Speaker Information
Amal Ahmed
Amal Ahmed holds a Master’s degree from the Moving Image Archiving and Preservation Program at NYU. Her thesis topic focused on researching and contextualising Pakistani films from the 1950s-1980s in the George Eastman Museums South Asian Film Collection.
Patricia Aufderheide
Patricia Aufderheide is University Professor in the School of Communication at American University, and the coauthor with Peter Jaszi of Reclaiming Fair Use: How to Put Balance Back in Copyright (University of Chicago, 2d. ed., 2018).
Larry Blake
Larry Blake is a supervising sound editor/re-recording mixer of feature films. He has mixed more than 65 features since 1989, and was also the supervising sound editor on 50 of them. Included in this number are 32 features and three television seasons with Steven Soderbergh, plus multiple films from Victor Nunez, David Gordon Green, and the Duplass Brothers. In addition, he has mixed 17 feature-length documentaries. In 2013 won both Emmy and Cinema Audio Society awards for Best Sound for a Miniseries or a Movie for his work on Behind the Candelabra. In 2002 he won a Golden Satellite Award for Solaris. He has written extensively on film sound, beginning in 1981 for Recording Engineer/Producer and then in Mix; these writings total over 110 columns and 35 feature articles. He soon will be publishing separate anthologies of the columns and features, in addition to the autobiography of film sound great Murray Spivack. First up is a book he’s writing on the digital archiving of motion pictures, Solving the Digital Dilemma. Following primarily from his work as a writer, he has curated many seminars on film sound for the Director’s Guild of America, the Academy of Motion Picture Arts and Sciences, SMPTE, and the Audio Engineering Society. He has been a guest speaker at the Camerimage Film Festival, USC, UCLA, and the Savannah College of Art and Design, among many others. From 2000-2016 he owned Swelltone Labs, a post-production sound facility in New Orleans, where he lives.
George Blood
George Blood graduated from the University of Chicago (1983) with a Bachelor of Arts in Music Theory. The only student of pianist Marc-André Hamelin. Recorded over 4,000 live events since 1982. Recording Engineer for The Philadelphia Orchestra for 21 years. Recorded and edited some 600 nationally syndicated radio programs. Recorded or produced over 250 CDs, 6 of which have been nominated for Grammy Awards. An active teacher and presenter at conferences, presented on research into workflow, best practices, metadata, authentication, and interchangeability of digital information. Served on standards committees for MXF AS-07 (now SMPTE RDD48), and is a writer two chapters for IASA TC06. Mr. Blood and his wife, Martha, have five children and seven grandchildren. An unapologetic preservationist, at the end of a day of Preserving the Sound and Motion of History, he goes home to his 1768 house where he practices harpsichord and reads books on paper
Liz Borges-Herzog
Liz Borges-Herzog (she/her) is the studio archivist at LAIKA in Hillsboro, OR. She has over 20 years of experience in the feature animation industry, having previously worked in production at DreamWorks Animation and later at Pixar Animation Studios as an archivist. Liz earned both her BA and MLIS from San José State University, and is also a member of the Northwest Archivists and the Society of American Archivists.
Brandon Butler
Brandon Butler is the first Director of Information Policy at the University of Virginia Library. He provides guidance and education to the Library and its user community on intellectual property and related issues, and advocates on the Library’s behalf for provisions in law and policy at the federal, state, local, and campus level that enable broad access to information in support of education and research. Butler is the author or co-author of a range of articles, book chapters, guides, presentations, and infographics about copyright, with a focus on libraries and the fair use doctrine. In 2022, Butler co-founded the boutique law firm Jaszi Butler PLLC with his mentor Peter Jaszi to provide expert counsel on fair use and related issues to documentary filmmakers, authors, podcasters, and other creators, as well as to academic and cultural heritage institutions and groups. Butler earned his J.D. from the University of Virginia School of Law, an M.A. in philosophy from the University of Texas, and an undergraduate degree at the University of Georgia. He lives in Charlottesville, Virginia, with his wife, their two kids, and a rescue dog.
Débora Butruce
Débora Butruce is an audiovisual preservationist, cultural producer and film curator. She holds a PhD in Media and Audiovisual Processes from the University of São Paulo (Brazil) and she was a Visiting Scholar at NYU’s Moving Image Archiving and Preservation Program in 2018/2019. Since 2001 she has been dedicated to Audiovisual Preservation and Restoration, working in Brazil, in institutions such as the Cinemateca do MAM-Rio, Arquivo Nacional, Centro Técnico Audiovisual – CTAv, Academia Brasileira de Letras and abroad. She currently works as an independent audiovisual preservation consultant for institutions and organizations, and as curator of archival films for festivals. She is the founder of the International Festival of Home Movies. Débora is the current president of the Brazilian Association of Audiovisual Preservation (ABPA) and has been a member of the Board of Directors since 2014.
Lauren Caddick
Lauren Caddick is an artist from Durham, NC. She received her Bachelor and Master of Art + Design from NC State University where she was a Park Scholar and recipient of the Mathews Medal. Lauren was a Marie Walsh Sharpe Art Foundation Scholar (2009) and a Casa Na Ilha Artist-in-Residence (2018). As an artist for Milestone Film, Lauren created numerous posters for re-released feature films over the last ten years (including Rocco and His Brothers and I Am Cuba). Through her work in the hospitality industry, Lauren’s art can be found in hotels, hospitals, airports, and restaurants all over the world.
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.
Khalila Chaar-Pérez
Khalila is currently the Digital Archivist of the People’s Media Record. She began with People’s Media Record as a LEADING fellow in the summer of 2021, focusing on the development of workflows for the creation and refinement of descriptive metadata for the archive’s assets. As a Digital Archivist, she continues to assist with the management of PMR’s collections while helping lead our current effort to assess the preservation needs of Philadelphia’s community media archives through a design justice framework that seeks to center and empower our communities. As a native of Puerto Rico who has taught and researched Caribbean cultures for many years, Khalila is interested in liberatory approaches to information literacy and how oppressed communities can harness the power of data–both big and small–to their own ends. Khalila holds a PhD in Latin American Literatures and Cultures from New York University and a Masters in Library Science and Information from the University of Pittsburgh.
