Relevant bibliographies by topics / Film and Video Lending Collection

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film and Video Lending Collection'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Film and Video Lending Collection"

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Curtis, David, and Steven Ball. "The British Artists’ Film and Video Study Collection: a resource for moving-image research." Art Libraries Journal 34, no. 3 (2009): 16–20. http://dx.doi.org/10.1017/s0307472200015960.

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The British Artists’ Film and Video Study Collection is a small specialist collection dedicated to the history of artists’ moving images in Britain, which is based at Central Saint Martins College of Art and Design at the University of the Arts London. The Collection services the needs of both academics and curators in this specialist area. Its founders describe itsraison d’êtreand collecting policy, and outline some of the challenges of working in an environment susceptible to changing research priorities and uncertain digital storage standards.
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Muhimatul Khoiroh, Fitri Febrianti, Dindin Solahudin, and Aang Ridwan. "Channel Film Maker Muslim Sebagai Media Dakwah." Tabligh: Jurnal Komunikasi dan Penyiaran Islam 4, no. 4 (December 31, 2019): 363–81. http://dx.doi.org/10.15575/tabligh.v4i4.1062.

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Sebuah video di produksi dengan judul “Living With Muslim With Tommy Limm” dengan gendre vlog religi berhasil menarik perhatian masyarakat. Kemunculannya ditengan banyak video yang di produkasi Film Maker Muslim menjadi hal yang harus di teleti baik secara makna ataupun produksinya. Tujuan penelitian ini adalah untuk mengetahui apakah terdapat pembingkaian media yang dilakukan komunitas Film Maker Muslim terhadap video yang diproduksinya tersebut. Penelitian ini menggunakan metode kualitatif yang bersifat analisis framing model Rober N Entman. Teknik pengumpulan data pada penelitian ini berupa observasi dan dokumentasi. Hasil penetlitian ini menunjukan bahwa adanya pembingkaian media yang dilakukan oleh komunitas Film Maker Muslim terhadap video Living With Muslim With Tommy Limm. Dalam memframe pesan Islam atau dakwah dalam video Living With Muslim With Tommy Limm dalam channel youtubenya. Film Maker Muslim menggunakan strategi pendekatan sosial. Pemilihan isu juga terlihat dalam ranah sehari-hari yang berkaitan dengan kehidupan beragama atau antar agama dalam pandangan masyarakat. Kata Kunci: Analisis Framing;Youtube;Video Living With Muslim With Tommy Limm;Film Maker Muslim A video produced under the title "Living With Muslim With Tommy Limm" with religious vlog gendre managed to attract public attention regarding religious differences in the purpose of da'wah through entertainment. Its appearance in many videos that are produced by Film Maker Muslim becomes a thing that must be tasted both in terms of meaning and production. The purpose of this study was to find out whether there was a media framing by the Film Maker Muslim community on the video it produced. This study uses a framing analysis method to see how a media can construct messages to audiences. Data collection techniques in this study were in the form of observations and Robert N. Ernman's concepts in analyzing data. The results of this study show that there was a media framing carried out by the Film Maker Muslim community on the video Living With Muslim With Tommy Limm. In memframe the message of Islam or preaching in the video Living With Muslim With Tommy Limm in his YouTube channel. Film Maker Muslim uses a social approach strategy. Election issues are also seen in the everyday realm that are related to religious life or between religions in the view of society. The contribution of Tommy Limm by looking at the background in the video makes this video more interesting and a lot of public attention in delivering his da'wah. Keywords: Framing Analysis, Youtube, Video Living With Muslims With Tommy Limm, Muslim Film Make
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Simoni, Paolo. "Circle." Feminist Media Histories 2, no. 3 (2016): 102–18. http://dx.doi.org/10.1525/fmh.2016.2.3.102.

