film and sound in he
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Our new educational imperativeMedia permeates modern lie: video, audio, images,
tweets, posts, eeds, and apps cascade across our screens,
lenses, and speakers. By 2014, according to Cisco, video
will exceed 91% o global consumer trafc on the internet.
Googles engineers predict that by 2020 or so all o the
media ever created in the history o mankind will be able
to be stored and played on a device the size o an iPhone.
For those o us involved in culture and education, a
growing challenge is how to make the traditional worlds
o teaching and learning and audiovisual production
relevant or students who come to class in many cases
already media-literate. The typical education consumer is
changing rom someone who was satisfed by text and rote
learning perhaps ten years ago into someone who now
looks to learn rom and produce with the gamut o rich
media available in his or her daily lie.
This new media literacy, online behaviour, and the
prevalence o new technologies o communication
present new challenges or unders, producers, and
practitioners o education in the 2010s. The engines o
our screen culture flm, television, and radio were
the dominant media o the 20th century, and many o the
most important and most memorable
messages o the
20th and 21st centuries have been expressed in movingimages and sound. Yet education has ar to go still to
incorporate them systematically in teaching and learning.
The challengeFor starters, our audiovisual heritage needs to be
digitised. The BBC Archive has digitised and put online
less than 5% o its holdings, or example. ITN Source hasprocessed less than 1% o its news and documentary
resources (over a million hours). Likewise the British
Film Institute has moved less than 1% o its authoritative
flms catalogue online. And this is to say nothing o the
analogue collections at the Library o Congress, the US
National Archives, or the programme libraries and movie
catalogues rom the leading television networks and flmstudios around the globe.
At the same time, educators and culture proessionals
require systematic support in teaching and reaching
publics with flm and sound resources. Institutions need
to become screen- and speaker-equipped. Audiovisual
productions most o which are still
operating according to old broadcastrules need to ft with the
requirements o the digital
A progress report with ten strategic recommendations
Full report at http://flmandsoundthinktank.jisc.ac.uk Paul Gerhardt and Peter B Kaufman
Film and Sound in Higher
and Further Education
Summary
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age. And new services, such as those JISC has played a
leadership role in developing and curating, need to be
made available or the sector.
The riskWe believe that there is a real danger that classroom
and distance learning/urther education experiences
as well as scholarly research and publication processes
and cultural heritage experiences will lose relevance
or students, educators, and the public i they remainwalled o rom the wider world o moving images and
recorded sound.
The wider landscapeOur progress in the feld is taking place against a wider
landscape in which the major cultural collections
unded and maintained at public expense are at last
opening up a orm o access. The idea o a Digital
Public Space, conceived by the BBC as a place in which
public collections o flm, video, sound, and other
digitised objects can collectively overcome rights and
access barriers, is a welcome recognition that this new
marketplace has frst to be organised and established.
The Digital Public Space is building on the work o JISCand the Strategic Content Alliance.
As these conversations take place, some see the
advantage o establishing more Open Educational
Resources (OER) in a call or a new kind o learning
commons. Funders and other stakeholders are
pushing educational and cultural institutions
universities, public television, publishers, producers to release more o their courseware, programming,
books, and pedagogic materials as teaching, learning,
and research resources that reside in the public domain
or have been released under an intellectual property
license that permits their ree use or re-purposing by
others. The work involved in producing this material
includes urther clearing o all o its component parts
so that ree use or re-purposing is in line with the
creators and owners intent.
Summary: Film and Sound in Higher and Further Education
Knowledge Is makeA wonderul video rom JISC talking about
the challenges and benefts o reusing and
digitising flm that exists in huge quantities
across the UK i only we had the legal andlicensing keys (and unding!) to unlock.Ben White, Head of Intellectual Property, the British Library.
Available on YouTubehttp://bit.ly/auKBan
and rom JISCwww.jisc.ac.uk/whatwedo/programmes/flmandsound
The flmKnowledge Is provides a 10-minute whistle-stop tour o
the potential locked up in the major collections o sound
and video in the UK, introduced by their key managers.
http://bit.ly/auKBanhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://bit.ly/auKBan -
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your own contribution to the media debateA charismatic group o students rom Westminster
Kingsway College, London, set out their need or access
and their study ambitions.
Facts and fgures explain the ast-changing technology
and context or audio and visual discovery including howthe dierent elements are licensed.
The narrative is enriched by the story o womens
surage and how its audio and visual record is core to our
culture.