Sreya Chatterjee
Sreya Chatterjee completed her Postgraduate Diploma (2006-2010) in Film Editing from the Film and Television Institute of India (FTII), Pune, India. Thereafter she collaborated with numerous producers and artists for about a decade as director and editor. Her professional experience spans across fiction features, documentaries, art installations, new media and virtual reality projects, which have been showcased in internationally acclaimed film festivals and art exhibitions. Nonetheless, her soul remained strongly rooted in the analogue materiality of cinema and related apparatus. Over the next years Sreya pursued a MA (2020-2022) in Conservation and Restoration with a focus on Audiovisual and Photographic Heritage from the University of Applied Sciences (HTW), Berlin, where she is currently employed as the engineer of the natural sciences and analytical laboratories and a teacher. Her research interests encompass sustainable, collaborative and inclusive approaches of audiovisual archiving and formulation of related training; chemical-analytical investigations into the materiality of audiovisual heritage especially with respect to digital restoration methodologies; interpreting ethics in the evolving landscape of film restoration; and the importance of intercultural comprehension of audiovisual preservation. In 2023, Sreya will commence with her doctoral dissertation.
Brendan Coates
Brendan Coates is a gardener, musician, and member of the Los Angeles Tenants Union. He has been working to ensure the long-term stability and relevance of archival audiovisual materials since 2011, with a particular focus on oral histories, for which he’s contributed to programs at The Academy of Motion Picture Arts and Sciences, The History Makers, and, currently, at the Computer History Museum. He’s a graduate of the University of Michigan’s School of Information (#HailToTheVictims) and a winner of the Independent Games Festival Nuovo Award with Cassie McQuater for his contribution to her web game Black Room.
Kelley Coyne
Kelley Coyne works as a manager/technician for the Preservation Department and audio learning specialist for the Education Department at BAVC Media. She has worked the last decade in audiovisual tech/education for many Bay Area organizations, including the San Francisco Conservatory of Music, Women’s Audio Mission, SFMOMA, Tiny Telephone, Rickshaw Stop, and El Rio. She is thrilled to put her interest in cultural memory and analog formats to work here at BAVC Media. Kelley has a passion for demystifying audio technology for artists and those curious and making it FUN, and especially loves teaching about signal flow and microphones. Kelley’s current obsessions are movies and trees – Paris,Texas and ginkgos are her favorite, respectively.
Lydia Creech
Lydia attended Indiana University Bloomington for her Masters of Library Science. She worked in the IU Libraries Moving Image Archive as a graduate student worker, where she gained experience with film handling. She has worked processing large film collections for over five years and joined the George Eastman Museum in 2020 for a grant project inspecting the South Asian Cinema Collection.
Michael Dawson
Michael Dawson is a creative director and producer with 40 years of diverse experience in the film industry. During the early nineties, in partnership with Welles’ daughter Beatrice, he assisted in locating and restoring the original camera nitrate negative of Orson Welles’ OTHELLO. His company, Intermission Productions, provided over thirty films to beta test for the restoration software RS2, known as REVIVAL. Michael restored Stanley Kubrick’s first three film shorts, DAY OF THE FIGHT, THE FLYING PADRE and THE SEAFARERS while at I-Cubed studio in Chicago. His latest project, in partnership with producer Harry Saltzman’s widow, is a 6k restoration of Orson Welles CHIMES AT MIDNIGHT utilizing Saltzman’s master negative. He has a BS degree in Film History, Theory and Criticism from Southern Illinois University Carbondale.
Melissa Dollman
Melissa Dollman earned a PhD from the University of North Carolina at Chapel Hill in American Studies, and an MA in Moving Image Archiving Studies from the University of California, Los Angeles. She has worked professionally as an audiovisual archivist, adjunct faculty, fellow, exhibit developer, and researcher for a number of cultural heritage institutions, and was a director of the board for AMIA (2016-2020). At present, she is the digital projects manager/archivist for the Tribesourcing Southwest Film, co-founder of Deserted Films, a home movie archive in Palm Springs, CA, co-chair of AMIA’s Publications Committee, and a board director for the Al Larvick Conservation Fund.
Laura Drake Davis
Laura Drake Davis is a Digital Specialist at the Library of Congress in the Moving Image Section. In this role, Laura processes born-digital moving image content, develops new workflows for born-digital content and develops strategies for metadata capture and transformation. Laura brings a wide range of experience to this role, with previous positions in college and university archives, special collections, and state government archives. A certified archivist since 2007, Laura holds the Master of Library Science degree from the University of Maryland College Park.
Jim Duran
Jim Duran started with the Vanderbilt Television News Archive in 2018, coming from Boise State University where he spent 10 years in Special Collections and University Archives. He is the Director of the Archive and is also the Curator of Born-Digital collections. Duran has master’s degrees in Library and Information Science and History, emphasizing in library administration, born-digital preservation and American history.
Dan Erdman
Dan Erdman is the senior archivist at Media Burn Archive. He is the author of Let’s Go Stag! A History of Pornography on Film to 1970 (Bloomsbury, 2021). He lives in Chicago.
Susan P. Etheridge
Susan 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.
Mia C Ferm
Mia Ferm is based in the Pacific Northwest and is currently the Project Manager for the Historic Media Collection at the Seattle Art Museum. For the past ten years she has acted as co-director of Cinema Project, a Portland-based collective that curates public presentations of experimental film and video. She holds an MA in Preservation and Presentation of the Moving Image from the University of Amsterdam, an MA in Cinema Studies from NYU, and a BA in Film Theory, History, and Production from UC San Diego. In 2014 she was awarded an Andy Warhol Foundation Curatorial Fellowship for research on artist-fun film labs. More recently, as an intern at the Oregon Historical Society, she focused on public access television programs from the 1980s. Occasionally, she performs as part of the Portland-based performance-noise duo Champagne.
