avms-explain-to-vrtbesser.tsoa.nyu.edu/howard/talks/15avms-explain-to-vrt.pdf · 6/28/15 6...

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Besser-‐VRT/IFLA explana9on 2015

Interna9onal Federa9on of Library Associa9ons Audiovisual & Mul9media Sec9on

Howard Besser NYU Moving Image Archiving & Preserva9on

Program hQp://besser.nyu.edu/howard

hQp://www.nyu.edu/9sch/preserva9on/

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Interna9onal Federa9on of Library Associa9ons Audiovisual & Mul9media Sec9on-‐

•  Photos showing what happens at IFLA •  Day-‐long Workshops (almost annually) •  Guidelines •  JTS •  Legal deposit Survey

Besser-‐VRT/IFLA explana9on 2015 2

Interna9onal Federa9on of Library Associa9ons Audiovisual & Mul9media Sec9on-‐

•  Photos showing what happens at IFLA •  Day-‐long Workshops (almost annually) •  Guidelines •  JTS •  Legal deposit Survey


IFLA WLIC, 2010 Gothenburg


IFLA WLIC, 2010 Gothenburg


IFLA WLIC, 2014 Lyon


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Besser-‐2009 Intro class 7

Sessions 2007, Durban


Large Sessions 2008, Québec


Crowded Sessions 2008, Québec


Speakers Projected, 2010 Gothenburg


Speakers Podium view, 2014 Lyon


Talk on Legal Deposit,2010 Gothenburg

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Young People protect Alexandria Library during Arab Spring (San Juan 2011)


Young People protect Alexandria Library during Arab Spring (San Juan 2011)



Poster Sessions 2008, Québec


Poster Sessions 2011, San Juan


Poster Sessions, 2012 Helsinki


Poster Sessions, 2014 Lyon

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Exhibits 2008, Québec


Exhibits 2010, Gothenburg


Exhibits 2010, Gothenburg


Cultural Events 2007, Durban

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Cultural Events 2011, San Juan


Social Events 2011, San Juan


Social Events 2008, Québec


Social Events 2012, Helsinki


Social Events 2012, Helsinki


Social Events 2013, Singapore

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Social Events 2014, Lyon


Meet people from many countries 2009, Milan


See interesting places, 2009 Milan


AVMS Section 2009, Milan


AVMS Section 2012, Helsinki


AVMS Section 2012, Helsinki

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AVMS Section 2013, Singapore


Visit to Natl A/V Archive (2012 Helsinki)








AVMS Newsletter Award 2008, Québec

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AVMS Newsletter Award 2008, Québec


Honoring Librarians 2008, Québec

Guidelines


Regular Reports to VRT


Day-‐long Workshops (almost annual)

•  A/V Collec9ons for non-‐specialist Librarians


Workshop Objec9ves


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Workshop Topics/Schedule


10:00 -‐ 10:30 Welcome & introduc9on to the workshop objec9ves 10:30 -‐ 11:30 Types of collec9ons and their specific needs 11:30 -‐ 12:15 Film: iden9fica9on and risk assessment. How it works. Gauges and

supports. Genera9ons and elements. Deteriora9on. 12:15 -‐ 12:45 Sound: iden9fica9on and risk assessment. How it works. Format

iden9fica9on. Preserva9on. 12:45 -‐ 14:00 Lunch (on your own) 14:00 -‐ 14:30 Video: iden9fica9on and risk assessment. How it works. Format

iden9fica9on. Preserva9on. 14:30 -‐ 15:00 Storage condi9ons and life expectancy for Film, Video, Sound 15:00 -‐ 15:15 Break 15:15 -‐ 16:00 Transferring and reformadng film, video and sound. Complica9ons of

doing it in-‐house. Complica9ons of dealing with outside vendors Quality Control.

16:00 – 16:45 Providing access: on site, on line. Metadata, access formats, rights. Conclusions.

