist, cultural producer and film curator. She has been dedicated to audiovisual preservation field since 2001 and has worked in the main heritage institutions in Brazil, such as Cinemateca do MAM-RJ, Arquivo Nacional, Centro Técnico Audiovisual and in projects with Cinemateca Brasileira. She holds a PhD in Media and Audiovisual Processes from University of São Paulo (Brazil), with a research on film restoration and the digital turn in Brazil. She was a Visiting Scholar at NYU in Moving Image Archiving and Preservation Program during 2018-2019. She is the founder of Mnemosine Ltda., a company specialized in audiovisual preservation and restoration services and also cultural heritage projects that exists since 2009. She has carried out her work as a restorer in projects in Brazil, as Joaquim Pedro de Andrade restoration project and Cinédia Production Company Film Collection, and also in other countries as Netherlands, in projects held in Haghefilm Film Laboratory in Amsterdam. She has taken part in several international seminars, congresses and courses on audiovisual preservation and archiving, in institutions as British Film Institute, L’Immagine Ritrovata Film Restoration Laboratory, Cuba’s International School of Cinema and Television and Filmoteca Española. Débora has experience as curator and film programmer, she is the founder of The International Festival of Home Movies. She did special programs for several film festivals as Interfilm – Berlin International Short Film Festival, Santa Maria da Feira Film Festival (Portugal), World Cinema Amsterdam, São Paulo International Short Film Festival, Janela Internacional de Cinema do Recife and others. Débora is currently the president of the Brazilian Association for the Preservation of Audiovisual (ABPA).
Diane Carroll-Yacoby
A 30+ year veteran of Kodak, Diane has spent most of her career supporting Motion Picture products. She has had positions in R&D, Marketing, Operations, and is currently the Commercialization and Portfolio Manager for Motion Picture Films.
Dimitrios Latsis
Dr Latsis is a historian and digital humanist working at the intersection of archiving and visual culture. He is Assistant Professor in Digital and Audiovisual Preservation at the University of Alabama’s School of Library and Information Studies. His work on American visual culture, early cinema, archival studies and the Digital Humanities has been supported by the Smithsonian Institution, Domitor, Mellon and Knight Foundations and Canada’s Social Studies and Humanities Research Council, among others. He has published and lectured widely in these fields, including co-editing a special issue of The Moving Image, the journal of the Association of Moving Image Archivists on the topic of Digital Humanities and/in Film Archives and an anthology on documentaries about the visual arts in the 1950s and 60s for Bloomsbury Academic. His book on the historiography of American cinema during the silent years, How the Movies Got a Past, was published in August 2023 by Oxford University Press.
Elizabeth Hansen
Elizabeth Hansen possesses over two decades of expertise in archives, museums, history, and media. She assumed her role as Managing Director at the Texas Archive of the Moving Image in 2020, subsequent to her service as Outreach and Education Manager from 2008 to 2013. Her career includes diverse roles at esteemed institutions, including the Country Music Hall of Fame and Museum, the LBJ Presidential Library, the Bullock Texas State History Museum, and Kansas City PBS. Hansen’s archival research has contributed to 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 a bachelor’s degree in mass communication from Middle Tennessee State University.
Emily Lynema
Emily Lynema is the Head of Digital Media Software Development at Indiana University Libraries. Her team develops systems that support access to digitized audiovisual materials, including the large volume of content digitized by the University’s Media Digitization and Preservation Initiative. She is actively involved in IU Libraries’ exploration of the use of artificial intelligence / machine learning tools to help create metadata for digitized media that can be used to enable identification, discovery, and rights determination. She holds a Master’s degree in Information Science from the University of Michigan and an undergraduate degree in Computer Science.
Emily Vinson
Emily Vinson (she/her) is an Audiovisual Archivist at the University of Houston Libraries. Since 2015, Emily has established the Libraries’ AV preservation, digitization, and access program and overseen several grant-funded projects. She is an active member in the Association of Moving Image Archivists, Texas Digital Libraries, and the Digital Library Federation, and is past president of Archivist of the Houston Area. Her work has been published in The American Archivist, VIEW Journal of European Television History and Culture, and the Journal of Digital Media Management. Previously, Emily was a fellow at the New York Public Library IMLS-funded Preservation Administration program, a project archivist at New York Public Radio preserving WNYC’s rich audio heritage, and archivist at Rice University’s Baker Institute. Emily received MSIS from the University of Texas School of Information, with a certificate of advanced study in Preservation Administration and a BA in Art History and History from Tulane University in New Orleans.
Emily Ward
Emily Ward (she/her) is the Research Services Coordinator for Special Collections at the University of Arkansas Libraries. As the Research Services Coordinator, she manages the Division’s public-facing services, which include research assistance and access to archival materials. She’s currently focused on addressing challenges associated with accessing archival materials by establishing flexible workflows and sustainable services to meet patrons where they are. She has previously worked in public libraries, managing digital archives and preservation programs.
