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Examples of existing course curricula including seminars, summer schools, symposia etc.
The Working Party were unable to discover any full-length training courses for audiovisual archivists, such as that described in Chapter 4 in the draft curriculum for a 1 - 2 year course. This appendix outlines some courses which have been presented in various situations and in varying lengths of time over the past few years. In the absence of full length courses at present it is hoped that these examples will serve as a useful basis for short course and seminar planners.
Further examples of in-service training courses and summer schools are available in a separate handout.
EXAMPLE 1.
An outline for a lengthy course on audiovisual archives.
- importance of audiovisual materials in information and communication systems
- special role of audiovisual materials as works of art and historic documents
- history of audiovisual materials
- management, administration and functions of audiovisual libraries
- acquisition, collection, selection of audiovisual materials
- preservation and restoration of audiovisual materials:
· physical and chemical properties of the different materials
· storage
· restoration of audiovisual materials, technologies and ethics
· equipment for audiovisual use
· cataloguing and intellectual control of audiovisual materials
· production of audiovisual materials
· use of audiovisual materials
· audiovisual materials as source material for research
· legal and copyright problems of audiovisual materials and audiovisual collections
· basic knowledge of library science
Such a course will not solve the immediate needs for post graduate training or updating of the professional. The next training programme cited is a module for presentation over a shorter period of time but still covering most aspects of audiovisual archivism.
EXAMPLE 2.
History of audiovisual materials
- Importance of audiovisual materials in communication, education and libraries
Collections Management
AV materials.
- Moving images Video and Film
- Audio
- Still visuals
- Computer software
Composition of carriers.
- Advantages, Disadvantages of different formats
- Dangers inherent in materials
- Data density versus data security. Small is not always beautiful or retrievable.
Conservation measures
- Preservation
- Restoration
Ethics
Equipment
- Handling. Use. User education
- Selection of library machines and software
- Obsolescence problems
Selection
Filing.
- Principles of filing - physical and stock control
Storage.
- Different types.
- Multi media/single media collections
- Storage provision - buildings
- Storage areas
- Preparation for storage
- Selection of materials for long-term storage
- Air conditioning
- Environmental conditions for different situations including hot and humid climates
Handling
Disaster preparedness
Practical work. Fieldwork, visits, demonstrations. Hands-on experience.
EXAMPLE 3.
This example is of a training course conducted in Malaysia and Singapore and organised, by SARBICA for a mixture of archivists and librarians. Although it was entitled a Training Course on the Technical Handling of audiovisual materials, it ranged over a wide range of topics associated with audiovisual archives. This particular course extended over a two week period, too short a time, and the material could be taught over a longer period to greater advantage. However it is an example of 8 course presented in a regional centre. The participants came from several South East Asian countries plus some from the Indian sub-continent. The course content was the Archival Processing of audiovisual materials, but its primary concern was with the moving images and recorded sound.
Syllabus:
1. Introduction
a) Terminology
- emphasis on moving images and sound archives
b) Importance of audiovisual materials
2. Acquisition
a) Legislation
b) Means of acquisition
- purchase
- loan
- exchange
- deposit
- create original material
c) Selection
-appraisal
3. Classification and Cataloguing
a) Introduction
- purpose
- staff/qualification
- sources of information
- security
b) Finding aids - preparation of
- catalogue
- supplementary files
c) Information retrieval
- manual
- mechanical
4. Preservation and Storage
a) Preservation
- identification of structure and composition of media
- deterioration of audiovisual materials
- care and handling of audiovisual materials
- restoration (treatment and restoration proper)
- duping/copying
- new technologies
b) storage
- preparation for storage
- design and operation of storage rooms (RH, temperature, condensation, protection against harmful gases, rays, magnetic fields etc. equipment).
