Biennial Audio Visual Archival Summer School (BAVASS), A FIAF and IULMIA Initiative

By Rachael Stoeltje, BAVASS Director and Director of the Indiana University Libraries Moving Image Archive

This past May, for two weeks, Indiana University, Bloomington was visited by 50 professional archivists, filmmakers, scholars and film projectionists from 12 countries to participate in the International Federation of Film Archives (FIAF)‘s new training program–the first Biennial Audio Visual Archival Summer School (BAVASS)— a new multi-week FIAF training model built with a comprehensive curriculum of the existing issues in the field of audiovisual archiving and preservation today.

This new training model was developed as part of the FIAF Training and Outreach Program by Indiana University Moving Image Archive’s Rachael Stoeltje and FIAF’s Training and Outreach Coordinator David Walsh, with the support of FIAF’s Administrator Christophe Dupin. BAVASS has been built on earlier FIAF models and the advice of our FIAF predecessors. It has been made possible in large part due to workshops held around the world developed by FIAF’s David Walsh, and like those created in partnership with our colleague Shivendra Singh Dungarpur through his Film Preservation and Restoration Workshops in India.

The schedule for our program allowed for lectures, hands-on workshops, screenings, opportunities to meet with the school’s faculty and time to build networks among the students themselves. This year’s event started each morning with lectures on core issues. The lectures covered everything from Film Preservation and Digitization, the Technology and History of Motion Picture Film, Film Restoration, Video History and Digitization, Cataloging, Copyright, Photo Preservation, Audio History and Preservation, Digital Preservation, Open Source Tools, Film Programming, Managing Digitization Projects and the History of Film Archives with an overview of the early years of the field, to better understand who we are today as archivists.

In the afternoons, we offered small group, hands-on workshops, which students pre-selected prior to arrival. The very practical opportunities that were presented by the Film Handling and Identification workshops, the Film Projection workshops and the Small Scale, DIY Video Digitization workshops were praised by participants, as were the hands on digitization workshops for video, film and audio formats. Kara Van Malssen’s Simulated Disaster Response and Recovery, with a real life scenario and a great deal of salt water soaked media, proved instructive, challenging, and remarkably engaging. The experience utilized simulated narratives and scenarios encountered in the midst of an archival disaster, including the “theft” of a valuable item, as well as an “upset” filmmaker, whose collection the disaster impacted. The  situations were designed to simulate for participants the kind of chaos that can accompany these types of scenarios.

Susanne Schwibs’ Filmmaking workshop, in which students shot film on 16mm cameras and processed the film the same day using alternative processes, also received positive feedback–though, as with many of the workshops, the primary criticism was that the workshop should have lasted the entire day!

Rob Byrne’s Film Restoration workshop was eye-opening for some in that it offered new knowledge about the amount of time, (sometimes years), that is required to properly restore one motion picture film title.

 

One of the other workshop highlights was Storage and Environments for Preservation. This one included tours of the Ruth Lilly Auxiliary Library Facility (ALF) — the off-site cold storage vaults at Indiana University. The participants visited the core vaults with temperature and relative humidities measuring 50 degrees (Fahrenheit) and 30%RH–ideal environments for magnetic media, books and paper. The new ALF 3 was also part of the tour, with an entire floor devoted to motion picture film, an interior freezer for deteriorated acetate film, and a steady temperature measuring 38 degrees Fahrenheit. The vault tours and accompanying workshop on storage and preservation exemplified the core actions in which one can take part to preserve original material for the longest and most important part of archival care-taking. A bonus to this tour were the rides up to the 40 foot ceilings of the storage facility in which students could view the vastness of the collections from up high.

We were remarkably fortunate to have exceptional faculty who were committed to teaching at the summer school. This 38 person line-up included recognized experts in film, video, and other media archiving and preservation, copyright, cataloging, photo preservation, storage and more. We were grateful to have experienced trainers affiliated with IU who committed to share their expertise as faculty in the school. In addition to the IU faculty, the external trainers, who came specifically for our summer school included FIAF’s Training and Outreach Coordinator, David Walsh; AVP’s Digital Preservation, Disaster Response and Metadata Specialist, Kara Van Malssen; Yale University’s Photo Conservator, Paul Messier; CUNY’s AudioVisual Archivist and Open Source Specialist, Dave Rice; Independent Film Restoration Specialist, Rob Byrne; NYU’s Video Preservationist, Michael Grant, Independent Film Preservationist Ken Weissman, Netherlands Institute for Sound and Vision’s Digital Media Research and Access Specialist, Johan Oomen, and FIAF Historian and Senior Administrator Christophe Dupin. These trainers lent a wide array of talents, experience, and specializations to BAVASS, and we are most indebted that this rich body of experienced and qualified individuals in the field traveled to Bloomington and gave so generously of their time and expertise.