Eric Hoyt
Eric Hoyt is the Kahl Family Professor of Media Production in the Department of Communication Arts at the University of Wisconsin-Madison. His research focuses on the intersections between media history and the digital humanities. He is the Director of the Wisconsin Center for Film and Theater Research and Media History Digital Library, which has digitized over 3 million pages of historic books and magazines for open access. He is the author of Hollywood Vault: Film Libraries before Home Video (2014) and Ink-Stained Hollywood: The Triumph of American Cinem’s Trade Press (2022), as well as co-editor of The Arclight Guidebook to Media History and the Digital Humanities (2016) and Saving New Sounds: Podcast Preservation and Historiography (2021). His work has been supported with over $1.4 million in grants from the NEH, ACLS, NHPRC, and IMLS.
Erica Titkemeyer
Erica is the Associate Head of Repository Services at the University of North Carolina at Chapel Hill. In this position they coordinate staff charged with digitization of special collection materials. Erica received their M.A. in Moving Image Archiving and Preservation at New York University’s Tisch School of the Arts, and their B.S. in Cinema and Photography from Ithaca College. They are a consultant with Myriad Consulting & Training, presently working with the Television Academy Foundation on an NEH-funded initiative to digitize legacy oral history video recordings.
Fin Hatfield
Fin Hatfield is a 2nd-year Master’s student at New York University’s Moving Image Archiving and Preservation (MIAP) program. Their main areas of attention are in early screen culture, material history, and disaster recovery. Their interest in water damage mitigation started while working with water damaged books in the preservation department as an undergrad at Virginia Commonwealth University, B.A. 2018. Prior to joining MIAP, Fin completed a Master’s degree in history from the Université d’Orléans in 2022, with a thesis about Lapierre magic lanterns and how they reflected cultural and mediatic changes in 19th century French society. They hope to continue specializing in disaster prevention and recovery.
Frances Harrell
Frances (she/her) is the Executive Director for Myriad, and is responsible for project coordination with all our clients. She is an independent archives professional with over ten years of experience working with cultural heritage organizations. She has spent the larger part of her career helping libraries, archives, and museums achieve their preservation goals through consulting and training in paper, photograph, audiovisual, and digital collections. She has served the preservation field in many professional leadership roles, including as Co-Chair of ALA’s Preservation Outreach Committee, Co-Chair of ALA’s Digital Preservation Interest Group, Chair of SAA’s Preservation Section, as well as serving on the Program Committees for the PASIG conference and the New England Archivists conference. Frances received her MLIS with a focus in Archives Management at Simmons College and her BA in English Literature from the University of Florida.
Grace Lile
Grace Lile has worked as an audiovisual archivist for over 30 years, first at Worldwide Television News, then at CNN New York. In 2004, Grace established the Media Archive at witness.org, where she led the conceptualization and development of models and resources to enable human rights video documentation, archiving and preservation by grass-roots human rights activists. She was an instructor in NYU’s Moving Image Archiving and Preservation Program from 2014 – 2017. She currently works as an independent consultant.
Greg Cram
Greg Cram is the Associate General Counsel and Director of Information Policy at The New York Public Library. Greg endeavors to make the Library’s collections broadly available to researchers and the public to be used to advance knowledge. He is responsible for developing and implementing policies and practices around the use of the Library’s collections, both online and in the Library’s physical spaces. Greg has helped steer projects through a maze of complex intellectual property issues, including the release of more than 310,000 high-resolution images of public domain collection items. Greg has represented the Library in advocating for better copyright policy and has testified before Congress and the United States Copyright Office. Before joining the Library in 2011, Greg served as the copyright clearance consultant to Leadership Team Development, a business support company that organizes thousands of meetings, seminars and conferences. He also worked as a licensing associate at Sanctuary Records, a large independent record label. He is a graduate of Boston University and The Benjamin N. Cardozo School of Law and a licensed attorney in New York and Massachusetts.
Greta Snider
Greta Snider is an experimental filmmaker and professor of cinema at San Francisco State University. She enjoys experimenting with nonfiction cinema, and including films that use archival footage, cameraless imprints, stereoscopic materials, and explorations of text as imagery. Snider is a faculty advisor to The Archive Project at SFSU Cinema.
Hugo Ljungbäck
Hugo Ljungbäck (he/they) is a Swedish artist, curator, and scholar whose work examines the intersections of queer art, experimental film and video, media archaeology, and archival studies. His research investigates the materiality of the moving image and its processes of mediation. His award-winning 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 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. He is a Collections and Cataloging Fellow with the South Side Home Movie Project and serves as Co-chair of the Association of Moving Image Archivists’ Small Gauge and Amateur Film Committee and Co-Secretary of Domitor, the International Society for the Study of Early Cinema.