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A concentric intertwining of female perspectives is the subject of this essay, which describes the discovery, preservation, and reuse of the amateur film and video collection belonging to the Togni circus family. The article chronicles a decadelong adventure that led from the discovery of this amateur film collection to the making of Circle (2016), a found footage film recently completed by Valentina Monti. The film is the result of complicated research that involved a composite group of archivists and filmmakers, including many women. Most of the materials reused in the film were originally shot by three women, Christiane Bottinelli, Liliana Casartelli, and Fiorenza Colombo (wives of the Togni brothers), from the 1940s on. Their filmed memories are extraordinary micro-historical documents that grant access to the experiences of women in the highly patriarchal world of the traditional circus.
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Ghartey-Tagoe Kootin, Amma Y. "ReView Bamboozled: Archival Affects." Performance Philosophy 4, no. 1 (August 30, 2018): 294–96. http://dx.doi.org/10.21476/pp.2018.41174.

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The first time the author watched Spike Lee’s Bamboozled (2000), the film literally moved her body 3000 miles. In this video reView, Bamboozled moves the author again, this time to the very space that gives the film its continued, urgent relevance: the archive. In moving and being moved, the author surprisingly discovers a little-known archival collection in Buffalo, NY that directly relates to Lee’s film and its usage of black memorabilia. ReVIEW BAMBOOZLED: ARCHIVAL AFFECTS chronicles the author’s journey into this archive and her remarkable discussion with the archivist and her research assistant about the stakes of that collection, Spike Lee’s film, and the affects of both. It also reViews archival practice, showing the tensions of working with what the archivist acknowledges to be, in some ways, “the uncollectible.”
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Montero, Gustavo Grandal. "Video as art: collecting artists’ moving image in academic art libraries." Art Libraries Journal 34, no. 3 (2009): 5–10. http://dx.doi.org/10.1017/s0307472200015947.

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Video collections have been part of library holdings for several decades, but developing and managing these collections presents a number of challenges. This is the case particularly for artists’ film and video, and this article attempts to identify the issues involved and to offer some practical guidance, drawing on the experience of collection development and management at Chelsea College of Art and Design Library, and across the libraries of University of the Arts London and elsewhere.
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Cameron, Ann. "Capturing moving images online." Indexer: The International Journal of Indexing: Volume 24, Issue 3 24, no. 3 (April 1, 2005): 142–44. http://dx.doi.org/10.3828/indexer.2005.24.3.8.

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‘Archive Live’, the online catalogue from Scottish Screen Archive, brings the film and video material in Scotland’s National Moving Image Collection to life on the web. Designed to service the general public and the commercial programme maker, the catalogue is an essential reference tool, offering detailed information about moving images from 1895 to the present day. This article describes the planning and decision-making processes involved in actually getting the catalogue online, and provides a look at cataloguing and indexing practice in a film archive.
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Aziz, Ghafiruna Al, Chumi Zahroul Fitriyah, and Zetti Finali. "Tayangan Video Animasi “Si Nopal” Untuk Mendukung Interaksi Sosial Siswa Sekolah Dasar." Scholaria: Jurnal Pendidikan dan Kebudayaan 10, no. 3 (September 28, 2020): 207–16. http://dx.doi.org/10.24246/j.js.2020.v10.i3.p207-216.

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Social interaction is a dynamic social relationship that involves relationships between individuals, between groups, and between individuals and groups. The purpose of this research is to analyse an animated film "Si Nopal" in supporting social interaction of the elementary students. The type and design of the study used in this study is descriptive research. The data collection methods are documentation and interviews. Qualitative data analysis used in this study consisted of three activity processes, namely data reduction, data presentation, and drawing conclusions. Based on the results and discussion it can be seen that the Nopal's animated video can support students' social interactions. The social interactions in the Nopal animated video include the communication process, social contact, and associative processes. Students who are given the animated video show "Si Nopal" have the motivation to imitate the aspects of social interaction in the video shown.
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Wood, Kelli, and David S. Carter. "Art and technology: archiving video games for humanities research in university libraries." Art Libraries Journal 43, no. 4 (October 2018): 185–95. http://dx.doi.org/10.1017/alj.2018.29.

