Archived News can be found on our new Archived News Page.
IAMHIST Council Elections 2009
IAMHIST is headed by the board of directors. This board consists of the IAMHIST president and 11 council members. All members of the council are elected for four years. For the upcoming election (June 09), there are 6 vacancies on the council (for council members serving from 2009-2013). In the following weeks, all IAMHIST members will receive an e-mail invitation to vote online for the IAMHIST council. Here you can find a short presentation of the candidates.
IAMHIST conference 2009: Social Fears and Moral Panics, Aberystwyth, 8-11 July 2009
FINAL CALL FOR PAPERS
This is the final call for papers for the XXIII biennial International Association for Media and History (IAMHIST) conference, incorporating the 3rd Gregynog Media History Conference, on the theme Social Fears and Moral Panics.
The conference will explore both the role of the media in addressing, highlighting or perpetuating social fears, and the mass media itself as a perceived moral agent and/or threat. We welcome paper proposals that address the theme in both contemporary and/or historical perspective; proposals which engage with the theme comparatively (both geographically and temporally); and proposals which engage with theoretical approaches, including the social theory of moral panic. We also welcome proposals for complete panels (three themed papers); and proposals from postgraduate and early-career scholars in the field of media history, including on ‘off-theme’ topics.
Abstracts of no more than 300 words per paper should be sent to Dr Sian Nicholas at iamhist2009@aber.ac.uk c/o Department of History and Welsh History, Aberystwyth University, Penglais, Aberystwyth, Ceredigion SY23 3DY, Wales UK, by 10 December 2008. Please note, this is the final deadline.
The conference is being organised by IAMHIST, in association with the Centre for Media History and Departments of History and Welsh History, and Theatre, Film and Television, Aberystwyth University, the Department of Media and Communications, Swansea University, and the journals Historical Journal of Film, Radio and Television and Media History, with the support of the National Screen and Sound Archive of Wales, National Library of Wales, Aberystwyth.
Confirmed speakers include Chas Crichter, Julian Petley, Martin Barker, Steve Chibnall, Virginia Berridge, Aled Jones, Jason McElligott, Michele Hilmes, Bridget Griffin-Foley, Sir Quentin Thomas (President, British Board of Film Classification) and Merfyn Jones (BBC Governor for Wales during the Hutton Report).
For further details and updates, see www.aber.ac.uk/history/research/centreformediahistoryIAMHIST2009.html
There are two full-time academic positions available in the Screen and Media
Studies Dept., University of Waikato, New Zealand
- Associate Professor/Professor
- Lecturer/Senior Lecturer (Media Practice)
Further details (including full job descriptions and application forms) are
available from:
http://www.waikato.ac.nz/hrm/vacancies/290104-290105.shtml
Applications for both positions close on Friday, 17 July 2009.
Northeast Historic Film is pleased to announce that registration for
Ways of Watching, the Tenth Annual Summer Symposium, is now open.
For two days this summer, July 24-25, 2009, in Bucksport, scholars,
filmmakers, archivists, students, and members of the public will
gather to learn and discuss how and where art, educational, and
amateur films have been shown. More than 90 presenters have shared
their knowledge since the symposium was established in 2000. Our
traditions: lively conversation, evening screenings, and lobster
dinner.
Presenters this year will travel from as far away as Sweden, Norway,
and Britain, to join other speakers from Arizona, Colorado, Illinois,
Massachusetts, New York, Maine, Pennsylvania, and Texas. Program
details, registration, and lodging information at
http://oldfilm.org/symp_2009. Please register by July 10!
Symposium organizers are Snowden Becker from the School of Information
at the University of Texas, Austin; Janna Jones from the School of
Communication, Cinema and Visual Culture Program at Northern Arizona
University; and Mark Neumann, also from the School of Communication at
Northern Arizona University.
University at Albany, SUNY to offer M.A. in History and Media
January 2009: The University at Albany’s Department of History has introduced a new 36-credit History and Media concentration to its Masters program, allowing students to learn and apply specialized media skills — digital history and hypermedia authoring, photography and photoanalysis, documentary filmmaking, oral/video history, and aural history and audio documentary production — to the study of the past. The History and Media concentration builds on the Department’s strengths in academic and public history and its reputation as an innovator in the realm of digital and multimedia history. Visit the website at http://www.albany.edu/history/histmedia/historymedia.pdf <http://www.albany.edu/history/histmedia/historymedia.pdf>
Among the History and Media courses to be offered beginning in the fall of 2009 are: Introduction to Historical Documentary Media; Narrative in Historical Media; Readings and Practicum in Aural History and Audio Documentary Production; Readings and Practicum in Digital History and Hypermedia; Readings in the History and Theory of Documentary Filmmaking; Readings in Visual Media and Culture; Introduction to Oral and Video History; Research Seminar and Practicum in History and Media.
Instructors in the History and Media concentration will vary but will include a core faculty including: Gerald Zahavi, Professor; Amy Murrell Taylor, Associate Professor; Ray Sapirstein, Assistant Professor; Sheila Curran Bernard, Assistant Professor.
For more information, contact Gerald Zahavi, zahavi@albany.edu; 518-442-5427; http://www.albany.edu/history/histmedia/historymedia.pdf
BFI Head of Film Preservation Opportunity
Head of Film Preservation - Salary: £64,388 - £75,324 - Location: Berkhamsted
The BFI is seeking a Head of Film Preservation to lead on conservation and
preservation within the BFI National Archive.
The role is a unique opportunity to bring excellence and innovation in
thinking and practice to one of the world's most renowned film archives at a
time of significant investment in the sector and technological challenge and
opportunity.
This significant management role requires that you combine your
internationally recognised knowledge and expertise in film conservation and
restoration with proven managerial skills.
You will be able to develop effective working relationships within the BFI
and beyond, playing a key role in the delivery of curatorial and cultural
programmes, participating in large scale capital projects relating to the
care of the Collections and leading on the development of preservation
policy and practice.
You will be educated to degree level or equivalent and have demonstrable
experience of managing a large, historic and diverse film Collection.
The post holder will be based at the J. P Getty Conservation Centre in
Berkhamsted, Hertfordshire, UK and will enjoy benefits such as a final
salary pension scheme, 28-33 days annual leave, free tickets to BFI
Southbank events plus many other discounts and benefits.
How to apply -- Please see http://www.bfi.org.uk/about/jobs/details/260509 or contact
BFI
HR Department
21 Stephen Street
London
W1T 1LN
email: jobs@bfi.org.uk
The closing date for this position is 5.00PM 19 June 2009.