16:45 – 17:00 Wrap up and discussion

Workshop 2009-‐RAI










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Workshop 2011-‐San Juan


Workshop 2011-‐San Juan


Workshop & AVMS 2011-‐San Juan


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Workshop 2014-‐Lyon


Workshop 2013-‐Tisch Singapore


Workshop 2013-‐Tisch Singapore


Joint Technical Symposium-‐JTS

•  explores the technical issues affec9ng the long term survival and accessibility of audiovisual collec9ons.

•  an interna9onal symposium and brings together the world’s foremost research and thinking regarding the preserva9on and accessibility of moving image and recorded sound collec9ons, from 19th century endeavours to the most recent digital technologies.

•  Since the last JTS in 2010 the audiovisual archiving world has seen many drama9c changes and advancements in the technologies that enable preserva9on. The rate and magnitude of these changes requires a collabora9ve approach to enable all archives to make sense of the best way to keep collec9ons alive for future genera9ons.


Joint Technical Symposium

•  1983 ??? •  2004 Toronto •  2007 Toronto •  2010 Oslo •  2016 Singapore


JTS 2007 sample paper 9tles •  Automated Workflows in Mass Audio Archiving •  Digital Archiving of Mo9on Pictures •  Digital Storage Op9ons – A Transi9onal Perspec9ve … •  Film Archives: Needs and Requirements in the D-‐Cinema Age •  Hi-‐Bias Signal Pick-‐Up •  MEMORIES: Design for an Audio Advanced Acquisi9on … •  Metamorphosis of a Digital System •  Migra9on of 1.5 Million Hours … at the Swedish Na9onal Archives •  New Tools for Film Sound Restora9on •  New Web-‐based Technology for Environmental Monitoring of Moving Image Collec9ons •  Non-‐Contact Surface Metrology •  Open Source Archiving Repositories •  Preserving Digital Public Television: Part II-‐ Designing the Repository •  PrestoSpace… •  Quality Control in Digital Cinematography •  Research Report on JPEG2000 for Video Archiving


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JTS 2010


Next JTS-‐Singapore Mar 7-‐9 2016

•  “Sustainable Audiovisual Collec9ons Through Collabora9on”

•  Papers “will cover the ongoing technological viability of audiovisual collec9ons both as individual items and holis9cally, as well as every aspect of audiovisual media preserva9on and access such as conserva9on and restora9on, harves9ng and accessing collec9on informa9on -‐ including metadata and intellectual property.”


Paper Proposals For JTS 2016 The JTS 2016 Program CommiQee is seeking papers that discuss or demonstrate fresh innova9ve approaches to: •  conserva9on treatment of audiovisual objects •  restora9on of audiovisual objects and/or content •  access to the informa9on held within objects and collec9ons, including metadata and intellectual property

•  the long term survival of audiovisual collec9ons, as individual objects and/or digital files


Next JTS-‐Singapore Mar 7-‐9 2016


Why is legal deposit Important?

•  Builds a na9onal patrimony – “public interest”, “complete record of works”,

“aid research & documenta9on”, “conserve our na9onal heritage”, “make works available for future genera9ons”, “systema9c & comprehensive”, “crea9on of a na9onal collec9on”

•  Is easiest to collect works when they are first issued (rather than much later in their life)


Aims of legal deposit law

•  Preserva9on of works; building a na9onal collec9on, “to collect the cultural heritage for the future”

•  Corollary objec9ves include: -‐-‐"to create standard bibliographic record of library material published" (Malaysia); -‐-‐"na9onal bibliographic control" (Croa9a); -‐-‐so that, "commercial and self-‐published work receive wide exposure" (Australia); -‐-‐"Bibliographical registra9on" (Czech); -‐-‐"produc9on of the na9onal Slovene bibliography" (Slovenia Na9onal and University Libraries)