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AbstractOver the past half-century video games have become a significant part of our cultural environment, in part, by leading advances in both technology and artistic innovation. In recent years librarians and researchers have recognized these games as cultural objects that require collection and curation. Developing and maintaining collections of this fast moving and somewhat ephemeral media, however, poses challenges due to constantly advancing technology and a corresponding lack of consistent terminology. This article addresses the literature and critical issues surrounding collections of video games within libraries and presents a case study of the University of Michigan’s Computer and Video Game Archive (CVGA), one of the largest academic archives of its kind. Moreover, video games are situated in a humanistic approach to the field of game studies as the article draws on the relevance of methods from art history and film studies.
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Caston, Emily. "Conservation and curation." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 160–77. http://dx.doi.org/10.33178/alpha.19.14.

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This article identifies and examines the research methods involved in curating a national collection of British music videos for the British Film Institute and British Library in relation to existing scholarship about the role of the curator, the function of canons in the humanities, and the concept of a hierarchy of screen arts. It outlines the process by which a theoretical definition of “landmarks” guided the selection of works alongside a commitment to include a regionally and socially diverse selection of videos to reflect the variations in film style of different music genres. The article also assesses the existing condition of British music video archives: rushes, masters, as well as documents and digital files, and the issues presenting academics and students wishing to study them. It identifies the fact that music video exists in the gaps between two disciplines and industries (popular music studies / the music industry and film and television studies / the screen industries) as an additional challenge to curators of the cultural form, alongside complex matters of licensing and formats.
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Min, Seoha, Helen S. Koo, and Marilyn DeLong. "Differences of Information Management between Fashion Show Video and Fashion Film: Focusing on Cases of Chanel." Research Journal of Textile and Apparel 19, no. 1 (February 1, 2015): 73–83. http://dx.doi.org/10.1108/rjta-19-01-2015-b008.

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As media technology is developing, methods to present fashion products and communicate with audiences are also evolving. Designers and fashion brands are always on the lookout for more effective methods to deliver what designers intend through new products. The purpose of this research is to analyze different ways in which people perceive, cognize, and memorize the digital media of fashion show videos and fashion films in the communication process. Considering the difference in communication methods, this study is based on Shannon's communication model, Foulger's ecological model of the communication process, and Kopec's information management theory. In this research, Chanel's 2010 Cruise collection and fashion film, Remember Now, were used as content stimuli. The results indicate that there are significant differences between fashion shows and fashion films in terms of perception (p < .005), cognition (p < .005), and memorization (p < .005). This research will provide prospective methods for fashion designers and fashion firms to effectively deliver the latest fashion information to their audiences.
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Dissertations / Theses on the topic "Film and Video Lending Collection"

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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.

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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?
Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD
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Hyatt, Jonathan Charles. "The Criterion of Quality: A Paratextual Analysis of the Criterion Collection in the Age of Digital Distribution." Chapman University Digital Commons, 2014. https://digitalcommons.chapman.edu/film_studies_theses/1.

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In 2011, home-video distribution company, The Criterion Collection, teamed up with streaming-content provider Hulu, extending their business model to include online streaming to subscribers through Hulu Plus. With the rise of Over-The-Top (OTT) media distribution services into the at-home market, the question that Criterion now faces is: how will the company survive as the market shifts away from Criterion’s established values? And, more pertinently, how does Criterion, by rebranding their image to compete in the streaming market, hope to attract new users without alienating their established fan base or sacrificing their brand identity? This thesis examines the Criterion Collection’s brand identity, business model, and history, focusing on its packaging and promotion, distribution channels (physical and streaming), and the formation of a self-established cinephile community through their website, Criterion.com. In my examination of Criterion’s attempts to branch out into new markets and adapt to alternative modes of media consumption, I argue that Criterion is taking strides to attract new audiences and build a tightly knit online fan community around their brand.
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Feng, Ping Feng. "Examination of the Hollywood Movie Trailers Editing Pattern Evolution over Time by Using the Quantitative Approach of Statistical Stylistic Analysis." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/395476.