Interviews will be held during the week commencing Monday 6 July.
Job Opportunity: Curator of Film and Director of Block Cinema
Posted on behalf of Mary and Leigh Block Museum of Art:
Curator of Film and Director of Block Cinema, Mary and Leigh Block Museum of Art, Northwestern University, Evanston, IL.
The Mary and Leigh Block Museum of Art, Northwestern University seeks a curator of film and director of Block Cinema. This is a permanent, full-time, professional staff position reporting to the Ellen Philips Katz Director of the Block Museum. The curator of film should be a dynamic, creative, and charismatic individual who can immediately assume a leadership role for all aspects related to the Museum's film program. Responsibilities include:
- Curating and programming ca. 110 films each year (three ten-film series per quarter), including film programming integrated with the Museum's exhibitions
- Directing and supervising a staff of ten part-time student employees and an organization of 50 student volunteers
- Drafting, gaining approval, and managing a growing operating budget of $100,000
- Managing the publication of a quarterly calendar and a student film magazine
- Managing Pick-Laudati Auditorium, its staff and technologies for all museum programs as well as scheduled university classes
- Determining exhibition topics and curating occasional exhibitions in the Museum's galleries on film topics
- Representing and promoting the Block Museum and Block Cinema on local, regional, national and international stages, for example citywide international film festivals and at the Toronto International Film Festival
Requirements:
- Bachelor's degree
- Extensive knowledge of film history, the film industry, and motion picture rights
- Established relationships with film rental companies and archives
- Experience working with students or volunteers
- A high level of competency with reel-to-reel film projection (both 35mm and 16mm) as well as video projection
- Ability to work with the Museum's director, development officers, and grant writers to cultivate donors and generate funding
- Experience in managing budgets
- Experience hiring, firing, supervising staff
- Excellent oral and written communications skills
- Ability to work in a university and museum environment
Salary commensurate with qualifications and experience. Anticipated start date: early fall 2009.
NAVCC Job Opening: GS-9 NFPB/NRPB Staff Assistant
The following vacancy announcement opened today, June 02, 2009, in the - Administrative Section, MBRS: Boards Assistant, GS-09 - Announcement #090110 - Closing Date: June 23, 2009
You can find the announcement at the LC Staff page at
http://www.loc.gov/hr/employment/jobposts.html
Job Opening: UCLA Stanford Theatre Film Lab
Posted on behalf of Sean Hewitt, Lab Manager.
This is to inform you of an open Film Preparation Technician (Assistant
Museum Scientist), at our Hollywood location, posted in the UCLA Job Site:
Requisition Number:: 13519 - Salary Range: $2,893. - $3,451/mo Closing date: 6/2/09
Job Summary Statement: The Film Laboratory Prep Technician works under the direction of the Film
Laboratory Manager to perform normal functions of the Stanford film
laboratory. Major duties include inspecting film and making necessary repairs, cleaning film, negative matching and assembly, and other standard film handling and laboratory procedures. Interested parties should apply online via the new UCLA Job website. At
https://hr.mycareer.ucla.edu/applicants/jsp/shared/frameset/Frameset.jsp?time=12 43464254034)
Applications will not be accepted via mail or email. Resumes, cover letter,and
any other pertinent application materials will be sent to the hiring manager via
the UCLA Job website.
Haghefilm Foundation
The Haghefilm Foundation, a newly established non-profit organization based at the Haghefilm Laboratories in Amsterdam, announces the launch of its website, www.haghefilmfoundation.org <http://www.haghefilmfoundation.org>
The goal of the Haghefilm Foundation is to support research and education on the art and science of film preservation and curatorship. Drawing upon Haghefilm as a learning laboratory for professionals and scholars, the Foundation supports national and international activities which
*develop technical resources for preservation professionals, film curators, and scholars,
*foster educational collaborations among universities, archives, museums, and laboratories, and
*improve scientific and scholarly understanding of historical and emerging film preservation technologies.
The Foundation encourages public appreciation of film as an art form and cultural resource by promoting film exhibition that demonstrates technical and curatorial excellence in festivals and archival venues around the world.
Further information on the activities of the Haghefilm Foundation can be found at www.haghefilmfoundation.org.
2 Job Openings at Northeast Historic Film
JOB OPENINGS: Technical Services Manager (40 hours/week, permanent) and Technical Services/Vault Assistant (40 hours/week, 3-month position)
Northeast Historic Film, a non-profit moving image archives located on the coast of Maine, seeks candidates for two technical services openings. The Technical Services Manager is a permanent, full-time, professional position. The Technical Services Assistant is a seasonal (3-month), full-time position.
Technical Services Manager
Primary duties
Manage the technical services department to process film transfer and video re-formatting jobs for external customers as well as NHF's own archival holdings. Control workflow from intake and reformatting to billing and shipping. Responsible for client relations including estimates and scheduling. Coordinate with the Collections Manager to generate collection access copies needed for internal purposes. Work with preservation labs and facilities for needs beyond in-house capabilities. Handle all stock footage research and production requests.
Working knowledge of film, video and digital formats and preservation standards needed. Also must have proficiency in film repair techniques, and an understanding of film lab procedures, video and digital production techniques. Experience with FinalCut Studio and other digital editing software helpful.
Additional responsibilities
Work with Facility Manager and Collections Manager to prioritize equipment needs. Also responsible for alerting the Collections Manager to potential acquisitions encountered in technical services jobs. Assist with NHF outreach endeavors such as workshops and public presentations. There is a strong digital production component to this position. Working knowledge of open source digital video standards and software and drive to learn essential.
Must be willing to step in and help with all departments as needed. Small staff requires a team player as well as ability to work independently.
Reports to the Executive Director.
Pay & Benefits:
Paid vacations and 10 paid holidays
Very flexible schedule
Health insurance
Salary range $28,000-$32,000 depending on experience
Technical Services/Vault Assistant
Primary duties
The Technical Services Assistant will work in the archive to support ongoing film and video transfer projects and vault management. Work will include:
1. Repair and transfer of film and videotape from the collections of NHF and other clients.
2. Cataloguing and organizing moving-image or non-moving image collections.
3. Other duties as assigned by the Executive Director.
Working knowledge of film and video conservation standards needed. Applicant must have strong film handling skills and be able to assess film condition for transfer. Also must have proficiency in film repair techniques and an understanding of film lab procedures, and production techniques. The position will require good time management skills and quick learning abilities. Must be able to lift 50 pounds.