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Short History of Legal Deposit •  1537 France, Ordonnance de Montpellier •  1594 Belgium, then abolished 1886, reinstated 1966 •  1610 Great Britain-‐Bodley •  1661 Sweden, 1697 Denmark, 1702 Finland •  In 18th century (beginning with 1709 Statute of Anne) became

a pre-‐requisite to obtaining © protec9on •  In 1886 Berne Conven9on abolished any pre-‐requisite to ©

protec9on, and countries either had to find another method for Legal Deposit, or abolish it completely (like Belgium)

•  Aim evolved over years from preserving for future genera9ons, to crea9on of a na9onal bibliograpy, to crea9ng research collec9ons


Difficulty of researching legal deposit laws for audiovisual (1/2)

•  Legal Deposit laws for audiovisual are ouen in many different parts of the legal statutes –  Some parts are ouen in library mandates, and other parts might be in copyright laws

–  Legal Deposit for radio may be in 1920s or 1930s laws governing use of broadcast spectrum

–  Legal Deposit for television may be in 1950s laws governing use of broadcast spectrum

–  Legal Deposit for cinema9c film might be in import laws or in tax laws

–  Legal Deposit for digital works may be in completely different laws Besser-‐VRT/IFLA explana9on 2015 80

Difficulty of researching legal deposit laws for audiovisual (2/2)

•  Responsibility for collec9ng Legal Deposits for audiovisual may reside in different repositories – Na9onal Library – Na9onal Archive – Na9onal Film Archive – Na9onal Radio or Television Archive, or Public Broadcas9ng company

– Regional specialized or non-‐specialized collec9ons Besser-‐VRT/IFLA explana9on 2015 81

Methodology

•  Invita9on to complete online survey through prodding by IFLA/AVMS members, CCAAA

•  78 Responses from October 2009 through April 2010 •  16 respondents entered only their contact informa9on, and 24 of the respondents were from regional (sub-‐na9onal) ins9tu9ons –  Discrete na9onal responses combined –  Excessively incomplete responses disregarded – Minimal addi9onal research performed, where responses were overly vague or uninformed


Responses from 35 Countries •  Australia •  Austria •  Canada •  Croatia •  Czech Republic •  Denmark •  Estonia •  Fiji •  Finland •  France •  Germany •  Greece •  Hungary •  India •  Italy •  Japan •  Latvia •  Lithuania

•  Luxembourg •  Malaysia •  Namibia •  Netherlands •  New Zealand •  Norway •  Poland •  Serbia •  Seychelles •  Slovakia •  Slovenia •  South Africa •  South Korea •  Spain •  Sweden •  Switzerland •  United Kingdom


Responses from 5 Con9nents, but skewed towards Europe

•  Europe 24 •  Asia (east only) 5 •  Africa 3 •  Oceania 2 •  North America 1 •  South America 0


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Respondents (1/2)

•  Highly skewed towards developed part of the world, but does include poorer countries

•  No par9cipa9on from South America, Middle East, most of Asia, most of Africa

•  Some conflic9ng impressions amongst ins9tu9ons within same country as to specifics of legisla9on


Respondents (2/2)

•  Only 7 respondents cited job 9tles indica9ng their direct rela9on to a na9onal bureau/office charged with administra9ng Legal Deposit:

-‐Australia -‐Canada (as well as, Québec) -‐Croa9a -‐Finland -‐Netherlands -‐South Africa

•  Respondents were not Legal Deposit experts


What is the legal ra9onale for legal deposit? (1/2)

•  Berne Interna9onal © agreement forbids making legal deposit a requirement for giving copyright protec9on (copyright protec9on must be granted upon comple9on of a work, without any registra9on or paperwork requirements)

•  But the US gets around this by gran9ng automa9c copyright protec9on upon crea9on of a work, but preven9ng the collec9on of statuary damages or aQorneys fees for copyright viola9on unless the work has been registered and deposited


What is the legal ra9onale for legal deposit? (2/2)

•  Only 3 respondents to the ques9on of whether legal deposit was based in copyright or tax law, but from write-‐in notes we find that: -‐-‐Austria, Canada, and Australia all include clauses whereby any film or TV produc9on receiving federal funding must deposit a copy. This implies that their legal deposit is not based on ©