Jay Fialkov
Jay Fialkov is Deputy General Counsel at GBH, Boston’s public broadcaster and the leading producer of award-winning public media content for television, radio, the internet and new media. National PBS television series produced by GBH include FRONTLINE, NOVA, American Experience, Antiques Roadshow, Masterpiece, Arthur, and Curious George. GBH’s services include its current collaboration with the Library of Congress to preserve and make available to the public the American Archive of Public Broadcasting, a historic collection of American public television and radio content. Mr. Fialkov also is a Professor at Berklee College of Music, where he teaches courses on legal aspects of the music business and was honored with Berklee’s 2014 Distinguished Faculty Award. Before joining GBH in 1995, Mr. Fialkov was a Boston-based entertainment lawyer whose clients included the music group Phish, Maurice Starr (manager and producer of New Kids on the Block), Mark Wahlberg, George Thorogood, Rounder Records and Rykodisc. Mr. Fialkov also was a founder and owner of the Giant/Rockville record labels that released albums by the critically acclaimed rock group Uncle Tupelo, whose offshoots include Wilco and Son Volt.
Rebecca Fraimow
Rebecca Fraimow is the Digital Archives Manager at the WGBH Media Library and Archives, overseeing the long-term preservation of digital production materials as well as project managing collaborative initiatives for archival training and education, such as the IMLS-funded Public Broadcasting Preservation Fellowship and the NEH-funded PBCore Education and Training Project. Previously, Rebecca was a National Digital Stewardship Resident with NDSR Boston and a founding member of XFR Collective, a preservation nonprofit based in NYC.
Veronica Franco
Veronica Franco is a recent MLIS graduate and Knowledge River Scholar (Cohort 16) from the University of Arizona. She earned her B.S. in Film at the University of Texas-Austin, and is an ALA Spectrum Scholar, and ARL Kaleidoscope Scholar. Her focus is in archives, with specific interest in audiovisual archives/preservation. As an AMIA Pathways Fellow, she interned with Tribesourcing Southwest Film and the American Indian Film Gallery in a project to decolonize and recontextualize films with Native peoples, tell untold and suppressed stories, and return knowledge source and authority of Native images in these films to their Native communities.
Ashley Franks-McGill
Ashley Franks-McGill (she/her) is the Project Director for AMIA’s Mentorship Pilot Program. She brings compassionate people and leadership skills to the creation of a formal mentorship program within AMIA, striving to foster deeper and more impactful professional connections within our community. As the Lead Film Archivist at Duplitech, Ashley expertly manages fragile and valuable film collections for remastering. Ashley holds dual Master’s degrees in Museum Studies and Business Administration with respective emphases in collections management and leadership from John F. Kennedy University. She has had the opportunity to work at organizations such as Oddball Films and Pixar Animation Studios. Ashley is the former Co-chair of the AMIA Education Committee, former Chair of the AMIA Scholarship Subcommittee and former Secretary of the AMIA Pathways (formerly ADIFP) Task Force. She loves dogs, ice cream and knitting.
Caroline Figueroa Fuentes
Caroline Figueroa Fuentes is a film restorer and archivist. After completing her degree in Restoration of Movable Cultural Property from the National School of Conservation, Restoration and Museography of the National Institute of Anthropology and History of Mexico, she went on to work as a restorer and archivist in different audiovisual archives, including: Televisa Foundation, the Centro de Capacitacion Cinematografica A.C. and the Cineteca Nacional Mexico. She subsequently acted as a consultant for the implementation of a preservation plan for the film archive of the Cinemateca Dominicana in the Dominican Republic. Recently she completed her MA in Conservation and Restoration of Audiovisual and Photographic Heritage at the University of Applied Sciences – HTW Berlin, where she also collaborated as a regular lecturer and laboratory engineer in the focus area of conservation and restoration of photographic and audiovisual materials. In the last year, she served as a film restorer for the German Federal Archives (Bundesarchiv) and was later appointed restorer in charge of the audiovisual collections of the Ethnological Museum and the Museum of Asian Art of Berlin.
Scott Fritz
Scott Fritz – president/lead composer. Chances are, you’ve heard the musical creations of Scott Fritz. Scott is the co-writer and producer of “Taste The Feeling”, the global Coca-Cola anthem which has redefined the sound of the world’s most recognizable brand. Scott has produced and composed dozens of global commercial spots for Schweppes, Hot Springs Spas, Lyft, and Facebook, to name a few. Scott is also a composer for Warner/Chappell and Alcon/Sleeping Giant, having worked on major motion pictures such as Blade Runner 2049, Father Figures, How To Be A Latin Lover, and dozens more. Scott completed the audio restoration on the upcoming 6k restoration of Orson Welles’ Chimes At Midnight, using advanced Izotope RX software, and enhanced the overall frequency response of the iconic film.
Anne Gant
Anne is Head of Film Conservation and Digital Access at Eye Filmmuseum in Amsterdam, The Netherlands. She is Head of the FIAF Technical Commission and a participant in the AMIA Preservation Committee.
Gregory Gantner
Award winning filmmaker, sculptor and art scene catalyst. He was a Co-Director of the Orson Welles Centennial Festival in Woodstock, Illinois, Welles’ adopted home town. He is an Associate Producer on the 6K Restoration of Orson Welles’ Chimes at Midnight and its marketing design.
Willow Germs
Willow Germs (she/they) is a Digital Services Librarian and Audiovisual Preservation Assistant at California Revealed, a California State Library initiative to digitize and preserve archival collections related to California history from partner libraries, archives, museums, and historical societies. She has an interest in social movements, folklife, experimental art, and the mundane. They received their Master of Library and Information Science degree from San José State University.
Rebecca M. Gordon
Rebecca M. Gordon is a film studies scholar, VML systems manager/film restorer, and a recent graduate of Toronto Metropolitan University’s Film + Photo Preservation & Collections Management program.
Julie Gustafson
Julie Gustafson is an independent documentary maker whose work explores the intersection of public policy and individual lives. In 1972 Gustafson moved to New York City and took a class at Global Village, an avant garde screening and production center located in lower Manhattan. There, Gustafson fell in love with video, embracing its low cost, ease of use, and its role in an emerging guerilla video movement. Gustafson’s first video, THE POLITICS OF INTIMACY (1973), featured ten women talking about such taboo subjects as women’s sexuality, power, and fears of intimacy. Later works, GIVING BIRTH (1976) and HOME (1979), co-produced with John Reilly, explored rarely seen milestones faced by American women and families. Her THE PURSUIT OF HAPPINESS (1983) is a video exploration of the Declaration of Independence’s most ambiguous “self-evident truth” through portraits of six people whose paths intersect at a maximum security prison in Pittsburgh, PA.
