A Web-based multimedia collaboratory. Empirical work studies in film archives

This report represents the latest study in the activity on Ecological Information Systems conducted in the Center for Human Machine Interaction situated at Ris National Laboratory and the University of Aarhus. The purpose of this activity is to give a description of the characteristics of work domains that will serve to outline the general context of concern to design of collaboratories. In addition, a set of preliminary implications for the design of a collaboratory are derived from the cognitive work analysis. To anticipate, further research on this approach to the design of collaboratories will show how the preceding analysis is likely to lead to a novel theoretical framework, called Ecological Collaborative Information Systems (ECIS), required for the design of collaboratories. The intention is to illustrate how the general principles of ECIS can be instantiated to develop a concrete design product: A crossdisciplinary and cross-cultural collaboratory to support customer service and professional research in archives. A web based Collaboratory Numerous valuable historic and cultural films and their sources are scattered in various national archives. Knowledge and usage of the multinational film material are severely impeded by access problems. To fully exploit the cultural film heritage internationally, a high degree of cross-disciplinary and international collaboration among professionals working with the film media is required. The Collaboratory for Annotation, Indexing and Retrieval of Digitized Historical Archive Material (Collate) is intended to foster and support collaboration on research, cultural mediation and preservation of films through a distributed multimedia repository. The collaboratory will provide webbased tools and interfac..

Using moving image archives

This publication, which is also a special issue of Scope: An Online Journal of Film and Media, was the outcome of a two-year long series of conferences and events attended by doctoral students, archivists, and scholars from across the United Kingdom to discuss and debate the use of archives in their interdisciplinary study of moving images. Across this collection of articles, scholars ask: how is the archive, as a repository of memory and of the past, used to construct cultural history? What can archives tell us about the formation of particular categories of identity? How can the ephemeral, like the digital, be archived

Columbia Chronicle (11/05/1990)

Student newspaper from November 5, 1990 entitled The Columbia Chronicle. This issue is 8 pages and is listed as Volume 24, Number 5. Cover story: Israeli reporters hope U.S. ousts Saddam Editor-in-Chief: Lance Cummingshttps://digitalcommons.colum.edu/cadc_chronicle/1104/thumbnail.jp

University for the Creative Arts staff research 2011

This publication brings together a selection of the University’s current research. The contributions foreground areas of research strength including still and moving image research, applied arts and crafts, as well as emerging fields of investigations such as design and architecture. It also maps thematic concerns across disciplinary areas that focus on models and processes of creative practice, value formations and processes of identification through art and artefacts as well as cross-cultural connectivity. Dr. Seymour Roworth-Stoke

I was a nigger, still : Black and White Bodies in the Gay Art of the Twentieth Century

“It’s amazing to me that even the rampant homophobia in the South doesn’t put a dent in the sense of racial privilege presumed by the white gay men who patronize this clear example of racism and misogyny disguised as entertainment.” Lecia Brooks, the education director for the Civil Rights Memorial Center in Montgomery, Alabama, gave this statement to Rolling Stone magazine in 2007 to explain her protests against comedian Charles Knipp, known on stage as Shirley Q. Liquor. While Knipp’s jokes are racist, the major issue with his performances, as Brooks tells us, is his use of blackface minstrelsy as his act. Knipp, a white gay man, dons a large muumuu and masquerades as “a welfare mother with nineteen kids who guzzles malt liquor, drives a Caddy and says in an ‘ignunt’ Gulf Coast black dialect, ‘I’m gonna burn me up some chitlins and put some ketchup on there and aks [sic] Jesus to forgive my sins.’

"Your Message Here" : An Analysis of the U.S. Navy in Photo Postcards

The purpose of this project is to analyze photographic postcards with images of the U.S. Navy between 1913 and 1945. This analysis will explore how the postcard images portray the Navy as powerful, competent, and happy. This portrayal became more pronounced over time, thanks to increasing photography training and censorship practices in the Navy. As a widely popular medium for the dissemination of "soft news" that would have recruited the public and enlisted population's consent and support of the U.S. Navy's activities, the photo postcards analyzed here demonstrate what kinds of messages the postcards would have conveyed. Photo postcards acted as evidence of the sailor's activities abroad and of the Navy's power in the form of ships and capable, numerous crews. While they offered proof of a powerful, capable Navy, the images would have also elicited pride and patriotism from the viewer. This, in turn, might have facilitated the civilian's furthered support of war efforts or of retaining funding for the Navy during peacetime, and enticing more men to join the Navy. For men in the Navy, the pride invoked by postcard images may have helped define their identity as a member of the Navy.  M.A