Round Table: Pedagogy Against the Grain

Abstract: In this round table discussion, participants will address the different ways archival education can contribute towards the goals the conference centres on: the ‘activation’ of audio-visual collections, and specifically, their repurposing – and reconceptualization – as (truly) communal resources. How can archival programmes, or more informal forms of training, help challenge or break down still-dominant (power) relations between the keepers, users and other stakeholders of archival collections? How can they help highlight the contemporary relevance of collections with evident (media) historical interest, and in particular, their potential as resources for civic engagement or as instruments for engendering socio-political change? And importantly: what sort of pedagogical models does this require? These and other questions will be addressed by a panel composed of staff and students from a number of programmes, established and nascent and from around the world, that are dedicated to the teaching of future moving image preservationists, curators and programmers.

Participants:

Dimitrios Latsis is Assistant Professor of Film Studies at the School of Image Arts, Ryerson University in Toronto where he teaches in the Film Studies and Film and Photography Preservation and Collection Management programmes. He received his PhD in Film Studies from the University of Iowa and completed a postdoctoral fellowship in Visual Data Curation at the Internet Archive where he served as Film Archivist. His work on American visual culture, early cinema and the Digital Humanities has been supported by the Smithsonian Institution, Domitor and the Mellon and Knight Foundations among others.

Snowden Becker is Co-founder of Home Movie Day and the Center for Home Movies. She managed UCLA’s Moving Image Archive Studies MA degree from 2012-2016, and is now MLIS Programme Manager. Her doctoral dissertation, Keeping the Pieces: Evidence management and archival practice in law enforcement, examines audio-visual recordings as evidence.

Jonathan Naveh is working towards his MLIS at UCLA, where he specializes in Media Archival Studies. Naveh earned his MA in Film Studies from Ohio University and is broadly interested in the history of film preservation, the future of media archival education and the archival contexts of surveillance imagery.

Clara Sánchez-Dehesa studied Film Preservation in the L. Jeffrey Selznick School, where she received the Haghefilm Scholarship 2011. She combines her freelance work, focuses on recovery and dissemination of Alava's hidden film heritage, with the coordination of the Film Preservation Studies Department of the Elías Querejeta Zine Eskola.

Juana Suárez is Director of the Moving Image Archiving and Preservation Programme at Tisch School of the Arts, New York University. She is a Scholar, Film Critic and Media Preservation Archivist/Activist. Currently, she is working on a Digital Humanities collaborative project aimed to provide resources to Latin American archives and to serve as a think tank for collaborations.

Vinzenz Hediger is Professor of Cinema Studies at Goethe-Universität Frankfurt am Main, where he conducts the graduate research training programme Configurations of Film. He is a co-founder of NECS – European Network of Cinema and Media Studies (www.necs.org) and the founding editor of the Zeitschrift für Medienwissenschaft (www.zfmedienwissenschaft.de).

Sonia Campanini is Professor for Film Culture at Goethe-Universität Frankfurt am Main, where she is responsible for the MA programme Film Culture: Archiving, Programming, Presentation. She holds a joint doctorate at the University of Amsterdam and Udine. She co-edited L’Archivio/The Archive (2012) and is currently revising her monograph Film Sound in Preservation and Presentation for publication.

Giovanna Fossati is Professor of Film Heritage and Digital Film Culture at the University of Amsterdam where she has taught in the MA Preservation and Presentation of the Moving Image Programme since its establishment in 2003. She is also the Chief Curator at EYE Filmmuseum where she supervises a collection of 50,000 titles. She is currently leading the research project The Sensory Moving Image Archive (SEMIA). Boosting Creative Reuse for Artistic Practice and Research.