Steven Haines
Steven Haines is a motion picture archivist, film historian, and all-around media archaeologist with a passion for promoting marginalized media forms and stories. In 2016, he founded the Flea Market Films microcinema and archive, from which he has curated dozens of adventurous events in and around the city of Pittsburgh. In 2022, he co-founded 501(c)(3) Pittsburgh Sound + Image, with the goal of furthering film screening and preservation initiatives. He is currently pursuing an MLIS degree, with a focus on archives, from the University of Pittsburgh.
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.
Ben Harry
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.
Adam Hart
Adam Charles Hart is the curator of the Guerrilla TV Project with the Media Burn Archive. He is the author of the book “Monstrous Forms: Moving Image Horror Across Media” (Oxford UP, 2019) and the forthcoming books “The Living Camera: The History, Style, and Politics of Handheld Cinematography” and “Raising the Dead: The Work of George A. Romero” (both from Oxford UP).
Buzz Hays
Buzz Hays is one of the world’s leading experts on advanced imaging production and technology in the media and entertainment industry. Buzz is responsible for Google Cloud’s Content Creation Solutions development in the Media and Entertainment Vertical. He works closely with the top M&E customers of Google Cloud to tailor and build solutions to transform traditional methodologies into cloud native workflows from production to post-production to archive migration. Buzz has been involved in technology for media and entertainment for over 30 years with Google, Lytro, Sony, and Lucasfilm THX. He has produced numerous film and television projects for Disney, Paramount Pictures, Sony Pictures and Warner Bros. He is a member of SMPTE, he is the founding Chairman of the Advanced Imaging Society, and he is a member of the Academy of Motion Picture Arts and Sciences where he serves on the Science and Technology Council.
Helyx Chase Scearce Horwitz
Helyx is currently the Interim Director of the People’s Media Record. In 2017, Helyx began work on what is now named the People’s Media Record as part of their role as Tech Manager at Movement Alliance Project (then the Media Mobilizing Project). Since 2017, the Record has engaged dozens of volunteers, and more recently its own small staff to catalog thousands of hours of raw media. In their spare time, Helyx creates video art by, about, and for televisions and computers. They have worked in a variety of non-fiction video formats including documentaries, experimental narratives, multi-channel installation, archival video, and oral history production. Helyx holds a Bachelor of Arts from Hampshire College where they studied Video, Education, and Critical Theory. In March 2020, Helyx completed a Masters of Science in Information at Drexel University with a dual major in Library and Information Science and Digital Content Management. In 2019 they received the Universal Studios Preservation Scholarship from the Association of Moving Image Archivists.
Jackie Jay
Jackie Jay is the owner of Farallon Archival Consulting LLC. She specializes in analog and digital videotape formats and archival curriculum development. Jackie is also the Videotape Digitization Instructor and Technical Advisor for both the American Archive of Public Broadcasting’s Public Broadcasting Preservation Fellowship and the University of Alabama’s EBSCO Fellowship in Audiovisual Preservation. She teaches Audio Visual Archives at the University of Alabama and Digital Assets: Tools and Methodologies at Diablo Valley College. She is a member of AMIA’s Continuing Education Advisory (CEA) Task Force and AMIA’s Mentorship Pilot Task Force.
Camryn Johnson
Camryn Johnson strives to combine her loves of film, media, history, and culture into one. A 2022 graduate of Hampton University, she earned a B.A. in English with a concentration in film and a minor in journalism. Camryn’s educational, professional, and personal experiences have inspired her career aspirations, which include being dual filmmaker and archivist. That way, she can incorporate her passions and interests together to reach people and change the world around her for the better.
Erica Jones
Erica Jones is a Project Film Specialist in the Moving Image Department of the George Eastman Museum. She is currently working on a 26 month IMLS grant processing the Museum’s South Asian Cinema collections. She holds a PhD in Ethnomusicology from the University of California, Riverside studying Indian Classical music and a certificate from The L. Jeffrey Selznick School of Film Preservation.
Jimi Jones
Dr Jimi Jones is the archivist for the Center for Innovation in Teaching and Learning at the University of Illinois at Urbana-Champaign. His research focuses on moving image standards. He also teaches as Adjunct Lecturer for the School of Information Sciences at the University of Illinois. Jimi is the co-author of a forthcoming book about the development of digital video standards, including the FFV1 and Matroska standardization work done by the CELLAR community.
Tim Knapp
Tim Knapp is the Chief Operating Officer for PRO-TEK Vaults. Tim brings more than forty years of experience in motion picture and still photo imaging – first in film, and more recently in digital. In his nearly 30 years at Kodak, Tim’s career began at the manufacturing headquarters in Rochester NY, where he had technical responsibilities in motion picture product development, product engineering and quality management. As the North American Sales Manager in Kodak’s Hollywood Office – and later as Vice President, Sales and Marketing, for Technicolor Entertainment Services — Tim worked directly with movie studios, labs, cinematographers, indie filmmakers, archivists, and others. Tim joined PRO-TEK Vaults in 2016 from Reflex Technologies where he served as President of this archival scanning company. He is currently a member of the Association of Moving Image Archivists, the Society of American Archivists, an Associate Member of the American Society of Cinematographers, and a former Board Member of the Giant Screen Cinema Association. Tim has an extensive and wide-ranging understanding of the capabilities and challenges of film and video, including the issues and opportunities it presents for archivists as they face aging media libraries and an increasingly digital future. Tim enjoys movies and golf.
Reto Kromer
Having graduated in both mathematics and computer science, Reto Kromer became involved in audio-visual conservation and restoration thirty-six years ago. He has been running his own preservation company and lecturing at the Bern University of Applied Sciences, the Academy of Fine Arts Vienna and the Elías Querejeta Zine Eskola in Donostia (San Sebastián). Previously he was head of preservation at the Cinémathèque suisse (the Swiss National Film Archive) as well as a lecturer at the University of Lausanne. He served as an AMIA board member for four years.