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Media Studies & Production
M.A.
In this study, I took the quantitative research approach of film statistical stylistic analysis to examine the editing pattern evolution of 130 Hollywood movie trailers over the past 60 years from 1951 to 2015; the prior studies on the overall evolution of the Hollywood movies’ editing pattern are compared and discussed. The results suggest that although the movie trailers are much shorter than the whole movies, the average shot lengths of the trailers still display a declining trend over the past 60 years, and the variations in the shot lengths are also decreasing. Second, the motions within each framedo not change significantly over the years, while the correlation coefficients between the shot lengths and the motions within the shots are moving toward a more negative correlation relationship over time, suggesting that the trailers are subject to an editing evolution trend that the shorter the shot is, the more motions there are within it, and this also aligns with the overall movies’ editing pattern evolution trend. Last, the luminance of the trailers remains almost the same over time, which does not align with the overall movies’ editing pattern evolution of becoming darker and darker over decades. Together these findings suggest that the movie trailers’ editing rhythm evolution in general aligns with that of overall movies over time while the visual editing pattern evolution of color luminance does not. The study results will improve our understanding on how the Hollywood movie trailers’ editing pattern and style have evolved over time and pave the way for future advertising studies and cognitive psychology studies on the audience’s attention, immersion and emotional response to various editing patterns of movie trailers.
Temple University--Theses
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Lehman, Jeffrey. "The Cinematic Experience Through The Micro-Budget Paradigm." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5805.

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The Tailor's Apprentice is a feature-length, micro-budget, narrative digital motion picture, written, produced and directed by Jeffrey Lehman in partial fulfillment of the requirements of earning a Master of Fine Arts in Film from the University of Central Florida. The film is a result of applying specific monetary, logistical and creative limitations to the production process in order to contribute in defining the micro-budget aesthetic, resulting in a final shared cinematic audience experience. This thesis is a record of all stages from conception to completion of the executed, feature length film with-in the micro-budget production paradigm.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Rosinski, Milosz Paul. "Cinema of the self : a theory of cinematic selfhood & practices of neoliberal portraiture." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269409.

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This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.
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Dannelly, David. "Secondary World: The Limits of Ludonarrative." Master's thesis, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6082.

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Secondary World: The Limits of Ludonarrative is a series of short narrative animations that are a theoretical treatise on the limitations of western storytelling in video games. The series covers specific topics relating to film theory, game design and art theory: specifically those associated with Gilles Deleuze, Jean Baudrillard, Jay Bolter, Richard Grusin and Andy Clark. The use of imagery, editing and presentation is intended to physically represent an extension of myself and my thinking process and which are united through the common thread of my personal feelings, thoughts and experiences in the digital age.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer Track
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Books on the topic "Film and Video Lending Collection"

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National Library of Australia. Film and Video Lending Collection. Screen studies catalogue. Canberra, ACT: The Collection, 1992.

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Vision, CFL. Directory: Film & video collection. Wetherby: CFL Vision, 1991.

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Vision, CFL. Directory: Film & video collection. Wetherby: CFL Vision, 1989.

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Josias, Anthea. Mayibuye Centre film and video collection. Bellville: University of the Western Cape, 1994.

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Kitchen Center for Video, Music, Dance, Performance, Film, and Literature (New York, N.Y.). The Kitchen video collection: Two decades of the video vanguard. New York, NY: The Center, 1996.

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Julia, Stoschek, Deichtorhallen Hamburg, and Julia Stoschek Foundation, eds. I want to see how you see: Julia Stoschek Collection : Film, Installation, Fotografie. Hamburg: Deichtorhallen, 2010.

