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Information professionals such as archivists and librarians are faced with the challenge of preserving, describing, and providing access to information encoded on a variety of media, both text based and visual. While the visual and media literacy discourse recognizes the role of information professionals in visual, media, and information literacy education, the literature contains few pedagogical approaches those charged with training informational professionals at the graduate level. This chapter discusses one approach to visual and media literacy instruction in the Moving Image Archives course offered at the University of Pittsburgh School of Information Sciences, and suggests one method for visual and media literacy instruction at the graduate level. This technology-based approach addresses the "designing and creating" competencies from the Association of College and Research Libraries Visual Literacy Competency Standards for Higher Education, creating an environment that simulates production by introducing students to the tools and technologies of media production. This approach could also be used in other academic disciplines, such as film and media studies, where students learn to analyze and interpret specific media products, but do not engage directly with the technologies used to create these images.
Information professionals such as archivists and librarians are faced with the challenge of preserving, describing, and providing access to information encoded on a variety of media, both text based and visual. While the visual and media literacy discourse recognizes the role of information professionals in visual, media, and information literacy education, the literature contains few pedagogical approaches those charged with training informational professionals at the graduate level. This chapter discusses one approach to visual and media literacy instruction in the Moving Image Archives course offered at the University of Pittsburgh School of Information Sciences, and suggests one method for visual and media literacy instruction at the graduate level. This technology-based approach addresses the "designing and creating" competencies from the Association of College and Research Libraries Visual Literacy Competency Standards for Higher Education, creating an environment that simulates production by introducing students to the tools and technologies of media production. This approach could also be used in other academic disciplines, such as film and media studies, where students learn to analyze and interpret specific media products, but do not engage directly with the technologies used to create these images.
The phrase “archival afterlives” names the recognition that older Philippine films survive despite a history of defunct state and private archives. Synthesized from archival theory, feminist epistemologies, and postcolonial historiography, the book's key concepts—archival silence, archival power, and making do—move beyond mourning archival loss to foreground resourceful low-budget tactics for ensuring access. The Philippines' history of short-lived film archives gives rise to an anarchival condition that contradicts the fantasy of archival permanence; nonetheless, a decentralized advocacy for audiovisual archives perseveres through a kind of Sisyphean hope. The introduction offers a materialist media analysis that traces the afterlife of the last extant Filipino nitrate film, Ibong Adarna (Adarna bird; 1941), destroyed shortly after its 2005 migration and restoration. It also recounts the makeshift digitization of a decaying 16mm propaganda film, From a Season of Strife (1972), a rare glimpse into the early 1970s anti-Marcos protest movement known as the First Quarter Storm.
The 2004 closure of the Philippine Information Agency's Motion Picture Division (PIA-MPD) had negative repercussions on three key collections entrusted to the PIA: films from the National Media Production Center; the Movie and Television Review and Classification Board (including remnants of the defunct Film Archives of the Philippines); and LVN Pictures. Analyzing the makeshift digitization of two propaganda films about Ferdinand Marcos's 1972 declaration of martial law, the chapter affirms the need for public accountability and legislation to safeguard the institutional continuity and autonomy of audiovisual archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the collapse of various archives, the chapter concludes by conceptualizing archival survival as involving more than the material preservation of media. Philippine archival survival also entails exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.
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