Pay & Benefits:
Paid holidays
Very flexible schedule
This is a full-time 3-month temporary position paid hourly with possible short term extension.
**************************************
Positions to be filled immediately.
Please send cover letter and resume to: Barbara Manning, Business Manager (barb@oldfilm.org)
Questions about the position should be directed to David Weiss (david@oldfilm.org)
For more information about Northeast Historic Film: www.oldfilm.org
To view this posting on-line please visit www.oldfilm.org/Employment
Join Routledge and Aylish Wood in Second Life
Routledge <http://tandf.msgfocus.com/c/1TTFpKXmBr2OJw8b> are delighted to
invite you to the second in our series of lectures in Second Life. Dr Aylish
Wood will be talking about her book "Digital Encounters" in the Routledge
lecture hall in Second Life on Friday the 15th of May at 2.45pm GMT / 9.45
am EST. Dr Wood will be talking about some of the themes in Digital
Encounters <http://tandf.msgfocus.com/c/1TTFPC4YPAEvrk8Z> , a cross media
study of digital moving images in animation, cinema, games, and installation
art. Questions are very welcome after the presentation. If you already have
an avatar in Second Life, just teleport to Mawdryn 222, 122, 24. If you
aren't in Second Life, don't worry - it's easy to get started. Just visit
https://join.secondlife.com/ <http://tandf.msgfocus.com/c/1TTG2xDMWFslNe9o>
Access is free, and there is a full tutorial to help you get started. Once
you are confident, just click "Map", then enter the coordinates 222,122,24
in the boxes on the bottom right hand side. Then just hit the "teleport"
button to take you to the Routledge lecture hall - don't forget to grab your
Routledge T-Shirt on the way in. If you have any questions or need help,
just reply to this email and we will do our best to advise you. Best wishes,
Oliver Cooper Marketing Executive Routledge
<http://tandf.msgfocus.com/c/1TTGftcB3Kgc989N>
Call for Submissions
Betting on Shorts: More than a Eurovision of Shortfilm 2009
Submission deadline: 1 July 2009
When? Saturday 14 November 2009
Where? Simultaneously in Athens, Barcelona, Bucharest, Maribor, Novi
Sad, Naples, Istanbul, London, Poznan, Stockholm, Thessaloniki,
Wiesbaden and other cities in Europe and beyond.
Awards: Special European Jury Prize + Various Local Jury Prizes
The Theme: Control
We're inviting international filmmakers to submit short films of up to
10 minutes on the theme "Control". We accept all genres from short
narrative to animation, from music video and artist film or video to
experimental and documentary films.
Have you ever thought of your life as a walk on a tight-rope suspended
between control and its loss? Keep walking, don't waver, don't lose your
grip! Or just let go and savour the moments of weightlessness! Control
has many shapes and measures. It can be mental, political, physical,
social, scientific, strict, loose or something completely different. You
might think about control theory, risk and stress control, mastery and
skill, borders, surveillance and mind control, birth and pest control,
Control panels, Ctrl Alt Delete, or just the remote control lying on
your couch. We look forward to unexpected or surprising takes on the
theme, but please don't lose control of time - we can't accept anything
over 10 minutes! Well, yes we must admit...we are control freaks!
We're called "Betting on Shorts" because we invite our audiences to bet
on which film will win. Bets must be placed before the screening based
on a synopsis, filmmaker's bio and short trailer. Please keep that in
mind when you fill in the relevant fields on the entry form and provide
us with a short but informative bio and synopsis.
Submission deadline: 1 July 2009
Entry Procedure: Please submit an electronic entry form available on our
website www.bettingonshorts.com. The entry form with all required
information must also be printed out and sent with a DVD (PAL) preview
copy.
For further information please check our website www.bettingonshorts.com
or contact us at submissions@bettingonshorts.com
Call For Papers-The Moving Image (U Minnesota Press)
Devin and Marsha Orgeron (Associate Professors of Film Studies, North
Carolina State University) have been appointed editors-in-chief and Teri
Tynes has been appointed managing editor of The Moving Image, the
professional (peer-reviewed) journal of the Association of Moving Image
Archivists.
Now in its eighth year of publication, The Moving Image has assumed a
prominent place in cinema and media studies, and stands alone in the new
professional specialization of moving image archiving and preservation.
Not simply a journal for archivists, The Moving Image has unique
relevance for scholars who rely upon archives, both physical and
electronic, for their scholarship and teaching. It is a forum for those
concerned with such diverse topics as the ethics of restoration and
archiving, the study of home movies and other nontheatrical forms,
intellectual property restrictions affecting preservation and access to
archival moving images (film, video, and digital), genre definitions,
and marginalized film and video.
Published by the University of Minnesota Press and available
electronically through Project Muse, The Moving Image explores topics
relevant to both the film/media archivist and the film/media scholar.
The journal features detailed profiles of moving image collections;
interpretive and historical essays concerning archival materials;
articles on archival description, appraisal, restoration, digitization,
and access; discussions of technologies new and old; and theoretical
articles on the future of the field.
We welcome submissions on these and other film and media topics,
especially those that that illuminate the value of archives or that
utilize underappreciated archival sources.
Inquiries and submissions should be directed to the co-editors at
marsha_orgeron@ncsu.edu and devin_orgeron@ncsu.edu.
For more information about the journal, including subscription
information, visit the AMIA website at www.AMIAnet.org, or see
http://www.upress.umn.edu/journals/movingimage/default.html
2009 Elections for the IAMHIST council
The International Association for Media and History is headed by the
board of directors. This board consists of the IAMHIST president and
approximately 11 council members. The council meets once or twice every
year (mostly in London). Members of the council are elected for four
years. For the upcoming election (June 09), there are 6 vacancies on
the council (for council members serving from 2009-2012).The
association proposes a call for candidates. If you are interested in
becoming a council members or if you want to learn more about serving
on the IAMHIST council, contact the secretary general (Leen Engelen) at
info@iamhist.org.
We are looking forward to hearing from you.
Harvard Film Archive blog
Howdy out there,
The Harvard Film Archive is pleased to announce our new collections
blog. We will be posting about new collections to the archive on an
irregular basis.