Tim Lake
Tim joined BAVC Media in 2019 as a Preservation Technician, following audiovisual archiving internships with the DC Punk Archive and Smithsonian Archives of American Art. He studied Archive Science at University of Maryland and Audio Engineering at American University. He is now the lab manager at the BAVC Preservation office in Oakland, helping to support its commitment to accessibility, training, and community engagement.
Marie Lascu
Marie Lascu is an audiovisual archivist based in New York City, and has volunteered with XFR Collective since 2015. She is a graduate of New York University’s Moving Image Archiving and Preservation (MIAP) M.A. program, as well as a core organizing member of the Community Archiving Workshop (CAW) group. Since 2012, she has worked primarily with independent artists, activists, and small organizations focused on practical methods to manage their own cultural and historical output.
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 forthcoming book from Oxford University Press is entitled How the Movies Got Their Past, A Historiography of American Cinema, 1894-1930.
Andrea Leigh
Andrea Leigh is the Metadata Management and Digital Content Unit Supervisor at the Library of Congress National Audio-Visual Conservation Center where she is responsible for implementing and developing workflows, policies and procedures for the description, processing, and ingest of moving images. Previously, she held positions at the UCLA Film & Television Archive, UCLA Library Cataloging and Metadata Center, Walt Disney Company, Cal State University, Northridge and Creative Artists Agency. She has a B.A. in Theater Arts and MLIS from UCLA.
Diana Little
Diana Little directs the Film Department at The MediaPreserve, a laboratory outside of Pittsburgh, PA that specializes in the digitization of archival audiovisual materials. Prior to her time at The MediaPreserve, Diana spent most of a decade working on film restorations at Cineric, Inc. in New York City. She holds a bachelor’s degree in Film Production, History, and Theory from Vassar College and completed the certificate program at the L. Jeffrey Selznick School of Film Preservation at George Eastman Museum. She currently serves on the board of the Al Larvick Conservation Fund and has participated in Home Movie Days in New York and Pittsburgh since 2003.
Susan Lord
Susan Lord is Professor of Film and Media and Director of Vulnerable Media Lab (VML). Recent publications: co-editor with María Caridad Cumaná, The Cinema of Sara Gómez: Reframing Revolution (Indiana UP 2021) and Public no. 57: Archive/CounterArchives (Summer 2018), eds. May Chew, Susan Lord, and Janine Marchessault.
Lily Lubin
Lily Lubin is currently pursuing a Masters in Library and Information Science at the University of California, Los Angeles, where she is also the co-chair of the student chapter of ARSC. This summer, Lily was the Roselani Media Preservation Intern at the ‘Ulu‘ulu: The Henry Kuʻualoha Giugni Moving Image Archive.
Scott MacQueen
Scott MacQueen is a graduate of the NYU Film & Television School. He has worked thirty years in film restoration for the Walt Disney Company, PRO-TEK Media Preservation Services and was Head of Preservation for the UCLA Film & Television Archive. Since retiring in 2021 he is a freelancer. Mr. MacQueen has written on film history and technology for The Journal of Film Preservation, American Cinematographer, The Moving Image, The SMPTE Journal, Cinefex and Films of the Golden Age. He has provided DVD and Blu-Ray commentaries for Bride of Frankenstein, Doctor X, Fantasia, A Midsummer Night’s Dream and Mystery of the Wax Museum. Honors include a 1997 Anthology Film Archives “Film Preservation Honoree”, a 2001 “Annie” from ASIFA-Hollywood for “Special Achievement in Animation,” the first “Golden Ears Award” from Audio Mechanics in 2021, and the 2021 Rondo Award for “Best Restoration” of Doctor X.
Michael Madison
Professor Michael Madison is Professor of Law at the University of Pittsburgh School of Law in Pittsburgh, Pennsylvania, USA. He is a Senior Scholar with the University of Pittsburgh Institute for Cyber Law, Policy, and Security (Pitt Cyber). At Pitt Law, he is Faculty Director of the Future Law Project and a John E. Murray Faculty Scholar. As a researcher and teacher, Professor Madison focuses on institutions for producing, storing, and distributing knowledge. The scope of his writing includes information, data, creativity, innovation, and art; it ranges from the development of research universities to patent history, from the law of fair use and production of conceptual art to legal rules governing data, network security, and computer software.
Guadalupe Martinez
Guadalupe (they/she) was born and raised in the San Fernando Valley, and is a recent MLIS graduate. They have worked in public libraries, youth arts education, and community organizing in Southern California. As part of the fellowship, Guadalupe gains hands-on skills digitizing and assessing audiovisual collections held by local community organizations, with emphasis on preserving tape-based media.
Anna Lynn E. Martino
Anna Lynn Martino is the Director of the Archives and Library at Nickelodeon and a co-chair of AMP, Asian Media Professionals group for Paramount Global. She has an MLIS with an emphasis in Moving Image Archive studies from UCLA and an undergraduate degree in Art History from UCSC. When she’s not managing Nickelodeon Animation’s amazing history, she’s spending way too much time looking at a screen, listening to music, and collecting forgotten grocery store houseplants and nursing them back to life.
Mike Mashon
Mike Mashon is Moving Image Section Head for the Library of Congress National Audio-Visual Conservation Center. The Section is responsible for the acquisition, description, conservation, and storage of the Library’s film, video, and digital moving images collection, as well as establishing preservation priorities and increasing access through such initiatives as the National Screening Room, a film loans program, and the Packard Campus Theater. In a previous life he was an immunologist, the first person hired by the State of Texas to conduct AIDS testing in 1985. He holds a B.S. in Microbiology from Louisiana State University, a Masters in Radio-Television-Film from the University of Texas, and a Ph.D. in Radio-Television-Film from the University of Maryland.
Julia Mettenleiter
Julia Mettenleiter is an archivist and restorer at the archival film collections of the Swedish Film Institute and the current co-chair of the AMIA Preservation committee. In addition to her MA degree in Literature and Film Studies from the university in Munich, she graduated from the L. Jeffrey Selznick School of Film Preservation in 2018. Previously Julia held the position of Assistant Project Manager at the film restoration laboratory L’Immagine Ritrovata and worked for the Cinema Ritrovato festival in Bologna, Italy.