The assetsKey elements o the flm are available or download
and re-use by the wider community at www.jisc.ac.uk/
whatwedo/programmes/flmandsound. These include:
Interviews
Archive ootage
Graphics and inormation
The opportunityKnowledge Is represents just one attempt to tell the
story o the potential o our audio and visual archives, and
the barriers in the way o access. You will have your own
views and your own stories. In the spirit o open access
we would like these materials to be used and re-used. Wehave deliberately cleared these assets or that purpose.
http://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsound -
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1. Extend Awareness o JISC Resources. Developmarketing strategies or audiovisual collectionsand other audiovisual material relevant toeducation and research including user
case studies and tutorials about collections
across disciplines and departments. Review
the eectiveness and help to coordinate and
streamline the roles o educational institutions
delivering flm and sound resources.
2. Enable Resource Discovery. Make audiovisualcontent investments searchable by applyingrobust, detailed, and machine-readable
metadata; collecting the tools, practices,
and resource discovery methods that may
be adaptable or education; and possibly
establishing an audiovisual extension o JSTOR
and ARTstor or moving images and recordedsound.
3. Clear Rights, Facilitate Use. Complete aninventory o the elemental anatomy o a videoand audio clip requiring rights and licensingattention. Compile a body o legal documents
that can provide the basis or articulating new,
more liberal language or production, curation,
and clearance agreements. Convene public-
private working groups around collaborations
such as the Digital Public Space to determine
how to manage the cumbersome audiovisualclearance process or education and long-term
public access and re-use.
4. Build a Citation System. Develop robustguidelines or the use o video and audio inacademic writing and publishing, on the scale
o the guidelines that have been developed
over centuries or the citation and annotation
o text.
5. Work with Primary Audiovisual Sources. Fundselected production companies and relevantacademic networks to develop sustainable
business models or the storage, curation, and
distribution o uncut ootage and flm and soundraw materials.
6. Build Digital Literacy. Encourage thedevelopment o tools or the use o audiovisualmaterials in academic environments rom
classroom to assignment to publication.
Assemble working groups and inrastructure
teams that include developers and technologists
rom the public and private sectors.
Ten strategic recommendationsOur report http://flmandsoundthinktank.jisc.ac.ukdraws on two years o work by some 50 proessionals in the
higher and urther education, media, and museums, libraries and archives sectors. The recommendations that the
Film & Sound Think Tank puts orward below are designed to support JISCs role in accelerating the integration o
moving image and sound media in urther and higher education.
Summary: Film and Sound in Higher and Further Education
http://filmandsoundthinktank.jisc.ac.uk/http://filmandsoundthinktank.jisc.ac.uk/ -
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7.Open National Collections. Develop specifc
subject partnerships with broadcasters and
other AV collections to search, annotate and
develop usage across multiple topics and in
various disciplines. Encourage and support
new orms o access to national collections
or historians, journalists, artists and others
through residencies, placements, blogs and
other schemes.
8. Model New Productions. Fund audiovisualproductions within the academy and publicmedia with explicit requirements or the
end product to be reely licensable. Activate
new productions and academic production
partnerships. Documenting them, build a guide
to best production practices or higher and
urther education.
9.Establish an Integrated Media Service or
Higher Education. Develop a easibility plan or
comprehensive oerings delivered through the
next generation o combined TV/web platorms
such as YouView. Here the education sector
has an opportunity to lead and JISC to play
with a cost-eective strategic intervention a
game-changing role comparable to the media
innovation that established the Open Universityin 1971.
10.Call a Summit. Organise a Video or EducationSummit in London or Washington. This couldhelp acilitate a new kind o laboratory to
experiment with public-private and more
international partnerships to support
digitisation and education.
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Digitised content NewsFilm Online, a selection o news stories and
programme scripts rom the ITN/Reuters archives
some 3,000 hours o ootage and about 6,000 stories1
BFI InView, a selection o moving images exploring
issues and themes in the public sphere. Users are
able to access over 600 hours o ull-length flm and
video material2
Archival Sound Recordings, 21,000 selected
recordings o music, spoken word, and human and
natural environments rom the British Library3
Film and Sound Online, several hundred hours o
high-quality flm, video and sound material rom a
variety o dierent sources4
LBC/IRN Audio Archive, the most noteworthycontent rom the London Broadcasting Company/
Independent Radio News audio archive, a
collection that runs rom 1973 to the mid-1990s
approximately 3,000 hours o recordings relating to
news and current aairs5
1 www.no.ac.uk2 www.bf.org.uk/inview
3 http://sounds.bl.uk4 www.flmandsound.ac.uk5 http://radio.buvc.ac.uk/lbc
Advice and guidance British Universities Film & Video Council (BUFVC)
promotes the production, study and use o moving
image, sound and related media in higher education
and research http://buvc.ac.uk
JISC Digital Media provides advice, guidance
and training to the urther and higher education
community on the creation, delivery, management
and use o still images, moving images and sound
resources www.jiscdigitalmedia.ac.uk
JISC Film & Sound Think Tank productions:Videos can be ound at www.jisc.ac.uk/whatwedo/programmes/flmandsound.aspxPodcasts can be ound atwww.jisc.ac.uk/whatwedo/programmes/flmandsound/meetings.aspx
Higher Education BroadcastingThree visions or contemporaryeducational media. (28 min)
Building Film & Sound Resources orEducation
How JISC has built up its audio-visualcollections. (8.5 min)
Opening Documentaries or Teaching &Learning: The Brook Lapping Case StudyA major documentary company exploresits relationship with educationalresources. (11.25 min)
Copyright and Moving Images inEducationOU sta tackle Open Access toresources. (8.14 min)
Unlocking Artists Rights
Bringing actors and musicians into openaccess media. (11.04 min)
Using Audio in Higher EducationThe growth o podcasting and audiorecording. (6.17 min)
Podcast: Think Tank Meeting 3The JISC Steeple project. Using video insports science.
