information-seeking behaviors of filmmakers using moving image archives
TRANSCRIPT
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Information-seeking behaviors of
filmmakers using moving image
archivesLaura Treat, Moving Image Preservation
LibrarianJulie Judkins, Principal Archivist
University of North Texas Libraries
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The NBC 5/KXAS archive at UNT Libraries
• Film and video remain in the original physical format
• Majority of collection is not digitized at this time• Pilot project• On demand
• UNT Libraries is the licensing agent for the broadcast footage
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Access copies are available in The Portal to Texas History (texashistory.unt.edu)
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Little has been written in the archival literature about the information-seeking behaviors of filmmakers
Resources like Archival Storytelling suggest filmmakers are interested in best practices for finding, using, and licensing archival footage
Literature Review
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Research Questions
• How does the filmmaking community experience the process of discovery,
access, engagement & use? archival moving image collections?• What barriers prevent filmmakers
from discovering or accessing moving image archives?
• Are our discovery tools and metadata useful for filmmakers?
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Research Plan
Online survey: August 2015Focus group: November 2015Interviews: January – April 2016
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Online Survey, August 04 - 31, 2015
• What genres are most frequently used?
• How and where are new materials discovered?
• What institutions & tools are used?
• What selection criteria are applied?
• What obstacles and challenges are faced?
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Survey Population
32 valid responses (40.9% completion rate)
(AMIA) Association of Moving Image Archivists (53%) (CLEAR) Association of Clearance & Research
Professionals(EDN) European Documentary Network
???Unknown???
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The majority (53%) subscribed to the AMIA listservs,
but most (67%) did not subscribe to other archives & libraries listservs.
Participants included producers, footage researchers, directors, & writers.
Participants conducted an average of 9.5 projects in 10 years using archival footage.
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Television News, 23
Documentaries, 22
Newsreels; 19
Government sponsored films; 18
Home movies; 17
Amateur films; 17
Advertisements; 15
Industrial films; 13
Educational films; 13
What genres of archival film and video have you used in past projects (select all that apply)?
Filmmakers use a wide variety of archival moving image
genres in their productions.
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The filmmaking community discovers
new materials through a variety of resources.
The most frequently
reported method was word-of-mouth.
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Cultural heritage institutions, specifically academic
libraries and archives,were the most frequently
reported resources for finding and accessing
archival footage.
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Cultural Heritage Institution, 17
Professional Network, 8
Stock footage company, 7
How frequently resource types were mentioned in participant-described searches (n=23)
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“It is as though our history is being held hostage by corporate interests.”
“A picture is worth a thousand words, a moving picture is worth 100,000
words.”
“Descriptive finding aids are only as good as the person writing them and
their knowledge of the material.”
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What obstacles and challenges are faced in accessing and using
(licensing) materials?
Licensing Costs
Access to Digital Copies
Licensing Process
Copyright
Quality & Availability of Description
Unable to locate footage/footage does not exist
Privcy and Ethical concerns
Lack of knowledgable and helpful staff
0 2 4 6 8 10 1211
9
5
4
4
3
2
2
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Unique and relevant content may be the most important factor in selecting
material.
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What most influences your decision to use or not use archival footage in your
projects?
Licensing Costs
Project Relevance
Uniqueness of Content
Access to Digital Copies
Copyright Restriction
Time Constraints
0 2 4 6 8 10 12 14
13
12
7
5
2
2
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What have we learned?
• The filmmaking community wants online access to unique, relevant, and economical footage.• Archives and academic libraries are trusted and widely used sources.• The filmmaking community has some similarities with how they
discover material but tend to rely more on their professional network and archives staff.• Although not as important as content, licensing costs and the
licensing process is seen as a significant obstacle to discovery and use.
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What we’d still like to learn• How can we better promote new
collections to filmmakers?• How can the licensing process be
streamlined?• How can we balance access with its
associated cost?• How are filmmakers using our
existing tools?• Can we integrate useful aspects of
commercial access tools?
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Next Steps
• Focus Group• Feedback from AMIA community
• In-Depth Interviews
• Questions?