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The Video librarian's guide to collection development and management. New York: G.K. Hall, 1992.

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Wyver, John. The moving image: An international history of film, television, and video. New York: B. Blackwell, 1989.

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Holmes, Kenneth H. John Steinbeck on stage and screen: A descriptive bibliographical catalogue of the stage and screen adaptations material in the John Steinbeck collection of Mr. & Mrs. Kenneth H. Holmes. [Salinas, Calif.?: K.H. Holmes], 2007.

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J. Paul Leonard Library. Special Collections and Archives Department. Survey, CBS 5 KPIX AIDS Collection (KPIX Film Library): San Francisco Television News Archives. Edited by Eliassen Meredith, Disman Christopher, Yangson Mitchell, and San Francisco Bay Area Television Archives. San Francisco: San Francisco State University, 2005.

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Book chapters on the topic "Film and Video Lending Collection"

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Lenzner, Ben. "FILM, VIDEO, AND DIGITAL MEDIA ACTIVISM COLLECTION:." In InsUrgent Media from the Front, 273–94. Indiana University Press, 2020. http://dx.doi.org/10.2307/j.ctv177thx3.20.

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"Appendix C: International Film and Video Center Iranian Film Collection." In A Social History of Iranian Cinema, Volume 4, 520–22. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822393542-013.

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Townsend, Sylvia. "The Finish Line: The Film Catches Fire." In Bumpy Road, 157–70. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.003.0010.

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Two-Lane Blacktop becomes a cult classic, honoured with inclusion in the National Film Registry and released by the prestigious Criterion Collection. This chapter features interviews with some directors who say Monte Hellman and his most famous movie influenced their work – Kelly Reichardt, Richard Linklater and Wes Anderson. Reichardt says she admires the film’s rigor, construction and realism. Linklater says he likes the movie because it defies expectations, and he has paid tribute to it in some of his films by featuring a GTO. Anderson says he admires the film because it is like a genre movie with the genre taken out. This chapter also features interviews with musicians who have paid tribute to the film, one with a mock soundtrack album, and the other with a video remake. Many hip young people think Two-Lane Blacktop is cool.
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Udoh, Anthony Paul, and Anietie Solomon Etteyit. "Nollywood Video Films and the Nigerian Image Crisis." In Advances in Media, Entertainment, and the Arts, 207–24. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9821-3.ch008.

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Mass media platforms, especially the video film, have been seen as potent tools for image construction or identity molding of any society. However, there are indications that the Nigerian movie industry has rather magnified the negative aspects of Nigeria, with the resultant image crisis for the country and its citizens. This chapter evaluates the role of Nollywood video films in the image crisis of Nigeria. Ten home videos were purposively selected from the collection of different producers. The findings show that the thematic characteristic styles of Nollywood are largely responsible for the image crisis of Nigeria and do more harm than good to its citizens. From the findings, it was recommended that script writers and movie producers in Nollywood should be alerted to the reality that their movies could negatively impact the image of the society, and should therefore make concerted efforts to mirror more of the positive aspects of the society and avoid creating image crisis for the country.
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"Space and Media." In A Simplex Approach to Learning, Cognition, and Spatial Navigation, 29–38. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2455-7.ch004.