5. Copyright and Access
a) Copyright
- terminology/definition
- audiovisual archives and copyright
- determination of ownership
- legal advice
b) Access
- reference service
- methods of diffusion and access
- equipment
6. Practical work
a) Handling
b) Laboratory work - test for quality
c) Equipment
More detail was supplied with the course to fill out the bare bones of the outline and it is included here.
A. Historical review of the relationship between archival organizations and non-textual documentation (recorded sound - radio broadcasting and oral history): Evolution of recorded sound documentation and its significance as historical documentation: Terminology and basic concepts: bibliography; Distinctions in the basic function of archives and phonotheques/libraries.
Film: Moving images and photography.
Cinematheques/ libraries/photograph collections.
B. Structure of the radio broadcasting and sound recording industries; Public and private sources for recorded sound documentation: Acquisition policy and selection standards; Appraisal of recorded sound collection.
Structure of the film and television industries. Public and private sources for audiovisual documentation; the Unesco recommendation and model legislation for archives.
C. Acquisition policy and selection standards: Appraisal of non-textual records: Mandatory versus voluntary deposit.
Accessioning procedures: Legal obligations and donor commitments: Administrative control of acquisitions.
D. Oral history and archives - historical overview: Management of oral history programmes initiated by the archives Training for oral history programmes Standards of selection: Processing, conservation and public service of oral histories.
Intellectual control of moving images and photography: manual and automated systems.
Intellectual control of recorded sound and oral history: manual and automated systems.
Control functions at the item and collection level: Physical versus intellectual control: Levels of description.
Custodial control: Conservation and public service functions: Custodial control and donor relations.
Copyright and other legal rights with regard to audiovisual documentation in archives.
Environmental control factors for different media: Clean room handling and processing: Storage factors in hot and humid climates: Control and inspection procedures for custodial security.
Conservation, restoration and duplication: Media formats for conservation and public service; New technologies and future developments.
Public access to audiovisual documentation in archives: Reference services: Exhibition services: Diffusion programmes.
Relations between archives and laboratories: Quality controls: Practical work in identification and handling of moving image and recorded sound resources.
Visits to laboratories, television and broadcasting studios, film studios, recording studios, archival facilities.
EXAMPLE 4.
This example is of a training seminar in audiovisual librarianship which took place at the Allama Iqbal Open University in Islamabad, Pakistan. The workshop was restricted to 3 days which was far too short a time to give more than the briefest outline and was accompanied by a workbook to fill out the detail to a modest extent. The outline could be adapted to a more sensible time scale and would be suitable for anything from 1-3 months duration. This length of time would allow for practical work, exercises, visits, demonstrations and fieldwork.
Session 1. Audiovisual materials
Moving images
Still images
Sound Recordings- Composition
- Formats
- Advantages and Disadvantages of different materials
Session 2. Acquisition/Processing/Filing
A. Acquisition
- Where does material come from
- Deposit - in-house
- Exchange
- Hire or loan
- Off-air recording
- Purchase
- Selection of material
· By Library staff
· By Academic staff
- Selection aids. How to find out what exists:
- Bibliographies
- Lists
- Catalogues
- Personal contact and building up network of sources
B. Processing
- Accessioning. When is this necessary and for what reason?
- Checking material for contort
- Physical examination
- Initial viewing or listening to tapes, cassettes, elides etc.
- Mounting of slides and photographs
- Labelling
- Where to put labels
- What to label: holder and material
- What information to include on labels
C. Filing
- This is closely related to purpose of Library and the way in which it is used.
- Integration of audiovisual materials or segregation.
- Open or closed access
- Filing order. Use order in which the material is sought, e.g.
- Course code or title order rather than classified order for video and audio.
- Browseable/Non-browseable materials
Shelving
- Use of normal library equipment, shelves or cabinets.
- Film:
· Non-browseable
· Upright shelving in cans. Ensure do not roll off shelf. Use of frequent dividers.
- Video:
· Tapes and cassettes. Non-browseable
· Shelve vertically in containers
· Remove erasure devices
- Audiotapes: Non-browseable. Store upright in cases. Secure end with special tabs and prevent unwinding.