CK Ming
CK Ming is a media digitization and conservation specialist at the Smithsonian National Museum of African American History & Culture. They are a graduate of NYU’s Moving Image Archiving and Preservation program. They have worked at diverse archives across the country and currently sit on the boards of the Association of Moving Image Archivists, The National Film Preservation Board, The Center for Home Movies and Chicago Film Archives. They are also the chair of the advisory board for the AMIA Pathways Fellowship Program.
Morgan Oscar Morel
Morgan Oscar Morel is the Director of BAVC’s Preservation Department. He works to preserve the artistic heritage and cultural memory held on obsolete video media and provide training for AV preservation. When not spending time with old VTRs and magnetic tape, he advocates for open workflows, open source formats, and accessible educational tools. He is most interested in preserving media created by underrepresented communities and artifacts from artists, activists, and early video pioneers.
Tani Nakamoto
Tani Nakamoto (she/her) works as the Metadata and Curatorial Assistant for the Oral History Projects department for the Academy Museum in Los Angeles. She first came to the department as an Academy Gold Rising intern in the summer of 2021, and in 2022 transitioned into a role supporting curatorial and cataloging specifically for oral history collections. Tani is passionate about metadata and is currently working on a project to catalog a large subcollection of the Visual History Program collection to support its access online. Tani is a graduate of Pasadena City College’s program in Library Technology, Archives and Digital Collections. She aspires to have her own backyard garden someday but until then does well with container gardening. This year she proudly harvested her first crop of figs and one dragon fruit.
Christopher Nicols
Christopher Nicols has been the AV Archivist for the New York City Municipal Archives Department of Records since 2018 after graduating from NYU’s Moving Image Archiving and Preservation program in 2017. At the Municipal Archives, he has developed collections such as WNYC-TV film and video tape, WNYC Radio discs and tapes, NYPD surveillance films, Channel L video tapes and NYDA case files. Additionally, he is an active member of XFR Collective where he digitizes tapes from a wide array of creators, organizes screenings and creates educational zines.
Michelle O’Halloran
Michelle O’Halloran is a PhD candidate in Cultural Studies. With a background in film and animation studies, her research explores fan-made archives of anime and manga in a transnational context. As a Vulnerable Media Lab technical assistant she is digitizing analog media from “marginalized” sources.
Hope O’Keeffe
Hope O’Keeffe has been Senior Associate General Counsel of the Library of Congress since November 2006, supervising all collections matters including acquisitions, copyright, intellectual property, social media, web archiving, and increasing digital access to Library collections. Prior to joining the Library she worked at the National Endowment for the Arts in the Office of General Counsel and in the Office of National Initiatives. Before NEA she worked as a litigator at Arnold & Porter and a union lawyer at Bredhoff & Kaiser and clerked for the DC Circuit. She attended Amherst College and the George Washington University Law School.
Devin Orgeron
Devin Orgeron is Editor of The Moving Image, Professor Emeritus of Film and Media Studies at North Carolina State University, co-founder of Deserted Films (Palm Springs, CA), and Chair of the Northeast Historic Film Summer Symposium, which takes place in late July in Bucksport, Maine. Devin is the author of Road Movies (Palgrave, 2008), co-editor of Learning with the Lights Off (Oxford, 2012), and his work has appeared in numerous academic and popular collections and film journals. He would like to remind everyone to submit their work to The Moving Image.
Nina Patterson
Nina Patterson has a Bachelor of Fine Arts from Concordia University in Film Studies and Art History. She went on to obtain her Master of Information Studies from McGill University. She is a processing archivist at the Canadian Centre for Architecture in Montréal. She works with the museum’s extensive born-digital collection as well as their audiovisual holdings.
Annie Peterson
Annie (she/her) is the Project Director for Maintenance Culture: Sustaining Digital Creative Works, Myriad’s project funded by an NEH Preservation Education and Training grant. Annie has experience in consulting, training, and working in preservation in libraries and archives. Prior to joining Myriad she worked in several roles at LYRASIS, a non-profit membership organization, providing leadership for the LYRASIS Learning training program, consulting on preservation, and teaching preservation and digitization-related online classes. From 2012 – 2015 she was the Preservation Librarian at Tulane University, rebuilding a preservation program for the library’s general and special collections. Annie received her MLIS from the University of Illinois, Champaign-Urbana, along with a Midwest Book and Manuscript Studies Certificate in Special Collections.
Patrice Hines Prevost
Patrice Hines Prevost is currently enrolled in the masters of archival studies program at Clayton State University. She is an American Archive of Public Broadcasting Preservation Fellow and is currently collaborating with Georgia Public Broadcasting. Prevost is a native of New Orleans. Her interests in digital archives and moving image narratives was ignited when she recognized the urgency and slowed response to preserve these cultural heritage treasures. She finds value in all communities, from down the bayous of southern Louisiana to the breezy apple orchards of the Georgia mountains to the random chatter on urban bus lines. She has an extensive background in working within public libraries and as a community liaison/volunteer coordinator. Her interest in preserving the integrity of the cultural heritage material is simply that she wants to give voice to protect the records. She enjoys healthy food, great company, and many genres of music. She earned a master of library and information science from Southern Connecticut University and a bachelor’s in mass communication from Loyola University in New Orleans. She has spent the past year doubling as a caregiver to her late parents and as a graduate student.
Dave Rice
🙂
Ben Rubin
Ben Rubin is the Horror Studies Collection Coordinator for Archives & Special Collections at the University of Pittsburgh Library System. He is responsible for building, managing, and curating archival and rare book resources related to horror studies and serving as subject area expert for reference related to the subject area. He also participates in teaching with primary sources efforts across numerous collecting areas and disciplines including horror studies, history of the book and printing, underground press, and gender studies.
Aboubakar Sanogo
Aboubakar Sanogo is an Associate Professor in Film Studies at Carleton University in Ottawa, Canada. He is cross appointed with the Institute of African Studies (IAS), the Institute for Comparative Studies in Literature, Art and Culture (ICSLAC) and the Curatorial Studies Program. His research interests include African cinema, Afro-diasporic cinema, documentary film and media, transnational and world cinema, film archiving and film heritage, colonial cinema, postcolonialism, race and cinema and the relationship between film form, history and theory.