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The tool identified for data collection of this research project is a video game, which makes the topic of the representation of space in videogame an absolutely relevant aspect for the project. This work bases on the statement of Jenkins, according to which “game space never exists in abstract, but always experientially”. In the current generation of video games, talking about position of the camera assumes a different value than in film or television language, assuming the meaning of point of view from which the game is visually (and auditory) presented and determines the spatial perspective of a computer game. The most common distinction, with respect to the position of the camera, is between First Person Camera, where space is presented from the perceptive perspective of the player's avatar and Third Person Camera, where the perspective is not directly the one of the avatar. This category, in fact, is very extensive, and poorly lends itself to a single definition. Under the umbrella of Third Person Camera are both perspectives associated with the avatar, but framing it externally (a camera follows the avatar) and those in which the camera is fixed. Moreover, the position of the camera compared to the avatar (from behind, left, right, Orbit Camera, etc.), or with respect to the environment (from above, from a precise point of reference) is not a neutral choice. In the present work, we use the categorization proposed by Britta Neitzel (Neitzel, 2002), which, taking up the work of Jean Mitry about The Aesthetics and Psychology of the Cinema (Mitry & King, 1997), distinguishes between subjective, semisubjective or objectives views. The chapter provides examples of different perspectives, and introduces the concept of Natural User Interfaces, which include movements based on input and output, on discretion, on voice, and evolve towards an efficient use of the senses in the interaction with machines.
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Conference papers on the topic "Film and Video Lending Collection"

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Mays, Antje, and Oya Y. Rieger. "Legacy Missions in Times of Change: Defining and Shaping Collections in the 21st Century." In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317167.

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Despite the rapidly changing information and technology landscape, collections remain at the heart of academic libraries, signifying their enduring importance in providing access to our cultural heritage. Given broader trends in research and the current information ecology of an increasingly networked, distributed, and licensed environment, building collections and developing collection polices is increasingly ambiguous. These trends impact librarians in form of ever-expanding portfolios, diffusion of effort, weakened sense of focus, and a rising sense of persistent yet unmet needs for developing new skills. This paper outlines current research on collection trends and summarizes the interactive exchanges from the 2019 Charleston Conference Lively Session (https://sched.co/UZR5). Through live polling, session participants identified key trends in libraries and collections: Key trends included business models, budget constraints, consortium deals, continued importance of subscribed content, access vs. ownership, digitization of unique local collections, digital humanities, digital scholarship, library publishing projects, growing library investments in Open Access (OA), and collection diversification efforts with a view to equity and social justice. Among emerging library services, data services and digitization ranked highest in importance. The most-cited wish-list items included transformative deals, stronger campus partnerships, more OA projects, reduced copyright barriers in sharing homegrown digitized video content, as well as skill development in Counter 5 and data analysis. Existing physical and digital preservation programs received only lower-middle strength ratings. Among long-established library characteristics, collection policies, subscribed content, interlibrary loan, and consortial borrowing and lending retained enduring value and high rankings in importance. Tensions continue between ownership, borrowing, and access.
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Winter, Renee. "Intertwining spheres." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.20.

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Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the 1980s and 1990s. The challenges are not only to develop a collection and archiving strategy for a type of content on which there is little to no scientific research but also to master the technical challenges of archiving such materials for the long term. This paper examines the development and the workflow of the project and goes on to consider the historical functions of home videos and their qualities as historical sources.
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Wall, J. Gerard, and Katrina Lacey. "Lights, camera, action: Microbiology laboratory teaching in the spotlight." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9429.

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Broadening of access to higher education, leading to increasing class sizes, presents particular challenges in teaching specialised, laboratory-based subjects such as Microbiology. The Republic of Ireland has seen a 20% increase in undergraduate student numbers in the past ten years, with this trend set to continue in the near future. To complement traditional learning approaches, we have designed, produced and trialled a comprehensive suite of teaching videos that demonstrate common techniques taught in our Microbiology degree programme. The 42 videos, each of 4-9 minutes duration, were filmed in-house using a professional film maker. Videos were designed for viewing before linked laboratory sessions to increase student engagement, assist learners with little prior technical experience to process core concepts, and improve the quality of hands-on practical training in the laboratory. Student reaction to a pilot release was exceptionally positive, underlining the videos’ effectiveness for visual learners and the added value of the content due to its bespoke nature. The complete video collection will be amalgamated into our B.Sc. programme in 2019-20. The initiative is expected to enhance students’ experience in hands-on laboratory sessions, promote active learning by blending video into traditional teaching programmes, and support reflective study through their availability.
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