- Audiocassettes: Non-browseable, browseable notes, Remove erasure tabs. Cassettes in canes upright on shelves, or Cassette cover and notes displayed and Audiocassettes kept away from open display.
- Slides-individual: Browseable format. File in suspended plastic hangers in A4 vertical filing cabinets.
- Slide-sets, Browseable. On open shelves in Kodak carousel magazines or mock magazines. In ring binders or booklike containers on open shelves
- Overhead transparencies. If published in book form normal shelving, individual OHP should be mounted.
- Filmstrips:
· Non-browseable.
· In original form difficult to handle.
· Cut and mount as slides then boat as elides.
· If retained as filmstrips file in plastic containers in shallow office filing drawers.
- Audiodiscs: Discs Non-browseable, browseable sleeve notes.
- Videodiscs: Non-browseable, with browseable notes.
- Compact discs:
· Non-browseable with browseable notes.
· Upright filing for all with frequent dividers and prevent discs loaning and warping.
- Computer programmes/diskettes: File in protective envelope upright in specially designed boxes.
- Multimedia packs:
· Keep all components of a pack together.
· Shelve in original container on library shelves or suspended in vertical filing cabinets if format allows.
- Poster, wallcharts, maps. Horizontally in map cabinets or suspended in material filing cabinets.
· Posters and wallcharts can also be rolled and filed in bins.
Session 3. Storage and Conservation
A. Levels of collection
1.
- Archives or national collections
- These are collections of last resort
- Need rigorous standards for conservation and preservation.
Never use originals for viewing purposes. Ideally 3 copies of each original tape should be kept in addition to listening and viewing copies, but 2 copies would be acceptable. MASTER copy plus:
a) One for transmission. Sub-master
b) One or making further copies for use
c) One for security in case of damage to master
2.
- Reference and research collections.
- Leas rigorous standards but duplicate copies desirable and a master collection should be kept for copying purposes.
3. Lending collections.
B. Storage conditions for audiovisual materials.
1.
a) The climatic environment should be controlled and stable. Avoid 'cycling' environmental conditions.
b) The level of lighting should be monitored.
c) Storage areas must be kept clean.
d) The materials themselves must be suitable for storage.
e) Precautions have to be taken against physical damage particularly handling materials.
C. 2. Environment conditions to consider:
- Heat
- Humidity
- Light
- Dust
- Avoid magnetic fields for audio and videotape.
- Air conditioning
3. Effects of poor storage conditions on audiovisual materials.
4. Siting of storage areas.
5. Storage conditions for different materials:
- Film
- Video/Audio
- Slides
- Photographs
D. Handling materials
- Preventive measures,
E. Conservation/Preservation
- Is there a difference?
- Measures of conservation
- Preservation techniques:
· Transfer to newer format
· Rerecording.
· Ethics.
· Obsolescence
Session 4. Documentation/Indexing
Concerns the bibliographic control of audiovisual materials.
Two areas to consider:
1. Documentation for the library user.
2. Documentation for use outside the library in published material, bibliographic aide, guides to collections.
A. Cataloguing. Descriptive
1. The necessity for bibliographic description of audiovisual materials.
2. Level or depth of descriptive entries required.
3. Sample entries for library catalogues and published catalogues.
4. Cataloguing rules.
B.
- Indexing
- The classification of audiovisual materials. Is it necessary or helpful?
- Information retrieval
- Computers in information retrieval
C. Related documentation
Session 5. Access, Exploitation, and Use
A.
- Access to audiovisual materials
- Conflict between usage and conservation
B. Use of audiovisual materials:
- Handling and viewing equipment
- Expenditure
C.
- Exploitation
- User needs:
· What is available.?
· How can it be accessed?
· Whore can it be obtained from?
· Making the most of your collection
Session 6. User Education Library Guides
A. How to use collections available.
B. Asking for more. User needs.
C. Guide and collection.
D. Produce/draft and write a brief guide to your library
resources and how to use them including:
- What is available.