Elias Savada
Elias Savada has been involved with film research since attended Cornell University in the 1960s. He spent 14 years with The American Film Institute, mostly on its AFI Catalog project, and was the sole compiler of the Film Beginnings, 1893-1910 2-volume set. Since 1977 he has run the Motion Picture Information Service, originally formed to help with logistical film shipments to various overseas film archives and festivals. In the mid-1980s he began providing customized copyright reports to a client base that has grown to over 2,000 entities. He has also helped finance numerous features and shorts (Scrap, Skywatch, Nuts!, The Pain of Others, German Angst, Our Nixon, and others). He co-authored Dark Carnival: The Secret World of Tod Browning, Hollywood’s Master of the Macabre (1995, revised version due in 2023). He writes reviews for Film International and is a contributor to the Mid-Atlantic Brew News. When he’s not researching copyrights, he’s usually downing a craft beer, watching a movie, or expanding his 35,000-person family tree.
Bernard Schlager, PhD
Bernard Schlager is Associate Professor of Historical & Cultural Studies at Pacific School of Religion and Executive Director of The Center for LGBTQ and Gender Studies in Religion (CLGS). Dr. Schlager’s research interests include queer studies, the history of Christianity, LGBTQ pastoral care, and medieval social and religious history. He has published numerous articles on ancient church history, medieval hagiography, the history of sexuality, and the history of education. He recently co-authored a book with David Kundtz: “Ministry Among God’s Queer Folk: LGBTQ Pastoral Care” (Second Edition: Cascade Books, 2019).
Annie Schweikert
Annie Schweikert (she/her/hers) is a digital archivist at Stanford Libraries, where she processes, preserves, and makes accessible born-digital archival collections. She is a graduate of the Moving Image Archiving and Preservation (MIAP) program at New York University. Annie is also the Co-Chair of the Open Source Committee and collaborator with the Continuing Education Advisory (CEA) Task Force.
Bethany Scott
Bethany is the Head of Preservation & Reformatting at the University of Houston Libraries. In this role she provides strategic leadership for the Libraries’ physical and digital preservation programs, and digitization and reformatting services for the Libraries and its patrons. Bethany also serves as Product Owner of the Libraries’ open-source digital access and preservation ecosystem, which incorporates Avalon, Hyrax, Archivematica, and ArchivesSpace.
Jennifer Scott
Jen Scott earned her Master’s Degree in Library and Information Science in 2015 from Syracuse University. After working in public libraries for almost 10 years, she decided to pursue her interest in archival work. She is currently working towards a Post Master’s Certificate in Digital Archives and Records Management from San Jose State University, and is completing her fellowship at the Center for Asian American Media and the Bay Area Video Coalition.
Leila Sherbini
Leila Sherbini is a producer and 1st AD from Chicago. She was the 1st AD on the Sundance award-winning feature film Ma Belle, My Beauty in 2019. She is a member of the 2022 AMIA Pathways Fellowship cohort. Leila currently works as a producer at the creative ad agency, Someoddpilot. She graduated with a B. A in Radio/Television/Film from Northwestern University in 2017 and is currently pursuing a Masters’s Degree in Library and Information Sciences from the University of Illinois Urbana Champaign.
Amy Sloper
Working as the Collections Archivist of the Harvard Film Archive since 2019, Amy manages all preservation projects, research access to the collections, and manages and coordinates new acquisitions from budgets and donor relations to archival processing and description. She is the main point of contact for researchers and regularly collaborates with colleagues in and outside of Harvard on developing workflows and policies toward improving practices in the field of moving image archiving. A graduate of the University of Wisconsin-Madison Communication Arts Department and UCLA’s Moving Image Archive Studies program, she has held positions at the Director’s Guild of America, the UCLA Film & Television Archive, the Getty Research Institute, the Wisconsin Center for Film & Theater Research, the UW-Madison iSchool, and previously worked for seven years as a film conservator for the HFA. She is a founding member of the Community Archiving Workshop and served on the board of the Center for Home Movies from 2014-2022.
James Snyder
James Snyder is the Senior Systems Administrator for the Library of Congress’ National Audio Video Conservation Center (NAVCC) in Culpeper, Virginia. His duties include technical lead for audio, video, and film preservation technologies including digitization technologies, planning, budgeting & implementation; data preservation, technology liaison with content industry organizations, and standards setting participation. His 42 year career includes the ATSC digital TV rollout, the worldwide HD transmission networks at Intelsat and MCI-Verizon, and teaching over 10,000 participants in analog, digital , IT security, and file-based workflow classes since 1998. He was awarded the 2007 Emmy for the ATSC digital television standard, is a SMPTE Fellow, and a winner of the James A. Lindner Archival Technology Award. He is a member of the AES, AMIA, AMWA, HPA, IASA, IEEE, NATAS and SMPTE.
Tuesday Sweeney
Tuesday Sweeney is a senior majoring in Art History at the University of Colorado Boulder. She is also a Media Archiving and Preservation Fellow at the University Libraries gaining experience handling archival media and related equipment with a focus on film digitization. Her interests are in accessibility, management, and engineering. As a child, she remembers being scolded for sticking her fingers inside the family VHS deck, as well as accidentally ruining a rental by pulling the tape out; she finds a lot of satisfaction in tinkering, both digitally and physically. When she graduates she is interested in continuing to study obsolete audiovisual formats, and finding ways to show people them. In her free time, Tuesday enjoys writing, watching movies, and perusing eBay.
Linda Tadic
Linda Tadic is Founder/CEO of Digital Bedrock, a managed digital preservation service provider that helps libraries, archives, museums, producers, studios, artists, and individuals preserve their digital content. Her over 35 years’ experience includes positions at HBO, ARTstor, the Media Archives and Peabody Awards Collection, and the Getty Research Institute. Linda consults and lectures on digital asset management, audiovisual and digital preservation, metadata, and the impact of digital preservation on the environment. She is a founding member and former President of the Association of Moving Image Archivists (AMIA), and is currently on the National Digital Stewardship Alliance (NDSA) Coordinating Committee.