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 moved into Archive Management then in 2021 she applied for the manager role in Restoration and Preservation and has been leading the team ever since. She holds an MA in Moving Image Archive Studies from UCLA and is the Chair of AMIA’s Education Committee. She recently won the Rising Star award from the Digital Entertainment Group.
Jenni Matz
Jenni Matz is the Director of the Television Academy Foundation Interviews. Jenni is also the Project Manager of the NEH Preservation grant project. Jenni holds an MLIS from Simmons College and a JD from Southwestern Law School, and was the Digital Archivist for the Academy Foundation Interviews before becoming its director. She is currently the co-chair of the AMIA Copyright Committee.
Jossel Franco
Jossel Franco is the Digital Archivist for the Television Academy Foundation. She manages the preservation of the analog component of The Interviews: An Oral History of Television, which contains long-form interviews conducted with esteemed professionals throughout the television industry. She holds a BA in History from Augsburg University and an MLIS from Simmons University.
Justin Clifford Rhody
Justin Clifford Rhody is a filmmaker, photographer, curator and sound artist based in Santa Fe, New Mexico. His work has been exhibited and published both nationally and internationally in museums, galleries, film festivals, universities, books, records, and online. He has been organizing underground film, art and music events for over 20 years. Rhody is the founder and co-operator of No Name Cinema, he runs the Physical media imprint and performs in various free-improv ensembles.
Kailen Sallander
Kailen Sallander is the Research & Development Manager at BAVC Media. In this role, Kailen supports fundraising efforts across all departments. Kailen also works on program evaluation, data collection, and field-wide studies at BAVC Media. Kailen has a BA in Sociology from California State University Long Beach, where she worked on several qualitative and quantitative studies. Kailen previously worked with the San Mateo County government, and the research institution Child Trends, on data-driven projects. In 2020, Kailen’s undergraduate sociology thesis was presented at the American Sociological Association’s Annual Conference.
Karen Cariani
Karen Cariani, is the David O. Ives Executive Director of the GBH Archives and GBH Project Director for the American Archive of Public Broadcasting, a collaboration with the Library of Congress to preserve and provide a centralized on-line access to content created by public media. Karen has 39 years of television production, project and archival management experience and was project director for many projects focused on providing access to digital audiovisual collections online and long-term digital preservation. She served on the AMIA board, Digital Commonwealth board, and the National Stewardship Digital Alliance (NDSA) Coordinating Committee and chaired the Levels of Preservation revision WG. Karen is committed to push new technology to its limits to allow historical cultural materials more available for public use. She is active in the archive community and professional organizations and passionate about the use of media archives and digital library collections for education.
Karen Chan
Karen Chan joined the Asian Film Archive (AFA) in 2006 and became Executive Director in 2014. Under her leadership, the AFA has established a reputation for its innovative programming and for creating a new life for film collections through its restoration and facilitation efforts. From commissions to collaborations, the AFA has provided avenues for interdisciplinary dialogues and learning. Karen is in her second term as President of the Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA) and serves on the Singapore Film Commission advisory committee.
Karen M Steiger
After a successful career as a writer and editor, Karen Steiger decided to follow her passion and is in her last semester at Dominican University for a Master’s in Library and Information Science. She has an Master’s in Writing from DePaul University and earned her Bachelor’s Degree at Indiana University Bloomington in English and Germanic Studies. She is a published poet and proud cancer survivor and lives in Schaumburg, IL, with her beloved husband, Matt, and two dogs, Lexi and Horus. Her areas of interest include reference, archives, digital media collections, and film preservation.
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 13 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.
Kathleen Carter
Kathleen Carter is the News Archivist for the Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia. She received her MS in Library and Information Science from Simmons College.
Kathy Rose O’Regan
Kathy Rose O’Regan is the Senior Film Restorer with San Francisco Silent Film Festival, where she has worked on the restoration and preservation of dozens of silent era titles including Erich von Stroheim’s Foolish Wives, Irvin Willat’s Below the Surface, and Sessue Hayakawas’s The Dragon Painter. She previously managed the Bay Area Video Coalition’s video preservation lab. Kathy is a graduate of the L. Jeffrey Selznick of School of Film Preservation. In 2014 she completed a fellowship at the National Film and Sound Archive of Australia, where she worked independently on a delicate nitrate film collection. She is an active member of the vibrant movie inmage archiving community in the San Francisco Bay Area. In 2022, Kathy participated in the FIAF Film Restoration Summer School at L’Immagine Ritrovata in Bologna. She is dedicated to and deeply passionate about the preservation of and provision of access to the moving image.
Katrina Windon
Katrina Windon is the Collections Management and Processing Unit Head for the University of Arkansas Special Collections. She holds a Master of Science in Information Studies from the University of Texas at Austin.