Hope you have time to take a peek now and then.
http://blogs.law.harvard.edu/hfacollections/
Call for Papers Mid-Atlantic Popular/American Culture Association Conference 2009
Annual Conference - Thursday, November 5 - Saturday, November 7, 2009
Hilton Boston Logan Airport
The Mid-Atlantic Popular and American Culture Association (MAPACA) invites
academics, graduate and undergraduate students, independent scholars, and
artists to submit papers for the annual conference. An inclusive
professional organization dedicated to the study of Popular Culture and
American Culture in all their multidisciplinary manifestations, MAPACA hosts
presentations in a wide range of areas. Please send via e-mail
a one-page abstract to the appropriate area chair by June 15, 2009. Include
a brief bio with your proposal. Single papers, as well as 3- or 4-person
panels or roundtables, are encouraged. Sliding scale registration fees
apply. For additional conference information and a full list of MAPACA Areas & Area
Chairs go to www.mapaca.net
Film Studies Chair is Ralph Donald - rdonald@siue.edu
Showing Making. International conference on the Representation of
Image Making and Creative Practices in Ritual, Art, Media, and Science
June 18 & 19: Filmmuseum, Amsterdam
Organized by the Dept. of Media and Culture Studies (Utrecht
University), the Visual Culture Group (Huizinga Institute, University
of Amsterdam), and the Meertens Institute (Royal Dutch Academy,
Amsterdam)
If making is thinking, as Richard Sennett has recently argued in his
book ‘The Craftsman’, studying making can enable us to understand
visual artifacts, such as paintings, films, computer animation, and
scientific images. These images are the results of skilled procedures
and complex interaction between makers, materials, tools and
technologies, which generate and shape meaning. Mainly based on tacit
knowledge though, procedures and interactions tend to evade textual
description and are, although enclosed in the finished product,
usually not recorded. How do we get our hands and minds at these
material procedures if we want to study the meaning of making?
This conference focuses on visual genres specifically dedicated to the
representation of image making; ranging from St. Luke painting the
Virgin Mary to early documentaries and YouTube videos. While these
depictions contain information about the social, anthropological,
technological, material and aesthetic dimensions of image production,
they also invest creation with magical qualities and mystify the
actions of image-makers. As mediated constructs, they display ideal
aspects of creative processes and tend to omit failure or routine, as
art works they foreground self-referentiality as critical strategy.
Taking these aspects into consideration showing making can be turned
into a theoretical tool to study making as intellectual and meaningful
practice, pushing past general considerations of materiality in visual
studies today.
Renowned scholars from anthropology, art history, film studies,
religion studies, and history of science have been invited to study
the epistemic and performative elements of showing making and will
present a framework in which the visualizations of image making and
creative practices can be theorized.
The Filmmuseum presents an accompanying program featuring early films
of artists and craftsman at work in different historical and
geographical settings
Information & Registration at: http://www.filmmuseum.nl/showingmaking
For additional questions please contact Ann-Sophie Lehmann, Dept.
Media & Culture Studies, Utrecht: a.s.lehmann@uu.nl
Program: June 18th
Opening lecture
Showing Making: Materials, Movements, Lines
Tim Ingold, University of Aberdeen
Session I: Showing Painting
Chair: Rachel Esner, University of Amsterdam
Showing Thinking: Visualizing Invention in the Painter’s Studio
H. Perry Chapman, University of Delaware
The Journey of Two Drawing Skills
Paul van de Akker, Free University, Amsterdam
Discourses of Making in the Mixed Media Production of Andrea del
Verrocchio
Christina Neilson, Oberlin College
Newton Opticks, Colour Systems and the Notation of the Painting Process
Annik Pietsch, Max Planck Institute for the History of Science, Berlin
Session II: Scientific Images in the Making
Chair: Paul Ziche, Utrecht University
Making Images of Nature
Pamela H. Smith, Columbia University
The Tourism of Labor: The Photography of Exhibit-Making in the
American Museum of Natural History, 1900-1940
Victoria Cain, University of Southern California
Drawing Spiral Nebula
Omar W. Nasim, Max Planck Institutes for Art History (Florence) and
History of Science (Berlin)
Between the Road to Somewhere and the View from Nowhere: How Objects
of Representation and Representations of Objects Inform Each Other
Lissa Roberts, Technical University Twente
June 19th
Session III: Image Making Rituals
Chair: Herman Roodenburg, Meertens Institute/Free University, Amsterdam
TBA
Donald Swearer, Harvard Divinity School
Making the Royal Image in Present Day Thailand
Irene Stengs, Meertens Institute
Image and Ownership of the Lantern Festival of Saint Louis, Senegal
Ferdinand de Jong, University of East Anglia & Judith Quax,
Independent Photographer
Screening Myths: Visualizing the Occult in the Waiãpi ‘Fiction’
Andre Bakker, Free University Amsterdam
Session IV: The Making of the Making-of
Chair: Martina Roepke, Utrecht University
Filming Creation: The Making of the Moment of the Making of
John Wyver, Illuminations Media/University of Westminster
How the Moving Image can Reveal the Interaction between Ceramicist and
Material
Leah Mc Laughlin, Cardiff School of Art and Design
Are We Allowed to Tell? Showing Film Making in Early Cinema
Frank Kessler, Utrecht University
Les Yeux ne Veulent Pas en Tout Temps se Fermer …
André Wendler, Bauhaus-University Weimar
SHOWING MAKING. IMAGE MAKING AND CREATIVE PRACTICES IN ART, FILM,
RITUAL, AND SCIENCE
Filmmuseum, Amsterdam, 18&19 June, program & registration:
FILMMUSEUM.NL/SHOWINGMAKING
Robin Hood: Media Creature
An International Conference, 22-25 October 2009
http://www.rochester.edu/robinhood/
The International Association for Robin Hood Studies will sponsor the
Seventh Biennial Conference on Robin Hood, to be held 22-25 October
2009 at the University of Rochester, Rochester NY (USA). Scholars from
North America, Europe, and Asia will present papers on well-
established and perennially controversial aspects of the outlaw hero,
and will offer new views and understandings as well. Participants will
be drawn from scholars and intellectuals in all fields of academic,
artistic, and popular culture, with no limits on time period, media,
or national literatures. Though film, media, and the popular and
performing arts will have a featured role, sessions will include a
broad range of disciplinary and interdisciplinary interests, including
medieval and early modern historical studies, literary criticism,
folklore, musicology and music practice, children’s literature,
cultural studies, anthropology, film and media studies, performance
art and oral recitations, art history, literary theory, and
philosophy. Deadline for abstracts is 15 June 2009.
Highlights of the Seventh Biennial Conference:
Plenary speakers:
Professor Helen Phillips (University of Cardiff), author of Robin
Hood: Medieval and Post-Medieval (2005), Bandit Territories: British
Outlaws and their Traditions (2008), and Introduction to the
Canterbury Tales: Fiction, Reading, Context (2000, 2005).
