Exploring Audiovisual Archives Through Aligned Thesauri

2016 ◽  
pp. 211-222 ◽  
Author(s):  
Victor de Boer ◽  
Matthias Priem ◽  
Michiel Hildebrand ◽  
Nico Verplancke ◽  
Arjen de Vries ◽  
...  
Keyword(s):  
Audiovisual Archives

Challenges in using moving images at the MAC/VAL, Vitry-sur-Seine

2009 ◽  
Vol 34 (3) ◽  
pp. 11-15
Author(s):  
Céline Latil
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Moving Images ◽  
Audiovisual Archives ◽  
Contemporary Art Museum

This article describes the documentation centre at the contemporary art museum MAC/VAL in Vitry-sur-Seine in the Val-de-Marne, outside Paris, and in particular its audiovisual collections. It outlines the problems that have to be faced when seeking to make this material – documentaries and artists’ videos, whether purchased or produced in-house, even the museum’s audiovisual archives – available to the centre’s users.

Preservation of AVA heritage: strategies of development of audiovisual archives

2001 ◽  
Vol 50 (7/8) ◽  
pp. 417-420
Author(s):  
Tedd Johansen
Keyword(s):  
Audiovisual Archives

FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!

2021 ◽  
Vol 1 (46) ◽  
pp. 151-182
Author(s):  
Marios Chatziprokopiou ◽  
Keyword(s):  
Asylum Seekers ◽  
Real Life ◽  
Main Body ◽  
Original Play ◽  
Documentary Theatre ◽  
History Of ◽  
Audiovisual Archives ◽  
Displaced People ◽  
The Voice ◽  
Ancient Drama

We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.

Archives, Repatriation, and the Challenges Ahead

2018 ◽  
pp. 144-160
Author(s):  
Anthony Seeger
Keyword(s):  
United States ◽  
Research Ethics ◽  
The United States ◽  
Funding Agency ◽  
Digital Recording ◽  
Cultural Institutions ◽  
Local Circulation ◽  
Communications Technologies ◽  
Audiovisual Archives ◽  
Definition Of

For decades, ethnomusicologists, folklorists, anthropologists, and a variety of cultural institutions such as audiovisual archives and museums have been returning parts of their collections to the communities from which they were originally obtained. Starting with a definition of repatriation, this chapter describes some of the attributes of successful repatriation projects. They usually require a highly motivated individual or group within the community, an intermediary to help locate and obtain the recordings, and a funding agency for the effective return of the music to circulation within the community. Different kinds of repatriation are described using examples from the author’s research in Brazil and projects in Australia, India, and the United States. Projects to return music to local circulation have been greatly facilitated by changes in communications technologies and digital recording, and by profound changes in research ethics and the relations between researchers and documentarians and the communities in which they work. Despite these improvements, challenges remain.

From analogue collection to multifunctional access

2017 ◽  
Author(s):  
Filip Kwiatek
Keyword(s):  
Eastern Europe ◽  
Cultural Legacy ◽  
National Heritage ◽  
National Archives ◽  
Audiovisual Archives ◽  
Private Collections ◽  
Public Tv

Polish audiovisual heritage is a very important part of the cultural legacy of the country. Unfortunately the use of and access to Polish audiovisual archives is still in its initial phases. The Polish Ministry of Culture and National Heritage has made great strides towards solving the problems of access and limitations of use. In 2009 the ministry established the National Audiovisual Institute (NInA), which prompted several digitization projects including collaborations between Polish Public TV, National Archives, museums and private collections. This paper highlights some of the creative uses of Poland’s audiovisual heritage and demonstrates how NInA has become an innovator and a leader in the audiovisual field in Poland and Eastern Europe.

Applying the “baby nursing model” in under-resourced audiovisual archives in Africa

2017 ◽  
Author(s):  
Judith Opoku-Boateng
Keyword(s):  
African Countries ◽  
Post Colonial ◽  
Field Recordings ◽  
Extensive Documentation ◽  
Audiovisual Archives ◽  
The University ◽  
Traditional Arts ◽  
University Of Ghana ◽  
Private Collections ◽  
Positive Results

It is a well-known fact that there has been extensive documentation of African traditional arts in post-colonial Africa, which has contributed to the growing accumulation of field recordings in Africa that could form the nucleus for archives in individual African countries. These include private collections as well as recordings at broadcasting and television stations; government ministries such as Tourism, Culture and Information; museums and academic institutions. Sadly, these precious traditions – which have been expensively captured – are often not properly managed in their host institutions. The caretakers of this heritage mostly sit by as collections deteriorate and sometimes are disposed of due to lack of institutional support. Such practices prevail in most African archives. This paper proposes a new mode of consciousness of the value of audiovisual heritage materials by comparing them with human babies. This new archival management principle, ‘the baby nursing model’, has been adopted and practiced at the University of Ghana and has achieved positive results.

Archives for the Future. Global Perspectives on Audiovisual Archives in the 21st Century

2005 ◽  
Vol 18 ◽  
pp. 289
Author(s):  
Patrik Vincent Dasen ◽  
Anthony Seeger ◽  
Shubha Chaudhuri
Keyword(s):  
21St Century ◽  
Global Perspectives ◽  
The Future ◽  
Audiovisual Archives

scholarly journals Changing gears

2017 ◽  
Author(s):  
Johan Oomen ◽  
Maarten Brinkerink ◽  
Bouke Huurnink ◽  
Roeland Ordelman
Keyword(s):  
The Netherlands ◽  
Software Development ◽  
It Strategy ◽  
Work Processes ◽  
The Core ◽  
Informational Technology ◽  
Organization Strategy ◽  
User Groups ◽  
Audiovisual Archives ◽  
Specific Implementation

Audiovisual archives are embracing the opportunities offered by digitization for managing their work processes and offering new services to a wide array of user groups. Organization strategy, working processes and software development need to be able to support a culture where innovation can flourish. Some institutions are beginning to adopt the concept of ‘two-speed IT’. The core strategy aims to accommodate two informational technology tracks simultaneously: foundational but ‘slow’ and innovative but exible and ‘fast’. This paper outlines the rationale behind the two-speed IT strategy. It highlights a specific implementation at the Netherlands Institute for Sound and Vision, a large audiovisual archive and museum where two-speed IT is enabling the institute to reach its business objectives.

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