Kelli Hix
Kelli Hix is Co-Director of Preservation at BAVC Media in San Francisco and a core member of the Community Archiving Workshop. She is the Principal Investigator on the project, Assessing and Addressing Digital Readiness for Audiovisual Collections (CAW-NHPRC), and Project Coordinator of the Audiovisual Heritage Center, Nashville, Tennessee. Her past clients include the Smithsonian Institution, the National Geographic Society, The Country Music Hall of Fame and Museum, and Appalshop Archive.
Kelley Lynch
Kelley Lynch is a PhD Candidate in Computer Science at Brandeis University. She is a developer and researcher in the Lab for Language and Computation, advised by James Pustejovsky. Her research is focused on natural language processing and computer vision for information extraction from AV material.
Kelly Pribble
Kelly Pribble, Director, Media Recovery Technology Program. Kelly leads IMES’ Media Recovery Technology program and is a veteran engineer and archivist who has worked extensively in Nashville, London, New York City and Rio de Janeiro. Before joining IMES, Kelly reopened the legendary Nashville Studio Quadrafonic Sound Studio in 1988. The next year he purchased the building next door and built an additional three studios, establishing Nashville’s largest recording complex under the name Quad Studios.” After more than a decade of running Quad Studios, Kelly left Nashville for London where he worked closely with record producer Martin Terefe. Together they built Kensaltown Studios in West London. Kensaltown Studios is an eight-studio complex that still thrives today as one of West London’s premiere studio locations.
Kimberly Tarr
Kimberly Tarr is a Visiting Assistant Professor in the Department of Cinema Studies and serves as the Associate Director of the Moving Image Archiving and Preservation (MIAP) program. For over a decade, she has been responsible for developing strategies to ensure the long-term care of film, video, and audio collections held in NYU Libraries and Special Collections, managing the media preservation program’s operations and overseeing the digitization labs. Prior to this, she held positions at the Smithsonian Museum of American History and the New York Public Library. Tarr has been instrumental in preserving and restoring feature films, including The Grim Game (1919), the first feature film to star Harry Houdini, and Shu Lea Cheang’s eco-feminist feature, Fresh Kill (1994). She earned her undergraduate degree in American Studies from the University of California, Berkeley, and a Master of Arts from New York University’s Moving Image Archiving and Preservation (MIAP) program. Since 2012, she has been teaching the MIAP internship seminar and enjoys working with students to explore the theory and practice of media preservation.
Kirk McDowell
Kirk McDowell is the Assistant Collection Manager in the Moving Image Department of the George Eastman Museum, where he facilitates new donations, handles nitrate and safety shipments, and teaches small gauge film inspection. He is a 2018 graduate of the L. Jeffrey Selznick School of Film Preservation and received his corresponding master’s degree from the University of Rochester in 2019. He has previously held positions at the National Audio-Visual Conservation Center and the Wisconsin Center for Film and Theater Research.
Kirk Mudle
Kirk Mudle is the Program Manager for the Digital Preservation Outreach and Education Network (DPOE-N), a joint initiative between Pratt Institute and New York University, as well as the Archive Manager for the New York African Film Festival. Kirk recently earned his Masters in Moving Image Archiving and Preservation from NYU. Prior to MIAP, Kirk studied East Asian film history (specifically the Japanese New Wave and New Korean Cinema), book-to-film adaptations, and documentary film at San Francisco State University. His current research focuses on software preservation, intellectual property law, and the preservation and exhibition of video games in libraries, archives, and museums.
Kristin Lipska
Kristin Lipska is an archivist specializing in audiovisual media and AV digitization workflows. She is currently Digital Asset Manager at the Prelinger Archives. Previously she was Digital and Media Archivist at the San Francisco Symphony and Project Coordinator on the California Audiovisual Preservation Project (CAVPP) / California Revealed. She earned a Masters of Library and Information Science from San Jose State University and developed skills in video digitization and QC as an intern in the preservation department of the Bay Area Video Coalition. Kristin has worked on projects to digitize home movies for the Prelinger Archives and the Center for Asian American Media, and has contributed to several Home Movie Day events in the SF Bay Area as both a film inspector and as a projectionist.
Kyle Westphal
Kyle Westphal is a programmer and preservationist at Chicago Film Society, a non-profit organization dedicated to exhibiting and educating the public about analog film. He has coordinated the restorations of _Corn’s-A-Poppin’_, _The Spider and the Fly_, and assorted films from Edward Owens, Fred Camper, and Heather McAdams on behalf of CFS.