Website:
http://www.cardiff.ac.uk/encap/contactsandpeople/profiles/phillips-helen.htm
l
Ms. Gillian Anderson (Bologna), internationally renowned composer,
conductor, and musicologist, has participated in the reconstruction
and performance of some thirty-four orchestral scores from silent
films, author of four books, founding editor of the new journal, Music
and the Moving Image (University of Illinois Press).
Website: http://www.gilliananderson.it
Plenary events:
Twenty-First Century "World Premiere" of Douglas Fairbanks in Robin
Hood (United Artists, 1922). A new 35mm tinted print, restored by the
Museum of Modern Art and George Eastman House / International Museum
of Film and Photography, will be screened 24 October 2009 (Saturday)
before an audience of 500 at the Dryden Theatre, George Eastman House.
Live Accompaniment for Robin Hood. Gillian Anderson will conduct a
live orchestra playing the newly reconstructed score of Robin Hood.
The showing – which will duplicate the experience of audiences who
attended the first-ever Hollywood premier, and of those in early
twentieth-century movie palaces – will be introduced by Patrick
Loughney, Head, National Audio-Visual Conservation Center, Library of
Congress (Packard Campus).
East Coast Premier of Robin Hood (Éclair America, 1912), the earliest
surviving film featuring the outlaw hero, in a recently restored print
(shown so far only once, in LA) from the Fort Lee Film Commission.
With solo musical accompaniment by Philip Carli, distinguished film
expert and musicologist who has accompanied silent films at the
Pordenone Festival in Italy, and elsewhere in Europe and North America.
Concert of Early Lute Music. Grammy-Award winner Paul O’Dette (Eastman
School of Music) will offer a recital of Elizabethan Greenwood and
Robin Hood-related lute music, drawing upon the repertoire he
established in albums including Robin is to the Greenwood Gone (1992)
and Robin Hood: Elizabethan Ballad Settings (2001).
Operetta in Performance. Steven Daigle (Chair, Strings, Eastman School
of Music, and Artistic Director, Ohio Light Opera) has organized an
evening of arias and songs from Robin Hood musicals, spanning the
eighteenth to the twentieth centuries. This presentation will occur
the evening of 22 October 2009 (Thursday) , and will feature musicians
and singers from the Ohio Light Opera, as well as faculty and students
from the Eastman School of Music and the University of Rochester.
Professor Daigle’s 2004 production with the Ohio Light Opera of
Reginald de Koven’s Robin Hood (1891) is available as a CD from
<>Amazon.com and other outlets.
Events and Exhibitions:
"An Impression of the Middle Ages": Productions Stills from Douglas
Fairbanks in Robin Hood. A major exhibition drawing upon an archive of
nearly 1000 negatives at the George Eastman House, most never
exhibited or examined before. The exhibition will also include
original posters and lobby cards, and the boots which Fairbanks wore
in the film. Support and contributions from the George Eastman House
Motion Picture Department, and the University of Rochester Department
of Rare Books and Special Collections.
The Americanization of Robin Hood, 1883-1923. A focused exhibition,
tracing the development of American images of Robin Hood which have
permanently changed the outlaw’s status in international popular
culture. Incorporating the Fairbanks photographs from "An Impression
of the Middle Ages," it will provide a lavishly documented account of
the impact and history of Howard Pyle’s The Merry Adventures of Robin
Hood, and present music, lyrics, advertisements, programs, and
photographs associated with the operettas of Reginald De Koven,
including Robin Hood (1891) and Maid Marian (1901). Support and
contributions from the George Eastman House, the Department of Rare
Books and Special Collections, the Sibley Music Library, and a private
collection.
Robin Hood: Media Creature: An exhibition of Robin Hood-related
materials, ranging from the eighteenth to twenty-first centuries, in
all media – selected from thousands of items in paper media (printed
books, sheets, ephemera, cartoons, comic books, boys’ serials,
garlands, prose lives, "histories," posters from well known and
obscure films and TV), film and TV recordings (DVDs, VCR tapes,
various film formats of commercial, public, and cable productions),
musical recordings (popular song, operettas, rock and roll, rap,
soundtracks, spoken word, and more), photographs (including a
selection from previously un-exhibited "keybooks" for The Adventures
of Robin Hood [1938] with Errol Flynn), along with other artifacts
such as games, puzzles, viewmaster reels, teapots and plates, and
more. Support and contributions from the Strong National Museum of
Play, the George Eastman House, the Rossell Hope Robbins Library, Rush
Rhees Library, Department of Rare Books and Special Collections, and a
private collection.
***
The conference will begin with simultaneous sessions on Thursday
afternoon (October 22), and panels will proceed through Sunday morning
(October 25). Highlights include operetta performances Thursday
evening, a banquet on Friday evening, and the screening of Robin Hood
on Saturday night. Helen Phillips will offer her plenary lecture on
Friday morning. There will be a concluding session on Sunday morning,
featuring a panel of experts from the George Eastman House, the Museum
of Modern Art, and the Library of Congress, addressing issues of film
history, popular culture, and the preservation of national treasures
like Robin Hood (1922), moderated by Professor Stephen Knight
(University of Cardiff). Gillian Anderson will then deliver her
plenary lecture on the musical environment for silent cinema. The
conference will conclude with a fare-well luncheon. Other participants
include Chris Chism (Rutgers), Steven Daigle (Ohio Light Opera / ESM),
Alan Gaylord (Dartmouth), Richard Kaeuper (Rochester), Stephen Knight
(Cardiff), Patrick Loughney (Library of Congress), and Thomas Ohlgren
(Purdue).
Please post this notice, and forward or share it with anyone who might
wish to attend or take part in the events; it would be especially
helpful to have this posted on lists for medieval studies, popular
culture, and film and media studies where it has not yet appeared. For
further information on Conference Registration and full call for
papers, go to
http://<http://www.rochester.edu/robinhood>www.rochester.edu/robinhood
. Send paper abstracts (limit 300 words) in MS Word or compatible
formats to Thomas Hahn, IARHS.Conference@gmail.com. The deadline for
submissions is 15 June 2009.
Final Call for Papers, Panels, Workshops, Roundtables
Film & History Area
Northeast Popular/American Culture Association
Queensborough Community College
Bayside, Queens, NYC
October 23-24, 2009
Deadline: June 1, 2009
Proposals for papers, panels, workshops, and roundtables are now being
considered for the Film & History Area of the NEPCA annual
conference. Proposals for the Film & History area should consider
some aspect of the intersection among film, history, society, and
culture, exploring films as social and historical artifacts of the
culture from which they arise, as well as the role played by film in
constructing, shaping, and re-imagining history. Papers may take a
single film focus, or make comparative considerations, as well as
exploring critical films focused on a given era, individual, or
historical event. Examples would include papers that examine the
following areas in a given film or films:
* Documentaries: How true is 'The Truth'?
