November 27: Collecting and Preserving Sound and Moving Images

Academy Film Archive, via Atlas of the Future


GUEST: Rachel Mattson, PhD, Curator, Tretter Collection for GLBT Studies, University of Minnesota; Former Manager of Special & Digital Projects, La MaMa Experimental Theatre Club Archives; Core Member, XFR Collective; Historian


Choose a couple from among the following applied texts regarding the material challenges of preserving and accessing/exhibiting archival audio-visual material:

Edison Concert Cylinder, via British Library


Paula Amad, Counter-Archive: Film, the Everyday, and Albert Kahn’s Archives de la Planète (New York: Columbia University Press, 2010); Jaimie Baron, The Archive Effect: Found Footage and the Audiovisual Experience of History (New York: Routledge, 2014); Carolyn Birdsall, Manon Parry, and Viktoria Tkaczyk, “Listening to the Mind: Tracing the Auditory History of Mental Illness in Archives and Exhibitions,” The Public Historian 37:4 (2015): 47-72; Carolyn Birdsall, “Sound and Media Studies: Archiving and the Construction of Sonic Heritage,” in Sound and Popular Culture: A Research Companion, ed. Jens Gerrit Papenburg and Holger Schulze (Cambridge, MA: MIT Press, 2016): 133-48; Anthony Cocciolo’s Pratt “Moving Image + Sound Archives” syllabus; David Cuthbert, “The Work of Archives in the Age of Audio Reproduction: Archival Theory and Recorded Sound,” Masters Thesis, UNiversity of Manitoba, 2016; Zoë Druick and Gerda Cammaer, Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada (Montreal: McGill-Queen’s University Press, 2014); Jim Dwyer, “Videos Challenge Accounts of Convention Unrest,” New York Times (April 12, 2005); Wolfgang Ernst, Sonic Time Machines: Explicit Sound, Sirenic Voices, and Implicit Sonicity (Amsterdam: Amsterdam University Press, 2016); Giovanna Fosatti, “Exploring film Heritage” {video} (March 20, 2017); Giovanna Fossati, From Grain to Pixel: The Archival Life of Film in Transition (Amsterdam: Amsterdam University Press, 2008); Caroline Frick, Saving Cinema: The Politics of Preservation (New York: Oxford University Press, 2011); Katharine Gammon, “Chemistry is Rescuing our Audio History from Melting,” Nautilus (November 11, 2015); Miguel A. García, “Sound Archives Under Suspicion,” in Susanne Ziegler, Gerda Lechleitner, eds, Historical Sources of Ethnomusicology in Contemporary Debate (Cambridge Scholars Press, 2017); Wolfgang Hagen, “On the Impossibility of Archiving the Radio and Its Virtues,” Interactions: Studies in Communication and Culture 8:1 (2017): 35-44; Brian P. Harnetty, “Performing Sonic Archives: Listening to Berea, Sun Ra, and the Little Cities of Black Diamonds,” Dissertation, Ohio University, 2014; Brian Hochman, Savage Preservation: The Ethnographic Origins of Modern Media Technology (Minneapolis: University of Minnesota Press, 2014); Timothy Leonido, “How to Own Pool and Like It,” Triple Canopy (April 2017) [on the corpus that birthed contemporary automatic speech recognition and “constructed the typical American English speaker as white, male, educated, and, oddly, midwestern]; *Jonathan Lethem, “It All Connects: Adam Curtis and the Secret History of Everything,” New York Times Magazine (October 27, 2016); Peter McMurray, “Sensational Histories Beyond the Audiovisual,” Fontes: Artis Musicae 62/3 (July-September 2015): 262-75; Rachel Mattson, “Queer Histories, Videotape, and the Ethics of Reuse,” Center for Humanities Blog (December 18, 2017); Allison Mills, “Learning to Listen: Archival Sound Recordings and Indigenous Cultural and Intellectual Property,” Archivaria 83 (Spring 2017); Bill Morrison, Dawson City: Frozen Time (2017); NYU’s Moving Image Archiving and Preservation Program; Amit Pinchevski, “The Audiovisual Unconscious: Media and Trauma in the Video Archive for Holocaust Testimonies,” Critical Inquiry 39:1 (Autumn 2012): 142-66; Jonathan Sterne, “A Resonant Tomb” in The Audible Past: Cultural Origins of Sound Reproduction (Durham, NC: Duke University Press, 2003): 287-334; Jonathan Sterne, “The Preservation Paradox in Digital Audio,” in Sound Souvenirs, ed. Karin Bijsterveld and José van Dijk (Amsterdam: Amsterdam University Press, 2009: 55-65.

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