Legal deposit Laws: A Chronology •  Many existed pre-‐1900 (1/3 of respondents) •  Among respondents, A/V deposit laws begin to appear post WWII

•  Number of deposit laws appears to rise at a fairly con9nuous rate, except that: -‐-‐-‐Among respondents, number of A/V deposit laws doubled in the 1990s & 2000s (only 44% of A/V deposit laws existed before 1990)


Legal Deposit Laws over 9me (print material)


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Legal Deposit Laws over 9me (a/v material)


Legal deposits are not centralized

•  94% of respondents reported that their own ins9tu9on was not the only na9onal legal deposits depository

•  Addi9onal legal depositories, by type: – 31% addi9onal deposit at another Na9onal Library – 31% addi9onal deposit at another Regional Library – 24% addi9onal deposit at an AV-‐specific ins9tu9on

– 17% addi9onal deposit at a University ins9tu9on Besser-‐VRT/IFLA explana9on 2015 92

Sub-‐na9onal & extra-‐na9onal legal deposit requirements

•  Both the Bibliothèque et Archives na9onal du Québec (BANQ) and Libraries and Archives Canada (LAC) collect Québec provincial publica9ons, thus a more complete cultural record for Québec is likely than for, say, Saskatchewan

•  Similar provincial-‐level legal deposit laws in certain Canadian provinces—eg. the Manitoba Legisla9ve Library

•  Republic of Ireland has one of its 4 depositories as the Bri9sh Library

•  Redundancy as insurance, however these strategies may result in collec9on inconsistencies—eg. the Bibliothéque Na9onale de Québec may have beQer collec9on of Québec culture than Libraries/Archives Canada


Legal deposit is mandatory in most countries

•  86% Required by Law •  14% Voluntary


How is the deposit law enforced? •  Only 1 respondent claimed that the law was always enforced •  2/3 of the respondents said that the penalty for non-‐

compliance was a fine, but almost half of those admiQed that this wasn’t seriously enforced

•  15% said that jail 9me was a penalty for non-‐compliance, but no one cited any specific example of this

•  Many responses emphasized that they will make repeated contacts to pester someone to comply –  “We prefer to persuade rather than prosecute. In the en9re history of

legal deposit we have only prosecuted a publisher once, and that was for flagrant, repeated refusal to deposit. The Library won the case.”

•  Only 1 respondent cited tax implica9ons for non-‐compliance


Countries with high compliance rates have more serious enforcement

•  Among those countries that claim they collect at least 90% of the legal deposits that they should ideally collect: –  All have legal requirements manda9ng legal deposit

– 80% have some kind of enforcement mechanism


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How much of a country’s audiovisual output is actually deposited?

•  Responses range from 5%-‐100%, with most answers clustered in the 70%-‐90% range

•  mean average of 75%


Where they are collected, what A/V materials are specifically

exempted? •  Any film gauge larger than 35mm (Canada) •  Analog films (Germany) •  Audio Books (Finland) •  Born-‐digital materials not distributed in a physical format are implicitly exempted (Australia)


Who is responsible for legal deposit?


Legal Deposit is more the realm of producers/distributors than creators •  75% say publishers are responsible •  36% say manufacturer/printer is responsible •  36% say distributor is responsible •  Only 18% say author/creator is responsible •  And for 18%, the na9onal repository was responsible for obtaining the works on their own


What event ini9ates deposit requirement?


What event ini9ates deposit requirement?

•  Publica9on: 83% •  Receipt of request, or claim: 17% •  Specified calendar date: 14% •  Other events: 21% -‐Broadcast, First Edi9ons only


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Who pays the cost of crea9ng depository copies?