Lance Watsky
Lance Watsky has helped many organizations create strategies for the preservation, access, and use of their motion picture collections for the past three decades. He holds a master’s degree from the California State University, Chico in the Preservation and Restoration of Motion Pictures and Sound Recordings and an undergraduate degree in Fine Arts specializing in cinematography, photography and video production. His experience includes working with the Sherman Grinberg Film Library; served as Program Coordinator for UCLA’s Moving Image Archive Studies; served as Media Archivist for the State Archives of Georgia, and audio digitization projects for the U.S. Holocaust Memorial Museum and Smithsonian Folkways. He is currently a Sales Specialist for Filmic Technologies manufacturer of the EZ line of motion picture film scanners. He also received a National Endowment of the Humanities grant to access the Ringling Museum of Art’s archival audiovisual collection and is Chair of the Award Committee for SMPTE’s James A. Lindner Archival Technology Medal.
Leopold Krist
Leopold Krist is the current Leon Levy Film Archivist at the Wildlife Conservation Society. As part of his work, the WCS’s historical film collection has been awarded a CLIR and NFPF grant to help fund the preservation and digitization of these rare wildlife films. A recent graduate of the Selznick School of Motion Picture Preservation at the George Eastman Museum, Leopold has over twenty years’ experience teaching film production at the Northwest Film Center and working as a motion picture lab technician at Kodak’s Advanced Film Manufacturing facility in Rochester and at Colorlab in Rockville, Maryland.
Libby Burke
Libby Burke (she/her) earned a BA in Cinema Studies and an MLIS from the University of Washington, as well as a Graduate Certificate in Archives from Western Washington University. She fell in love with film archives when she trained with a private collector of Soundies and Snader Telescriptions. Libby was instrumental in originating the film archives at the University Libraries Special Collections, and co-authored the “Washington State Film Preservation Manual.” As the archivist at the Lyman Museum in Hilo, Hawai’i she participated in the pilot project for ’Ulu’ulu: The Henry Ku’ualoha Giugni Moving Image Archive of Hawai’i. Since 2012, Libby has been a contract librarian and archivist at the Bonneville Power Administration (BPA) in Portland, Ore., where she curated two widely distributed historical film collections and is working on a third. She presents public programs on BPA history, and authored “Woody Guthrie Employment: A Guide to the Documents in the Bonneville Power Administration Library Archives (2017)”. In 2020 she received the BPA Administrator’s Excellence Award for Special Service, the highest honor for a contractor at the agency. As part of BPA Cultural Resources, Libby provides primary documents, photos, and films to support the requirements of the National Historic Preservation Act. She works extensively with writers, historians, archaeologists, and other researchers to supply the unique materials found at BPA. Libby is a longtime AMIA member, glad this year’s conference is in the home city of the Woody Guthrie and Bob Dylan centers.
Mark Davidson
Mark Davidson is Senior Director of Archives and Exhibitions for the Bob Dylan Center and Woody Guthrie Center in Tulsa, Oklahoma. He holds a PhD in musicology from the University of California, Santa Cruz, and an MSIS in archiving and library science from the University of Texas at Austin. His dissertation, titled “Recording the Nation: Folk Music and the Government in Roosevelt’s New Deal, 1936–1941,” explored folk music collecting under the Works Progress Administration. Mark is co-author and co-editor of Bob Dylan: Mixing Up the Medicine (Callaway, 2023).
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.
Mary Leverance
Mary Leverance is the Preservation and Conservation Coordinator at the University of Arkansas Libraries where she has worked since 2016. She oversees the Preservation Unit and works with all departments in the Libraries on all things preservation-related. Her primary focus is preventive conservation and collections care. She has an MSIS from the University of Tennessee Knoxville.
Michael Schneider
Michael Schneider has always worked at the interface between technology, product management, business development, customers and the user within the media, broadcast and film industry. For more than 30 years, Michael is involved in film scanning, restoration and preservation, M&E infrastructure, and Media Asset Management (MAM) solutions. During that time, he was supporting enterprise companies such as Technicolor, Deluxe, Mediaset, Discovery, but also smaller, boutique-style facilities, which offer a specialized range of services to their clients. Michael is currently working with film archives in Europe and the US for Digital Film Technology, consulting customer in film scanning solutions and IT infrastructure for efficient implementation of digitization workflows. He holds an engineering degree (Dipl.-Ing.) of RheinMain University (Wiesbaden/Germany).
Michelle Lin
Michelle Lin holds a BA in computer science and visual art from Brown University, where she developed an interest in the audiovisual field while working for the school’s sports broadcasting network and the local radio station. She is currently a Master of Library and Information Science student at San Jose State University and previously managed an independent bookstore and worked as an elementary school library aide. As a native Californian, she is excited to intern with California Revealed as an AMIA Fellow.
Miranda Villesvik
Miranda Villesvik is Digital Ingest Manager at GBH in Boston, working primarily with the American Archive of Public Broadcasting (AAPB). With a focus on metadata and digital systems, she enjoys working with organizations to make their materials more widely accessible. Having received her MLIS from Simmons University, Miranda now enjoys jigsaw puzzles, scary movies, trying to learn German, and running.