* Exploring representations of race, ethnicity, and gender in
fiction or non-fiction
* Biographies of key artistic, political, military, activist, or
cinematic figures
* Representations of wars, the West, borders, national characters
and ideologies
* Comedy and social commentary
* Cult, alternative, and independent films and icons through history
Questions and inquiries, as well as submissions of one-page (150-250
word) proposals or abstract may be directed to the area chair, Cynthia
J. Miller, at cymiller@tiac.net. The DEADLINE for submissions is June
1, 2009.
Conference details may be found on the NEPCA website at:
http://users.wpi.edu/~jphanlan/NEPCA.html.
Summer School on ART DISCOURSES AND
CALL for APPLICATIONS
Summer School on ART DISCOURSES AND ART PRACTICES BETWEEN OCCIDENTAL
AND ORIENTAL AESTHETICS -
Bahcesehir University, Istanbul, Turkey
The course aims to discuss the main concepts of occidental aesthetics
from Renaissance to Avant-garde, such as representation,
theory and practice of perspective and its distortion, the
beauty and the sublime, the unrepresentable and artistic
self-reflexivity, and performativity. The course is consisted
of three interrelated seminars which focus on the differences and
similarities between western and eastern thought, contemplation and
close examination of several examples in art (including oriental art
production), as well as excursions and practical exercises.
Course Dates: 27 July - 7 August, 2009
Location: Bahcesehir University, Istanbul, Turkey
Curriculum
During two weeks, the students will attend 3 sessions per day between
the times of 9.20 10.50, 11.00 12.30, and 13.00 14.30. Each
session will last 1.5 hours and be instructed by three scholars who
come from different cultural and methodological backgrounds. They will
offer distinctive cultural and academic aspects of the art discourses
and art practices.
For further information:
http://www.emcs.bahcesehir.edu.tr/summer.html
Course Instructors:
Prof. Dieter Mersch
University of Potsdam, Potsdam, Germany
Prof. Winfried Gerling
University of Applied Sciences Potsdam, Potsdam, Germany
Dr. Nazli Eda Noyan
Bahcesehir University, Istanbul, Turkey
About
European Media and Cultural Studies Summer School is an intensive two-
week programme which will be held by Bahcesehir University (Istanbul,
Turkey), University of Potsdam (Potsdam, Germany) and University of
Applied Sciences Potsdam (Potsdam, Germany) as a part of the EU funded
project European Media and Cultural Studies Masters Programme and
Media Awareness.
During the programme, the students will be exposed to a broad
understanding of the theoretical and methodological approaches in
media and cultural studies with a specific focus on art discourses and
art practices. The students will have a chance to visit the historical
and cultural hotspots of Istanbul and be able to share their personal
experiences and knowledge. They will learn from each other
intercultural communication, how to the bridge of differences and
develop mutual understanding schemes.
There is no tuition fee for the course.
Students will be assisted with accommodation options at lower prices.
Course credit
For Bahcesehir University students, this programme counts as one GE-
course and students receive 3 credits.
For other students from Turkey, this programme counts as one course
and students receive 3 credits.
European students receive 8 ECTS credits for attending this programme.
Application deadline: 21 July 2009
Please download the application form from http://www.emcs.bahcesehir.edu.tr/summer.html
Submit Your Application Form to emcs@bahcesehir.edu.tr
If you have
further questions about the summer school, please do not hesitate to
contact us.
E-Mail:
Aysegul Kesirli (summer school assistant) aysegulkesirli@yahoo.com
Phone: +90
(212) 381 0764
Call for Papers
Charlie in the Heartland
An International Charlie Chaplin Conference
October 28, 29, and 30, 2010
Ohio University Zanesville, Zanesville, OH USA
Conference
Website:
http://www.zanesville.ohiou.edu/Chaplinconferencesite/ccconfwebsite.html
In keeping with the theme of the conference, "Charlie in the Heartland,"
which was chosen to commemorate Chaplin's first trip to the United States
with Fred Karno's Comedians in October, 1910, we are seeking papers in a
wide range of areas, all to do with Chaplin, his relationship with,
influence on, or evocation of America, either during or after his long
residence here.
Keynote Speaker and Honoree:
Charles J. Maland, Professor and Head of the University of Tennessee
English Department and author of Chaplin and American Culture: The
Evolution of a Star Image, celebrating its 20th anniversary.
Other Confirmed Featured Speakers:
David Robinson, Film Critic and author of Chaplin: His Life and Art
Kate Guyonvarch, Director of Roy Export S.A.S. and the Association Chaplin
office, Paris
Cecilia Cenciarelli, Archivist and Head of Progetto Chaplin, Cineteca di
Bologna, Bologna, Italy
Frank Scheide, Professor of Communications at the University of Arkansas
and Co-Editor of The Chaplin Review
The following topics are meant to generate ideas for presentations, not
limit creativity or exclude participation:
Maland's Chaplin and American Culture 30 Years Later
Reconsidering "Chaplinitis"
From Karno to Keystone: Eliding the Music Hall Stage and the Silent Screen
American Vaudeville Audiences of the 1910s-- A Herald of Silent Film
Popularity?
Chaplin's Company: Who were Charlie's Character Actors and What Were Their
Influences?
Vulgar Film Comedy as High Art.
Chaplin and Public Appearance: A Reconsideration of the Liberty Bond Tour
The Chaplin Imitator Phenomenon
Film Audience Reception in the Heartland.
The Heartland Rebels: Chaplin and the American Legion.
Brother Sydney Chaplin : What Was the Magnitude of His Impact?
The Representation of America or Americans in the Films of Charlie Chaplin.
Chaplin's Little Tramp and the Beat Generation in America.
Individual papers or full panels are welcome to submit proposals.
Please send a 500-word abstract, a short bio and your contact information
to Lisa Stein, Assistant Professor of English, OU-Zanesville, 1425 Newark
Road, Zanesville, OH 43701 or via email (stein@ohio.edu) by February 1,
2010. Graduate and undergraduate students are welcome to submit.
N. B. We have tried to make this an accessible conference for young
scholars by offering several low-cost housing options, as well as a reduced
registration rate. We will also have a student travel grant available for
applicants. Check the website in early 2010.
