From Grain to Pixel : The Archival Life of Film in Transition

Fossati, Giovanna

doi:10.5117/9789089641397

Cited by 81 publications

(21 citation statements)

References 12 publications

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“…In the film domain, content keywords have been used successfully in the context of what Fossati calls the “creative re‐use of, or inspiration by archival material” (Fossati, , p. 96). Examples of this approach are the “Celluloid Remix contest,” and “The Scene Machine,” which allow users to creatively explore online archival film footage relying upon keyword‐based search, and to use existing labels to create their own content.…”

Section: Related Workmentioning

confidence: 99%

Time‐based tags for fiction movies: comparing experts to novices using a video labeling game

Estrada

Hildebrand

Boer

et al. 2016

Asso for Info Science & Tech

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The cultural heritage sector has embraced social tagging as a way to increase both access to online content and to engage users with their digital collections. In this article, we build on two current lines of research. (a) We use Waisda?, an existing labeling game, to add timebased annotations to content. (b) In this context, we investigate the role of experts in human-based computation (nichesourcing). We report on a small-scale experiment in which we applied Waisda? to content from film archives. We study the differences in the type of timebased tags between experts and novices for film clips in a crowdsourcing setting. The findings show high similarity in the number and type of tags (mostly factual). In the less frequent tags, however, experts used more domain-specific terms. We conclude that competitive games are not suited to elicit real expert-level descriptions. We also confirm that providing guidelines, based on conceptual frameworks that are more suited to moving images in a time-based fashion, could result in increasing the quality of the tags, thus allowing for creating more tag-based innovative services for online audiovisual heritage.

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Section: Related Workmentioning

confidence: 99%

Time‐based tags for fiction movies: comparing experts to novices using a video labeling game

Estrada

Hildebrand

Boer

et al. 2016

Asso for Info Science & Tech

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“…La transición tecnoló-gica digital, no es ya una incierta expectativa de futuro para la actividad filmotecaria, sino su presente y futuro cierto. La identidad e incluso la supervivencia misma de las filmotecas está en juego en su adaptación o no a las nuevas tecnologías de naturaleza digital (Meyer, 2005;Fossati, 2009). …”

Section: Introductionunclassified

El estándar DCI en las filmotecas. El proceso de transición al sistema digital en la actividad filmotecaria contemporánea (2010-2014)

García-Casado¹,

Pascual²

2015

Rev. esp. doc. cient.

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Cómo citar este artículo/Citation: García-Casado, P.; Alberich-Pascual, J. (2015). El estándar DCI en las filmotecas. El proceso de transición al sistema digital en la actividad filmotecaria contemporánea (2010)(2011)(2012)(2013)(2014) Resumen: El presente artículo expone el estado actual e implicaciones del cambio hacia el nuevo paradigma digital en el sector cinematográfico y en las filmotecas con motivo de la implantación del sistema DCI (Digital Cinema Initiatives) como estándar internacional de producción, distribución y exhibición cinematográfica. Tras analizar los paralelismos existentes entre este acuerdo de normalización, impulsado por los principales estudios cinematográficos en 2002, y los acuerdos tomados por esas mismas empresas casi cien años antes a mediados de la segunda década del siglo pasado, se debaten finalmente los efectos y consecuencias para la actividad filmotecaria contemporánea en su transición al sistema digital DCI como nuevo estándar de exhibición y conservación fílmica.Palabras clave: DCI; cine; filmoteca; digitalización; estandarización; exhibición; conservación.The DCI standard in film archives. The transition to digital systems in the contemporary activity of film archives (2010-2014) Abstract: This article sets out the current state of the shift towards a new digital paradigm in the world of cinema with the implementation of the DCI system (Digital Cinema Initiatives) as the international standard of cinema production, distribution and exhibition. The article also analyses the parallels between this agreement for standardization, driven by the major film studios in 2002, and the agreements made by these same companies almost a hundred years earlier, in the middle of the second decade of the last century. In addition, the article presents how film archives are experiencing this digital transition and how they have accepted the normalization offered by the DCI as the standard for film conservation and exhibition.Keywords: DCI; cinema; film archive; digitalization; standardization; exhibition; conservation.Copyright: © 2015 CSIC. Este es un artículo de acceso abierto distribuido bajo los términos de la licencia Creative Commons Attribution-Non Commercial (by-nc) Spain 3.0. : 25-11-2014; 2ª versión: 31-03-2015; Aceptado: 20-04-2015. octubre-diciembre 2015octubre-diciembre , e107 ISSN-L:0210-0614. doi: http://dx.doi.org/10.3989/redc.2015octubre-diciembre .4.1241 Rev. Esp. Doc. Cient., 38(4), octubre-diciembre 2015, e107. Recibido Revista Española de Documentación Científica 38(4), ESTUDIOS / RESEARCH STUDIES

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“…We can talk of dispositifs of early cinema, of amateur cinema, classical Hollywood cinema, avantgarde cinema and indeed digital cinema, and we know we are talking about the specific viewing conditions of a specific type of cinema, all of which differ from each other (Parente & de Carvalho, 2008). For film archives and museums, this 'film as dispositif' (Fossati, 2009) concept plays a significant role in modern collection policy, which accepts the impossibility of replicating any one historical film moment in all its complexity and instead offers new dispositifs for old films by, for example, self-consciously commissioning new scores for silent films. This is already one level of displacement that our title alludes to; however, with this performance we aim to displace elements within the dispositif into other modalities, to make them apparent and call them more powerfully into our conscious experience.…”

Section: Doing For the Ear What The Cinematograph Does For The Eye (Amentioning

confidence: 99%

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2017

AVANT

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From Grain to Pixel : The Archival Life of Film in Transition

Cited by 81 publications

References 12 publications

Time‐based tags for fiction movies: comparing experts to novices using a video labeling game

Time‐based tags for fiction movies: comparing experts to novices using a video labeling game

El estándar DCI en las filmotecas. El proceso de transición al sistema digital en la actividad filmotecaria contemporánea (2010-2014)

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