Morgan Gieringer
Morgan Davis Gieringer is the Head of Special Collections at the University of North Texas Libraries and the Director of the Graduate Academic Certificate in Archival Management in the UNT College of Information. She has held previous positions at the Missouri History Museum and the University of Kansas. She received her master’s degree in library science from Texas Woman’s University, and her professional certification from the Academy of Certified Archivists.
Nicholas Caluda
Nicholas Caluda is a reference librarian in the Jefferson Parish public library system. A native of New Orleans, Caluda is a recent graduate of the MLIS program at Indiana University-Purdue University, Indianapolis. He also holds an M.A. in English Literature from the University of Alabama. His previous and forthcoming written work explores the material effect of form on content, discussing non-professional restoration of small-gauge film, the challenges of Flash media preservation, and narrative threads in Doctor Who. When not assisting patrons, he enjoys playing keyboards, watching British quiz shows, and attempting to train his cat.
Nicholas Camardo
Digital Imaging and Content Manager, USC Digital Repository. Nicholas manages audiovisual transfer operations for the USC Digital Repository and previously worked as a Video Archivist and Post Production Specialist at USC. Nicholas holds a dual-BA in Media and Communication and Digital Cultures and Technologies from St. John Fisher University and is currently working on an MA in Cinema and Media Studies at the USC School of Cinematic Arts.
Nicolas Renaud
Nicolas Renaud is a filmmaker, installation artist, and Assistant Professor in First Peoples Studies at Concordia University in Montréal. The film Brave New River earned him the award for best 1st Canadian feature-length documentary at Hot Docs 2013. He is of mixed Indigenous and Québécois heritage and is a member of the Huron-Wendat First Nation of Wendake.
Nina Rao
Nina Rao is the Audiovisual Conservator for Emory Libraries, where she is responsible for digitization and preservation of audiovisual materials. She holds a BA in Communications and Media Studies from Tufts University, an MFA in Creative Writing from the University of Arizona, and an MA in Moving Image Archive Studies from UCLA. Previous roles include archivist at CARE USA, where she managed a large audiovisual collection and provided access services, and five years in public programs at UCLA Film & Television Archive.
Owen King
Owen King is Metadata Operations Specialist at GBH Archives, working on the American Archive of Public Broadcasting. He coordinates work on automated processing and metadata workflows for archival television and radio programming. Besides archives and information science, he has a background in philosophy, with research and teaching in well-being and information ethics.
Pamela Vadakan
Pamela Vadakan is Director of California Revealed, a California State Library program that helps public libraries, archives, museums, and other heritage groups digitize, preserve, and provide online access to materials documenting the state’s history, art, and cultures. She also serves on the board of the Center for Home Movies and has been a member of the Community Archiving Workshop committee since 2016.
Patricia Ledesma Villon
Patricia Ledesma Villon is the Bentson Archivist and Assistant Curator in the Moving Image department of the Walker Art Center, where she oversees the preservation and access of the Ruben/Bentson Moving Image Collection. She has also processed audiovisual collections and worked on archival initiatives for the Prelinger Archives, the Center for Asian American Media’s “Memories to Light” home movie project, filmmaker and scholar Trinh T. Minh-ha, and the Philippine Film Archive. Her archival practices focus on the intersections of photochemical filmmaking and preservation, theories of audiovisual archiving, digital preservation, artist-made cinema and exhibition, and the history of moving image technology. Patricia is a graduate of UCLA’s MLIS program with a specialization in Media Archival Studies, where she conducted research on the role of commercial, archival, and artist-run film laboratories in the moving image archiving and preservation field. She is also a member and co-organizer of Light Field, an annual exhibition of recent and historical moving image art on film, and an at-large member of the artist-run Black Hole Collective Film Lab in Oakland, California. She currently serves on the Board of Directors of Canyon Cinema Foundation, a historic artists’ film cooperative and distributor based in San Francisco, and as a co-chair of AMIA’s Small Gauge and Amateur Film committee.
Patrick McIntyre
Patrick is an Australian cultural leader with over 30 years’ experience. Prior to joining the National Film and Sound Archive of Australia as CEO, he served as Executive Director of the Sydney Theatre Company for over 11 years. Earlier roles include Associate Executive Director of The Australian Ballet, General Manager of Sydney Film Festival and Marketing Manager of Sydney Opera House Trust and of Sydney Dance Company. Patrick has also worked as a freelance music and entertainment writer and has presented at numerous conferences in Australia and internationally.
Patty Devery
Patty Devery is the Associate Director of the Archive at StoryCorps. Her full-time archive career began at StoryCorps on day one of the COVID-19 lockdown in New York City, March 16th, 2020. Her previous work experience was with the New York City Department of Environmental Protection and The George Lois “Big Idea” collection at The City College of New York. She holds a Master’s Degree in Library Science from Queens College with a certificate in Archives and Preservation of Cultural Heritage Materials.