CALL FOR ENTRIES - 16th CHICAGO UNDERGROUND FILM FESTIVAL
Chicago, Illinois - USA
September 10 - 13 2009
at the Gene Siskel Film Center
The 16th Annual CHICAGO UNDERGROUND FILM FESTIVAL (CUFF), one of
Chicago's leading film events, and a must-attend festival for
cutting-edge filmmakers with defiantly independent visions.
Entry forms and guidelines available at http://www.cuff.org
CUFF stands out on the festival circuit for having a unique
programming niche, and garnering a following among hipsters, media,
and industry alike. Each year, CUFF presents an accessible, savvy
program of film and video exploring the many definitions and
interpretations of the "underground" concept. Selected films often
ignore limitations of genre, and are made with passion and drive;
alternative music films, political agitprop, formal experimentation,
and high camp are not uncommon elements of the Festival program.
Past CUFF films, producers, and filmmakers have received honors and
offers as a direct result of exposure gained and connections made at
the Festival. Programming highlights from years past include premieres
of NICE BOMBS, DANIELSON: A FAMILY MOVIE, Oscar-nominated documentary
THE WEATHER UNDERGROUND, MONKS - THE TRANSATLANTIC FEEDBACK, and BLOOD
CAR. Additionally, numerous CUFF films have gone on to receive
theatrical distribution.
DEADLINES
May 15 2009 - Regular Deadline
June 15 2009 - Final Deadline
Entry fees are waived for festival alumni
What people are saying about the Chicago Underground Film Festival:
"The Chicago Underground Film Festival has spent 15 years earning a
viable reputation as a mecca for avant-garde and anti-establishment
feature filmmaking, as well as a Midwest platform for the year's
festival circuit hits."
-Matt Dentler (former SXSW Film Fest producer)
"The Chicago Underground Film Festival is the city's most eclectic yet
best curated fest. Director and co-founder Bryan Wendorf has a knack
for uncovering work that startles, upsets and spellbinds." - Bill
Stamets, Chicago Sun-Times
"What you get for your money is not just admission to the films but
admission to a subculture"
- Roger Ebert, Chicago Sun-Times
"I like the word 'underground' as in the Chicago Underground Film
Festival. The word 'independent' carries a stigma of whininess.
'Underground' means a good time." - John Waters
"Defiantly independent and deliberately scandalous" - Michael
Wilmington, Chicago Tribune
"If you care at all about the state of culture on the margins, this is
probably the most important project in the country reflecting its
evolution" - Lumpen Magazine
"The most refreshingly offbeat film event in Chicago" - Adam Langer,
The Film Festival Guide
"A cultural mainstay on its home turf" - Ray Pride, Filmmaker Magazine
"Without CUFF my movie would not be coming out in America" - Peter
Hall, Director of DELINQUENT
"I'd like to think the work Chris Gore and I did at Film Threat helped
inspire the lunatics behind CUFF but now they're the ones inspiring
me...not just a great "underground" festival but a great film festival
PERIOD." - Dave Williams, former editor FILM THREAT
"What can be said about CUFF that hasn't already been written on every
men's room wall in Chicago? The ultimate late summer party? A film fix
for the celluloid junkies? Free food? Take your pick..." - Producer
Jim Dwyer
"I had the best time of my life at this festival. Your lives are so
much better than all those people who think they're having a good time
in Hollywood" - Penelope Spheeris, Hollywood Filmmaker
"CUFF gave me hope for the future" - George Kuchar, Underground Filmmaker
"There are still a few out there for whom the indie flame burns
bright. Right on!" - Peter Howell, Toronto Star
CFP
Media, Communication and the Spectacle
Rotterdam, 26-27 November 2009
Venue: Erasmus University Rotterdam
www.fhk.eur.nl/english/ermecc/ecrea
Organised by: ERMeCC (Erasmus Research Centre for Media, Communication
and Culture) and ECREA Gender and Communication section; Communication and
Democracy section: Film Studies section; Young Scholars' Network.
www.ecrea.eu <http://www.ecrea.eu/>
"Today's wind is one of spectacle. It may not be of our making. Its
origins may not be the pure lands of the Enlightenment but instead the
commercial barrens of advertising and entertainment. But use it we must,
for without the wind, we are becalmed, stuck, going nowhere"
Andrew Boyd and Stephen Duncombe (2004) 'The Manufacture of Dissent:
What the Left Can Learn from Las Vegas', Journal of Aesthetics &
Protest 1(3).
Claims about the spectacularisation of different aspects of contemporary
life are often heard, and the media are often blamed for the part they
play in presenting spectacularised takes on political and social
questions. The idea of 'spectacle' is normally presented as pervasive, as
it is believed to trivialise the issues at stake, and uncritically gives
oxygen to simplifying, often stigmatising, stereotypes. Now-classic works
in media studies (such as Daniel Boorstin's The Image or Neil Postman's
Amusing Ourselves Up to Death) have addressed these issues, exercising an
undeniable influence over media scholarship. Influenced by the seminal
work of Guy Debord (Society of Spectacle, 1967) through which the notion of
spectacle actually transcended its media specificity, contemporary
readings of Debord stress the need to re-conceptualise the idea of the
spectacle in relation to the current neo-liberal consumer media culture.
Viewing the notion of the spectacle in broad terms, this colloquium
seeks to bring together scholarly work from academic fields such as
democracy and (new) media, as well as journalism and film studies. The
spectacle provides a powerful concept able to initiate a new "wind" in
media and communication studies. It relates to theories on 'hyperreality',
the 'gaze', 'performance' and the 'scopic' as well as to theories on
active
popular media consumption, the social meanings and impacts of communication,
representation, and the relationship between media and culture, even
extending to media and cultural policies. The cultural, economic,
technological, social, and political conditions underpinning the society
of the spectacle provide insights into the study and analysis of media
production, representation and reception.
This colloquium aims to provide a broad overview of recent theories and
empirical work engaging with the phenomenon of the spectacle by focussing
on media and communication in relation to film studies, gender and
democracy. This conference is intended to discuss a diversity of
perspectives and reflections on the media as a spectacle from a wide range
of approaches.
We invite paper and panel proposals related to the central theme of the
conference, including (but not limited to) the following topics:
_ The notion of society of the spectacle.
_ Culture as spectacle in the media.
_ The use of performance and spectacle by protest movements, creating or
being part of media events
_ Infotainment as spectacle
_ Hollywood and spectacular images: blockbusters, CGI, etc.
_ Consuming the spectacle: historical and contemporary practices of
cinema going.