Evenings were filled with film screenings that specifically addressed many of the core topics being taught. We screened film restorations, which were introduced by the FIAF colleagues who restored them, such as Behind the Door (1919), introduced by Rob Byrne, and Tomka and His Friends (1977), introduced by Ken Weissman, who restored the film while working at the Library of Congress. Iris Elezi, Director of the Albanian Film Archive, which holds Tomka, was also a participant of the summer school. Other nights included screenings of films which told stories of saving our cultural heritage around the world in India with Shivendra Singh Dungarpur’s Celluloid Man (2012) and in the Congo with La Belle at the Movies (2016), introduced by the Director Cecilia Zoppelletto, who also participated in the summer school. The final category of films screened were films which use archival film to make new works. These films were FIAF colleague Julien Faraut’s John McEnroe: In the Realm of Perfection (2018) and Peter Jackson’s film They Shall Not Grow Old (2018), which has received a great deal of media attention for its alterations of film with color and sound additions, and its transformation of World War I footage from the Imperial War Museum into a 3D motion picture. The Jackson film was followed by a lively panel discussion about the meaning of “restoration,” issues related to altering archival footage, and strategies for finding new audiences using historic moving image material. Panelists included FIAF/ Imperial War Museum’s David Walsh, IU President Michael McRobbie, and IU Libraries Moving Image Archive’s Rachael Stoeltje. The panel was moderated by Jon Vickers, Director of the IU Cinema. All films were screened at either IULMIA’s Screening Room or at the IU Cinema, and all screenings were well attended by the summer school, as well as members of the general public.

The school included tours to many of the special collections and libraries on the IU Campus, including the University Archives, the Archives of Traditional Music, the Black Film Center Archive, the Indiana University Libraries Moving Image Archive and the Lilly Library, where Director Joel Silver and Head of Public Services Rebecca Baumann pulled remarkable treasures from the John Ford, Peter Bogdanovich, John Boorman, Pauline Kael, Orson Welles and Rita Hayworth collections. The students got to hold an Oscar and peruse Welles’ illustrated love letters to Rita Hayworth and were offered a rare glimpse at some of the Lilly Library’s rare books and manuscripts, in addition to all of the film gems.

To continue improving the program for future schools and to perpetuate the learning experiences it offers, we are working with a faculty member in IU’s School of Education to oversee and lead the evaluation process of this event and to create a collaborative learning module for BAVASS. The evaluation began during the summer school and will continue throughout the one-year follow up period. As part of this learning collaborative, students will followup the two-week school with online meetings to discuss their successes and brainstorm solutions to challenging problems they are experiencing. IU staff and expert trainers will also participate in these meetings to learn of the problems this network of participants are experiencing and to offer their advice. These collaborative meetings will occur monthly and will be supported through Zoom. This collaborative learning model allows participants to discuss emerging and timely issues and their solutions in collaboration with their BAVASS cohorts or with assistance from our expert trainers. This collaborative process will continue for 12 months to ensure that the benefits of the training endure and are disseminated more widely.

The primary goal of the 2019 summer school was to educate a new team of archivists whether they were in mid-career, at the beginning, or simply wishing to advance their knowledge. Around the world, in small archives and large, in national institutions, cinemas, academic institutions, or private collections, the goal is the same. We hope that upon completion of our summer school that the participants returned home well grounded in archival principles and practice, having gained the knowledge and skills to preserve and care for collections around the globe, now knowing the necessary steps to provide access to these collections–whether in a cinema, through programming and projection, for individual viewing of original analog material, or online, after learning best practices for digitization, (when legally able to do so consistent with rights issues). At the end of the program, we believe we returned well-trained archivists to their home archives–or set them on a path to start work at a new archive–to preserve, make accessible, and save our world’s cultural heritage on film, video, audio, and digital formats.