Rachel Curtis
Rachel Curtis is a Digital Project Specialist at the Library of Congress and serves as the Project Coordinator for the American Archive of Public Broadcasting. In this capacity, she manages the ingestion of preservation files and associated metadata into the Library’s archive, works with WGBH on policy and strategy, and coordinates Library staff on AAPB activities. Rachel holds a Master’s degree in Library and Information Science from the University of Wisconsin-Milwaukee.
Rachel Del Gaudio
Rachel Del Gaudio worked for the Academy Film Archive before shifting to the moving image section of the Library of Congress for 12 years where she co-founded and ran the successful film identification workshop Mostly Lost. As chair of the Association of Moving Image Archivists’ Nitrate Committee, she is an authority on nitrate film and its surrounding regulations. A proponent for uplifting ignored aspects of film history, Rachel oversees a Flickr page dedicated to identifying Unidentified Films.
Raymond Doswell
Raymond Doswell is a seasoned public historian, educator, and museum executive with close to 30 years of experience. He has worked collaboratively with regional and national entities such as museums, filmmakers, governmental organizations, public museums, manufacturers, colleges, and schools, advising and directing projects on history and culture. This work includes managing and advising the development of permanent and traveling history exhibitions. He has also traveled extensively as a public speaker on topics of African American history.
Doswell served as Vice-President of Curatorial Services at the Negro Leagues Baseball Museum, where he managed exhibitions, archives, and educational programs, from 1995-2022. He was appointed Executive Director of the Greenwood Rising Black Wall Street History Center in January 2023. Born in St. Louis, MO, Doswell grew up in E. St. Louis, IL. He graduated from Monmouth College (IL) in 1991 with a BA degree in History and training in education. He taught high school briefly in the St. Louis area before attending graduate school at the University of California Riverside. There, he earned an MA degree in History, emphasizing Historic Resources management. Doswell earned a Doctorate in Educational Leadership from Kansas State University in 2008.
Rhana Tabrizi
Rhana Tabrizi is currently pursuing a Masters in Library and Information Science at UCLA, with a specialization in Media Archival Studies. She earned a BA in Visual Culture from Hampshire College and an MA in Aesthetics and Politics from CalArts. Her interests include movies, postcolonial theory, and institutional critique.
Sara Chapman
Sara Chapman has been executive director of Media Burn since 2009, and has been an integral part of the organization since its founding in 2003. You can catch her online at Media Burn’s biweekly Virtual Talks with Video Activists series on Thursdays. A scholar of early video and television, her article “Guerrilla Television in the Digital Archive” was published in the Journal of Film and Video. In 2019, she was the producer of the feature-length experimental film, Ghosts in the Machine, which toured internationally. She’s also an avid swimmer and former co-chair of her Masters swim team, the Chicago Smelts.
Shai Drori
Shai is a recording engineer who specializes in the digital migration of analog media. He is a graduate of the Sound School (1994) and has been self-employed since 1997. Over the decades, Shai has worked on several high-profile projects and continues his quest for learning and developing better workflows constantly. Shai collaborates with others in his field and, in his free time, enjoys cooking and entertaining friends. Shai has studios in Israel and the States and, according to his wife, spends way too much time in airports.
SHAN Wallace
SHAN Wallace is a nomadic photographer, interdisciplinary visual artist, and filmmaker from Baltimore, MD. Her artistic practice spans across various mediums, including photography, collage, moving images, and in situ installation. Wallace’s work delves into the intricate interplay between race, gender, and place, drawing inspiration from Black history, extensive research, keen observation, ritual and memory.
Shani Miller
Shani Miller is a Film Archivist at the Academy Film Archive. Her experience includes digitization, access, and inventory projects at university, cultural heritage, and private archives. She obtained her bachelor’s degree in Political Science and History from the University of California, Los Angeles (UCLA). She holds a master’s degree in Communication Studies with a concentration in Television, Film, and Media Studies from California State University, Los Angeles, and a master’s degree in Moving Image Archive Studies from UCLA.
Steven Jenkins
Steven Jenkins is a thirty-year veteran of the nonprofit sector, having held leadership positions at San Francisco Bay Area organizations including University of California Press, Glide Foundation, San Francisco Film Society/San Francisco International Film Festival, Frameline/San Francisco International LGBT Film Festival, San Francisco Cinematheque, Film Arts Foundation, and the Ansel Adams Center for Photography. Jenkins served as Editor-in-Chief of Artweek and Bay Area Citysearch; Senior Editor of see: a journal of visual culture; and has contributed hundreds of articles on visual arts, music, film, literature and culture to national publications including New York, Out, California, Detour, SF Camerawork, and Publishers Weekly. His books as a writer and editor include City Slivers and Fresh Kills: The Films of Gordon Matta-Clark and Model Culture: James Casebere: Photographs. As a curatorial and development consultant he has guided programming and fundraising efforts for a wide variety of nonprofits and independent artists. Jenkins earned a B.A. in English at UC Berkeley and an M.A. in English at San Francisco State University.