Podcast: Think Tank Meeting 4BBC archives copyright strategy. Using
Creative Commons.Podcast: Think Tank Meeting 5Primary visual resources. The BritishSound Library.
Podcast: Think Tank Meeting 6Wikipedia video.
Summary: Film and Sound in Higher and Further Education
Film & sound resources: where to go, how to fnd them
http://www.nfo.ac.uk/http://www.bfi.org.uk/inviewhttp://http//sounds.bl.ukhttp://www.filmandsound.ac.uk/http://radio.bufvc.ac.uk/lbchttp://bufvc.ac.uk/http://www.jiscdigitalmedia.ac.uk/http://www.jisc.ac.uk/whatwedo/programmes/filmandsound.aspxhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsound/meetings.aspxhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsound/meetings.aspxhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsound.aspxhttp://www.jiscdigitalmedia.ac.uk/http://bufvc.ac.uk/http://radio.bufvc.ac.uk/lbchttp://www.filmandsound.ac.uk/http://http//sounds.bl.ukhttp://www.bfi.org.uk/inviewhttp://www.nfo.ac.uk/ -
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About the authors
Paul Gerhardt runs theindependent consultancy
Archives or Creativity (www.
archivesorcreativity.com),
working with cultural
organisations, public
broadcasters and archives to
stimulate the educational and
creative use o flm, television and sound. His clients
include the BBC, Arts Council England, the US
Corporation or Public Broadcasting, New Deal o the
Mind and Skillset. Gerhardts career in broadcasting
spans the early years o Channel 4 through to senior
management at the BBC. He was BBC Controller,
Learning, and Head o Commissioning at the BBC/Open
University. Gerhardt originated and led the BAFTAaward-winning BBC Creative Archive project. He is
currently the co-chair o the Film & Sound Think Tank
or JISC (Joint Inormation Systems Committee), digital
archives consultant or Arts Council England, Creative
Director or New Deal o the Mind and consultant
producer or The Nine Muses, John Akomrahs archive-
based eature flm.
Peter B. Kauman is Presidentand Executive Producer o
Intelligent Television.
Intelligent Television (www.
intelligenttelevision.com)
produces flms, television, and
video in close association with
universities, museums,
libraries, and archives and with the worlds leading
producers, directors, and cinematographers. Intelligent
Televisions research and consulting projects or
cultural and educational institutions seek to broaden
public access worldwide to audiovisual collections.
Kauman currently serves as co-chair o the JISC Film
& Sound Think Tank; an access consultant or the
Library o Congress Division o Motion Pictures,Broadcasting, and Recorded Sound; and co-chair o the
Copyright Committee o the Association o Moving
Image Archivists. Previously he served as Associate
Director o the Columbia University Center or New
Media Teaching and Learning. His current work is
ocused on building new orms o flm and video
production or education and creating new business
models or networking cultural and educational
institutions online.
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http://www.archivesforcreativity.com/http://www.archivesforcreativity.com/http://www.intelligenttelevision.com/http://www.intelligenttelevision.com/http://www.intelligenttelevision.com/http://www.intelligenttelevision.com/http://www.archivesforcreativity.com/http://www.archivesforcreativity.com/ -
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Film and Soundin Higher and
Further EducationA progress report with ten strategic
recommendations: SummaryPaul Gerhardt and Peter B Kaufman
HEFCE 2011. The Higher Education Funding Council forEngland (HEFCE), on behalf of JISC, permits reuse of this
publication and its contents under the terms of the CreativeCommons Attribution-Non-Commercial-No Derivative
Works 2.0 UK: England & Wales Licence. All reproductionsrequire an acknowledgement of the source and the author
of the work and must comply with the terms of the Licence.
Reuse of any third party content is subject to prior writtenpermission from third party rights holders as appropriate.
Version 1.1, March 2011