We intend for the Biennial Audio-Visual Archival Summer School to continue in the future and we plan to offer this program every other year, possibly in locations around the world, in order that it may have the largest impact possible. The evaluations and ongoing training will allow us to customize the program and we will develop a packaged and detailed program which can serve as a model for future schools.

FIAF and the the FIAF Training and Outreach Program, along with tremendous support from IU and the IU Libraries made this event possible. Thanks to both for their financial support, which allowed us to bring all of the talented faculty to Bloomington to participate and to offer this program at an affordable rate for participants. In addition, FIAF also most graciously offered three scholarships that allowed individuals to come to the program who might not have been able to participate otherwise. Enormous thanks to FIAF and to David Walsh and Christophe Dupin in particular for this support and partnership to have made this BAVASS so successful.

 

 

Processing Update on the Alan Lewis Collection

By Caleb Allison, Associate Instructor, PhD Student, The Media School 

As the Alan Lewis Collection continues to be processed new and exciting discoveries continue to be made about the diverse collection of motion picture technologies ranging from the 1920s up to the 1980s. For one, we’ve learned that early in his career Alan Lewis worked right here in Bloomington, IN! Lewis worked for the Public Television Library (PTL) of PBS between 1973-74. PTL worked closely with the Indiana University Audio-Visual Center (IUAVC), a precursor to the IU Libraries Moving Image Archive, and WTIU Public Television to acquire nonlocal TV programs for national distribution. Throughout his long career with motion pictures Lewis also worked as a TV producer and director, and eventually Director of Programming, for WEDU-TV out of Tampa, Florida, and as the Director of the CBS News Film and Videotape Archives.

Most recently Lewis worked for the Motion Picture, Sound and Video Branch of the U.S. National Archives and Records Administration (NARA) in Washington, D.C. Eventually, Lewis started collecting the very technologies making the images he oversaw during his career. Amassing a collection of over 200 cameras, projectors, viewers, and editors, along with many of their original cases, sales boxes, instruction manuals, and accessories, the diversity and breadth of his collection offers an important and unique snapshot of motion picture history.

One of the true gems of the collection is a 16mm Ciné-Kodak Model B in ostrich leather with matching case. In production from 1927-1931 the Model B was the Cadillac of amateur cameras. The 1928 edition of Amateur Movie Making lists the price of the ostrich leather option at an additional $75. The standard Model B retailed for about $225, bringing the total price of the ostrich edition to a cool $300. Inflated for today $300 becomes $4,300!

The cleaning and testing of these cameras has been supplemented with motor recordings when possible. Amazingly, this Ciné-Kodak still runs after 90 years and has a beautiful purr you can listen to here:

Here’s a small sample of some other sweet motor sounds from the collection:

A selection of moving image technologies from the collection are part of two new exhibits located in the lobby of the IU Libraries Moving Image Archive (IULMIA) and the ground floor lobby of the IU Cinema. The Ciné-Kodak in ostrich leather can be viewed at the Archive. These exhibits seek to reveal the incremental evolution and vast diversity of amateur and home moviemaking equipment, as well as its beauty. From the extravagant ostrich leather casings of the 16mm Ciné-Kodak to the industrial portability of the 8mm Revere series exists the aesthetic blending of art and utility. The collection not only hosts a diversity of motion picture cameras, but a selection of their original cases and even sales boxes, as well as projectors and viewer/editors. The collection represents an important form of moving image history and technology outside of commercial Hollywood production. These are the objects that captured and shared the everyday, the familial, the nontheatrical, and so much more.

Come visit the display case in the Moving Image Archive space on the ground floor of Wells Library!

One of my personal favorites is the Super 8mm Yashica Super-800 Electro camera. Produced between 1970 and 1974, it has an atomic-age look reminiscent more of the 1950s than the 1970s. Sporting a sleek, all-black camera body, retro graphics, and colorful dials, including a seemingly arbitrary but super-cool 1950s atom graphic on its speed dial, bright green battery check light, and baby blue footage counter, it stands uniquely apart from its collection counterparts. The Yashica Super-800 is also part of the IULMIA exhibit, and its progenitor, the Yashica Super-60 Electronic, can be found in the IU Cinema’s exhibit.

Moving forward with the collection the Moving Image Archive plans to preserve and maintain the working order of the projectors and cameras while restoring those that can be fixed. They are undoubtedly beautiful machines but many of them are also functional, and their exhibition as well as their utility will be used to offer experience and education to students and film lovers alike.