Sherly Torres
Born in Puerto Rico and raised there and in Rhode Island, Sherly Torres emerged as a local painter and as an art history and museum enthusiast. Her past works used to center around cultural dissociation represented as cubist-like childhood memories and architecture. Presently, she intends to artistically explore the psychology of ADHD and its role within the Latinx culture and her own perspective on it. Graduating from Rhode Island College with a BFA in painting, she decided to take a step back from pursuing a graduates degree and concentrated on youth development and art-making within her community. Currently she balances positions between New Urban Arts as a program coordinator for high schoolers, and The RISD Museum as a museum educator. Today, she concentrates on building bridges for the youth of her community to connect to the museum field and the art community surrounding them.
Brianna Toth
Brianna works as a Preservation Archivist at the Academy of Motion Picture Arts & Sciences Film Archive on the Blackhawk Films Collection where she oversees a large-scale digitization project—the primary aim of which is to scan to protect rare and under-represented titles within the collection for greater access. In addition to this, she also works as the Program Manager for Online Education for the AMIA. She has worked previously for the Getty Research Institute (GRI), UCLA Film & Television Archive (UCLA FTVA), Conner Family Trust, Estate of George and Mike Kuchar, Bob Baker Marionette Theater and digitally preserved the Sequoia Kings Canyon National Park’s videotape collection. Much of her professional work has focused on the restoration and stewardship of moving image artist collections. This dedication to artists and filmmakers extends to exhibition standards and the acquisition of artworks within a fine art context.
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. Since 2013, she is one of the Executive Committee of FIAF(International Federation of Film Archives).
Moriah Ulinskas
Moriah Ulinskas (Oakland, CA) is an audiovisual archivist and PhD candidate in History at the University of California at Santa Barbara where she serves as the Reviews Editor for The Public Historian, the journal of the National Council on Public History. Her research focuses on the impact of post-war redevelopment programs on communities of color, with a focus on photographic archives. She is a founding member of the Community Archiving Workshop (CAW) and manages CAW’s IMLS funded “Training of Trainers” project and NEH funded “Audiovisual Collections Care in Tribal Archives” project.
Pamela Vadakan
Pamela Vadakan directs California Revealed, a California State Library initiative that collaborates with heritage organizations to digitize, preserve, and provide online access to collections related to California history. She’s also a member of the Community Archiving Workshop and serves on the Board for the Center for Home Movies.
Emily Vinson
Emily Vinson is Audiovisual Archivist at the University of Houston Libraries Special Collections. Prior to UH, Emily worked as an archivist at Rice University’s Baker Institute for Public Policy; a project archivist preserving unique audio holdings at New York Public Radio; and a fellow in Preservation Administration at New York Public Library. She holds an MS in Information Studies with a Certificate of Advanced Studies in Preservation Administration from the University of Texas, Austin. Emily is co-chair of AMIA’s Regional Audio-Visual Archives (RAVA) Committee and chair of the Scholarship Subcommittee.
Jamie Marie Wagner
Jamie Marie Wagner has been the Moving Image Archivist in the University of Colorado Boulder Libraries since 2019. She oversees moving image film and video materials in the Libaries’ Rare and Distinctive Collections, as well as paper collections related to American experimental filmmaking and media history. She has an MA in Film and MLS from the University of Wisconsin-Madison. She is currently a member of the Association of Moving Image Archivists’ Continuing Education Advisory Task Force and is the Rocky Mountain Representative to the Regional Audiovisual Archiving Committee.
Andrew Weaver
Andrew Weaver is the Media Preservation Librarian at the University of Washington Libraries. A graduate of the University of Washington (B.A., MLIS) he has also held positions at Washington State University.
Matthew Wilcox
Matthew Wilcox (he/him) is the Audiovisual Archivist at Michigan State University. He joined the staff in 2014, working part-time at University Archives & Historical Collections (UAHC) before taking a full-time position in 2019. In 2020, Matthew became a member of the Media Preservation Unit (part of the Conservation & Preservation Unit at Michigan State University Libraries) while maintaining a secondary assignment with UAHC.
Matthew received his Master of Library and Information Science from Wayne State University (Detroit, MI), with a concentration on Archives & Digital Content Management, and a Bachelor of Arts from Siena Heights University (Adrian, MI), with a focus on multidisciplinary studies.
Justin D. Williams
Justin D. Williams is a memory-worker, documenter, and an audiovisual archivist. His practice emerges from a mix of in/formal training and apprenticeships in black memory-keeping traditions, art and cultural studies, participatory design, media technology, and archival practices. He enjoys working at the margins of memory and media to recover and share the personal and communal narratives that allow us to find honor, connection, and meaning in the cultural heritage objects we are lucky enough to preserve. As the South Side Home Movie Project’s Archivist and Project Manager, Justin is honored to work closely with families to preserve and share their home movies, an illustrative and intimate form of personal documentation that continues to shape how we understand and make culture, art, media, and memory today. Justin has also worked with Kartemquin Films, the Logan Center’s Digital Storytelling Initiative, Community Film Workshop of Chicago, Storycorps, City Bureau, and partnered with dozens of organizations to design and produce digital storytelling projects.
Greg Wilsbacher
Greg Wilsbacher received his PhD in English from Indiana University (1998) and is a faculty librarian at the University of South Carolina’s Moving Image Research Collections where he curates the Fox Movietone News Collection and the United States Marine Corps Film Repository. He writes and lectures on newsreel history, digital preservation theory, optical sound technologies and military cinematography. He is part of an interdisciplinary research team at USC bringing together high-performance computing, computer vision and film archiving.
Melissa Woods
Melissa Woods is the Collections Archivist at the Pixar Living Archives. She’s been working at Pixar for about 10 years, originally as the Exhibitions Archivist and then moving into her current role for the last 4 years. She has a Postgraduate Diploma in Paper Conservation from Camberwell College of the Arts and an MLIS from San Jose State University.
ENTRE
ENTRE is an artist-run community film center and regional archive that focuses on the creation, exhibition, and preservation of community-made cinema, documentary, video art, and other forms of alternative cinematic expression. Located in the Rio Grande Valley, Texas, ENTRE’s mission is to provide access, knowledge, and skills in filmmaking and archival practices, inviting more voices to document, share, and preserve the vast narrative of US/Mexico border communities. Artists C. Díaz and Andres Sanchez co-founded ENTRE in 2021 with the intention for it to eventually operate as a cooperative made up of local artists, activists, and community organizers dedicated to its mission. www.entrefilmcenter.org.