_ Behind the screens of the spectacle: the political economy of cultural
industries
_ Screening the (un)spectacular? World cinemas and/as alternative screen
cultures
_ Fandom, cult media/film and performative consumption
_ Youtube and citizens' spectacularised self-presentation
_ The hyperreality of the spectacle of 'truth' (linked to information,
news, representations, visual culture as such, etc.).
_ The materiality of information production as commodity fetishism
(commodities become images and the other way around).
_ Private/public debate and the spectacle of bodies, gendered bodies,
politics, etc.
_ The imaginary and media performativity.
_ Vision and Voyeurism: The Politics of Surveillance Post-9/11
Proposals: abstracts of max. 400 words can be submitted via e-mail to:
ermecc@fhk.eur.nl. Abstracts may be submitted as attachment in word,
.rtf or .txt format or embedded in the body of the email. Please make sure
to include the name of the author(s), affiliation, contact address, and
email. Young scholars are also encouraged to apply. When submitting your
abstract, please indicate to which section you are submitting: Gender and
Communication, Communication and Democracy, or Film Studies.
Deadline for sending in the paper abstract is 1 May 2009. Notification
of selection will be no later than 15 June 2009.
URL: www.fhk.eur.nl/english/ermecc/ecrea
Wende Museum Film Archiving Internship
Established in 2002, the Los Angeles-based Wende Museum is a non-profit organization dedicated to acquiring, preserving, and enabling access to the cultural products, everyday objects, personal histories and documentary materials of Cold War-era Eastern Europe. The Museum offers a broad and comprehensive collection of over 100,000 objects and archival materials including household consumer products, clothing, folk art, political iconography, posters, films, textbooks, paintings, sports awards, and children's toys.
Responsibilities:
The Museum's Audiovisual Archive intern will aid in the accessioning, cataloging, and digitizing of East German film, slides, film strips, audiotape, and LPs. The collection consists of instructional, amateur, documentary, and feature films produced within the Soviet Bloc between 1946 and 1990.
The candidate should preferably have an interest in one or more of the following:
Film Archiving
Museum Studies
East German Cinema
Library Science
The internship will involve a great deal of hands-on work with various film formats. The intern will learn how to accession, inspect, repair and catalog film media, in preparation for digitization and archival storage. He/She will also have the opportunity to partake in digitizing the 16mm collection, using our HD film scanner and specialized computer software. In addition to audiovisual responsibilities, the intern will, from time to time, be asked to accession general items for the museum's main collection.
Interns are encouraged to develop their own projects in order to gain a stronger knowledge of the collection. This unpaid internship may be used for college credit.
For more information or to apply,
please contact:
Carla Arton
Film Archivist
5741 Buckingham Parkway Suite E
Culver City, CA 90230
310-216-1600
www.wendemuseum.org <http://www.wendemuseum.org/>
carton@wendemuseum.org
Original PDF of posting available if requested.
NBC Universal Assistant Archivist Position
To apply go to www.nbcunicareers.com Do a search for the Job Number 1035148. I have no hiring contact information for this position.
Assistant Professor/Postproduction
Organization: Watkins College of Art, Design and Film
Location: TN
Start Date: August 1, 2009
Application Deadline: July 1, 2009
Point of Contact: Steven Womack, Chair
Website: www.watkins.edu
Summary: The Watkins Film School, a division of the Watkins College of Art, Design and Film, seeks a full-time postproduction assistant professor in its film and video editing curriculum.
Dean, School of Arts and Communications
Organization: The College of New Jersey
Location: NJ
Start Date: September 1, 2009
Application Deadline: June 3, 2009
Point of Contact:
Summary: The College of New Jersey (TCNJ) invites applications and nominations for the position of Dean of the School of the Arts and Communication.
Endowed Chair, screenwriting Deadline is Approaching!
Organization: Ithaca College, Los Angeles
Location: CA
Start Date: August 16, 2009
Application Deadline: April 17, 2009
Point of Contact:
Summary: he James B. Pendleton Center in Los Angeles, a program of the Park School of
Communications at Ithaca College, invites applications for a full-time, renewable, two-year, non-tenure eligible Assistant/Associate Professor appointment, beginning August 16, 2009.
Assistant Professor of Film Production One-year replacement, contingent on funding Deadline is Approaching!
Organization: St. Cloud State University
Location: MN
Start Date: March 17, 2009
Application Deadline: April 13, 2009
Point of Contact: Chris Jordan, Department of Theatre, Film Studies, and Dance
Website: http://www.stcloudstate.edu/theatrefilmdance
Summary: Salary: Commensurate with education and experience
Northeast Historic Film
Northeast Historic Film, a non-profit moving image archives, located on the
coast of Maine, seeks to fill the full-time professional position of
Technical Services Director. The position is to be filled as soon as
possible.
Primary duties-
Manage the technical services department to process film transfer and video
re-formatting jobs for external customers as well as NHF's own archival
holdings. Control workflow from intake and reformatting to billing and
shipping. Responsible for client relations including estimates and
scheduling. Coordinate with the Collections Manager to generate collection
access copies needed for internal purposes. Work with preservation labs and
facilities for needs beyond in-house capabilities. Handle stock footage
research and production requests.
Working knowledge of film, video and digital formats and preservation
standards needed. Also must have proficiency in film repair techniques, and
an understanding of film lab procedures, video and digital production
techniques. Experience with FinalCut Studio and other digital editing
software helpful.
Additional responsibilities-
Work with Facility Manager and Collections Manager to prioritize equipment
needs. Also responsible for alerting the Collections Manager to potential
acquisitions encountered in technical services jobs. Assist with NHF
outreach endeavors such as workshops and public presentations. There is a
strong digital production component to this position. Working knowledge of
open source digital video standards and software and drive to learn
essential.
Must be willing to step in and help with all departments as needed. Small
staff requires a team player as well as ability to work independently.
Reports to the Executive Director.
Please send cover letter and resume to:
gemma@oldfilm.org or
Northeast Historic Film
Attn: Gemma Perretta
PO Box 900
Bucksport, ME 04416
For more information about Northeast Historic Film: www.oldfilm.org
To view this posting on-line please visit www.oldfilm.org/Employment
MORE NEWS can be found on NEWS PAGE 2.
ARCHIVED NEWS
Report on the Berlin conference (1999) [in German]
Report on IAMHIST XIX - CHANGING IDENTITIES IN FILM AND TELEVISION (2001)
Report on IAMHIST XVIII - HISTORY AND TELEVISION (1999)
New Italian Archive