Sunni Wong
Sunni (SUN-ee) is an archivist at StoryCorps, and a community librarian at Anobii, a social networking platform for book lovers from Italy and East Asia. She previously worked in dynamic roles at the Columbia University Libraries, the New York City Department of Environmental Protection, and the New York Public Radio. She received her MSLIS from Pratt Institute, and BA in Historic Preservation from Ursuline College.
Susan P. Etheridge
Susan P. Etheridge works as the lead film technician for the Hearst Newsreel Project. The project is a joint effort between Packard Humanities Institute’s (PHI) and the University of California, Los Angeles (UCLA) to digitize 27 million feet of the Hearst Newsreel collection. Susan got her start working as a film technician at Colorlab in Rockville, Maryland. It was there she fell in love with film preservation and decided to move to Los Angeles to obtain her master’s degree in Moving Image Archive Studies at UCLA. After graduating in 2014, she briefly worked at FotoKem, in Burbank as a film technician, before transferring to the UCLA Film and Television Archive, and later PHI. Susan has also done freelance research work for the Academy of Museum Arts and Sciences for their visual history interviews that focus on motion picture film laboratories. Susan received her Bachelor of Fine Arts from the Corcoran College of Art and Design in Washington, D.C. Outside of archival work, Susan can be found knitting or hiking in the California mountains.
Susan Milano
Susan Milano’s introduction to video started from her association with Global Village founder, John Reilly, as a teaching assistant for video production courses. At the invitation of Steina Vasulka, co-founder of the Kitchen, she organized what came to be the first Women’s Video Festival in 1972. It was while Susan was director of the video program at the west-side feminist art outpost, the Women’s Interart Center, that she came under the influence of Shirley Clark who asked her to join the TP Videospace Troupe at her rooftop penthouse in the Chelsea Hotel. Susan’s real talent evolved into the creation of interactive video environments and gallery installations, one of which, BackSeat, was a collaborative show of video and automobiles produced with Videofreex Nancy Cain and Bart Friedman in 1978. Subsequently she fell into 25 years of independent production work for producers, directors and networks from Japan working on stories in states all across America. It was only in 2016 that she realized it was possible to save the half-inch video material she had been keeping safe since 1970.
Taylor Morales
Taylor Morales is the Senior Manager, Public Access, Film Archive at the Academy of Motion Picture Arts & Sciences where she oversees access to the Academy’s extensive motion picture collection. She previously served as the Supervising Archivist, Production Art at the Academy’s Margaret Herrick Library where she managed and cataloged the Library’s unique collection of artworks related to the motion picture industry. Prior to working at the Academy, Taylor managed the Outfest UCLA Legacy Project, the only program in the world exclusively dedicated to preserving LGBTQIA+ moving images. She earned her master’s degree in Moving Image Archive Studies at UCLA.
Tuesday Sweeney
Tuesday Sweeney is a recent graduate from the University of Colorado Boulder. During her time in school, she was a Media Archiving and Preservation Fellow specializing in digitization of the library’s film collection, while studying Art History. She currently lives in Texas, and is enjoying her first year out of school pursuing her hobbies in analog photography, animation, and writing.
Walter Forsberg
Walter Forsberg works as Curator of Audiovisual Media at the Smithsonian Institution and is a Fulbright Specialist in Library Science. His is co-editor (with Tzutzumatzin Soto) of “Cine-Espacios,” a new book about Mexican independent film exhibition published by Canyon Cinema in 2023, and co-editor (with Brett Kashmere) of INCITE: Journal of Experimental Media’s history of North American microcinemas, “Exhibition Guide” (2013). He is a co-founding member of the artist filmmaking collective l’Atelier national du Manitoba, an active member of Laboratorio Experimental de Cine in Mexico City, and a member-at-large of XFR Collective.
Yvette Ramírez
Originally from Queens, NY, Yvette is archivist and researcher based in Detroit, Michigan. She is inspired by the power of community-centered archives to further explore the complexities of information transmission and memory within Andean and other diasporic Latinx communities of Indigenous descent. With nearly a decade of experience as an arts administrator, Yvette has worked alongside community-based and cultural organizations such as The Laundromat Project, PEN America, Make The Road New York and New Immigrant Community Empowerment. Currently, she is working towards her PhD at the School of Information at The University of Michigan where she also holds an MSI in Digital Curation and Archives. Yvette is also a co-founding member of the collective Archivistas en Espanglish.