This cost can be substan9al for a film nega9ve or print

•  86% the Depositor •  21% the Depository


Financial Support for legal deposit

•  78% of Depositories are fully funded for legal deposit ac9vi9es

•  11% of Depositories are par9ally funded for legal deposit ac9vi9es

•  11% of Depositories receive no funds for legal deposit ac9vi9es

•  This somewhat mirrors funding for general management of A/V collec9ons (74%)

Governments feel that this is an ac9vity worth funding


Quality and Number of copies for legal deposit

•  A number of respondent countries s9pulate the number of legal deposit copies based upon format: – more copies for print material than for sound, more copies of sound than for video, and/or more copies for video than for film

•  Only a few respondents state requirements for "complete copy," "finest copy," "best edi9on," "of good quality”, etc.


A/V Formats (1/2) •  Format requirements (esp. for moving images) are ouen weak & of commercial/public-‐grade quality; -‐-‐“in the form in which it has been made generally available” (Norway) -‐-‐“formats that are meant for the market” (Slovenia) -‐-‐copy “intended to be generally available” (Namibia) -‐-‐“form in which it is published” (New Zealand) -‐-‐ “copies, as commercially available” (Germany) -‐-‐ouen legisla9ve language is vague, s9pula9ng “copies,” evidencing lineage reflected in paper documents


A/V Formats (2/2) •  Excep9ons to vague format specificity: -‐-‐In France & Denmark: broadcasts are pulled directly off-‐air, via satellite -‐-‐Czech Republic: intermediate posi9ve or nega9ve -‐-‐Korea: “a print” -‐-‐Canada: “for a film released on a photochemical medium, the producer must deposit a new copy of the film made under op9mal calibra9on condi9ons. For a film that is not released on that medium, the producer must deposit a copy recorded on a medium that ensures screenings of op9mum quality.” -‐-‐some specifica9on for “best,” “finest,” and “new” copies/edi9ons -‐-‐*Note that, for the United Kingdom: “These principles are deliberately general and abstract, so that they can apply to publica9ons in different media, including media not yet invented.”


Not much legisla9ve mandate specifying digital works

•  Only 41% of respondents say that their law specifically covers audiovisual works in digital form, yet legisla9on does not specify formats beyond, in the form in which it is “published, ” or, “made generally available.”

•  This can present serious digital format discrepancies


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What do respondent organiza9ons themselves collect

•  96% collect sound recordings •  71% collect moving image material •  50% collect s9ll images •  22% collect computer games •  79% collect “other media” such as websites, CD-‐ROMs, souware, …

•  (Item # counts from survey not well responded to, and without common units)


Respondents’ A/V Physical condi9ons aren’t good


Respondents’ A/V Physical condi9ons aren’t good

•  Very good condi9on: 19% •  Acceptable overall condi9on: 30% •  Somewhat at-‐risk condi9on: 44% •  Severely at-‐risk condi9on: 7% •  Core cited challenges: machine obsolescence; fluctua9ng storage condi9ons; lack of financing for mass digi9za9on projects


Preserva9on Copying is an issue for some ins9tu9ons

•  Only 58% of respondents have the right to copy everything in their collec9on for preserva9on purposes

•  35% can only copy certain works for preserva9on purposes

•  8% have no right to make preserva9on copies


Most respondents cannot provide full open access to their collec9on

•  Only 31% have “open” access •  65% have “limited” access •  4% provide no public access For those offering collec9on access: •  75% cite on-‐site access only •  Only 25% report some degree of online accessibility


Thanks! •  Professor James Turner and his University of Montréal

students who draued and tested the first version of the ques9onnaire

•  IFLA AVMS Sec9on members and CCAAA Coordinator Kurt Deggeller who helped prod libraries and archives around the world to respond to the survey

•  NYU Research Fellow Walter Forsberg who helped analyze the results

•  NYU Program Coordinator Alicia Kubes who handled the administra9ve work on ques9onnaire responses


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August 2015, Capetown

Besser-‐VRT/IFLA explana9on 2015

Interna9onal Federa9on of Library Associa9ons Audiovisual & Mul9media Sec9on

Howard Besser NYU Moving Image Archiving & Preserva9on

Program hQp://besser.tsoa.nyu.edu/howard/Talks/ hQp://www.nyu.edu/9sch/preserva9on/

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