- How it is arranged
- Where it is available
- When it is available
- Software
- Hardware
- How to gain access
- How to use material and equipment
- How to handle
EXAMPLE 5.
Specialised course for one av material.
One week training course in Sound Archives run by IASA (UK).
The aims of this course are stated as:
- to meet She needs of custodians of sound archives in the UK
- to communicate a professional approach
- to the administration of sound archives based on adequate scholarship and research
- to increase membership of BASC (IASA UK) by appealing to new participants.
The course is aimed at middle and junior staff of sound archives.
There are three broad categories of sound archivists in the UK:
i) full time staff of organisations to which recordings are integral ea. the BBC Sound Archive, National Sound Archive, Open University Library, Parliamentary Sound archive and a few departments of universities and museums
ii) those with a part-time responsibility for recordings among a wider range of duties (ea. staff of libraries and archive offices which receive deposits of recordings from local radio stations).
iii) those who create recordings of possible long-term importance in the course of local oral-history work
Any course run in the UK must cater for the needs of categories ii and iii as these are more numerous than category i. The course was given in several locations situated within London: the National Film Archive, the BBC Sound Archive and the Imperial War Museum.
The course is presented as given.
Duration 5 days:
Day 1.
National sound archives - 2 hours
Survey of existing national collections
What are sound archives? - 1 hour
The term 'sound archives' is used to cover a variety of collections, activities and organisations. By comparing sound archives with other types of archive and other types of sound collections, a clearer understanding of the term and the aspects which are unique emerges.
Selection and acquisition - 1 hour
- Archival selection, principles and practice
- Structure of archival collections:
· arrangement of sound archives
- Acquisition and accessioning
· examples from UK and overseas archive institutions
· sample forms essential initial documentation
· terms of deposit
· copyright and access agreements
· computer programmes
- Manual listing procedures
· sample forms
· written transcripts
· accompanying documentation
History of sound recording - 3 hours
- Early inventions
- Cylinders and discs pre-electric recording electric recording
- direct-cut discs and broadcasting
- oddities!
- early magnetic recording
- modern developments (including digital techniques)
Day 2
Storage and conservation - 1 hour
- Physical characteristics and longevity of recording media
- storage location and environment
- suitable shelving
- containers
- handling recordings
- routine inspection: monitoring signal condition
- print-through
- cleaning discs
- use of copies for conservation, playback etc.
Copyright and public access
- the law of copyright
· protectable subject matter
· subsistence
· ownership
· restricted acts
- performance rights
- public access
· agreements for permitted use
· access and security
· enforcement of restrictions
· clearance for additional use
Day 3
Recording methodology and practice - 8 hours
- Technical information for the layman
· how microphones work
· microphone types and applications
· stereo recording
· how tape recorders work
· digital recording
· range of tape recorders used in sound archive
· work
· operation in the field - power supplies
- conduct of recordings
· recordists' role
· project planning
· negotiating with organisers
· selecting the right equipment planning
· Mic planning
· common pitfalls
· paperwork, information to be noted
· consent forma
Day 4
Cataloguing and indexing - 8 hours
- Introduction
· cataloguing format
· description and synopsis
· indexing format
· standards - authority lists
· user requirements
· classification - is it necessary?
· classification schemes
- Cataloguing and oral history
· cataloguing a non-visual medium problems of documenting a specialised subject collection
· users requirements
· Basic documentation: accessioning
· informant/donorlist: informant files
· cataloguing item identification indexing: meeting user needs, select indexing,
· conceptual indexing
· printed catalogues
· computerisation
Day 5
Oral history projects and recording - 8 hours
- Establishing an oral history archive
- conduct of the interview
- interviewing exercise and assessment
- copyright and access
- exploitation of an oral history collection
- transcription
OR
Radio sound archives - 8 hours
- Role of a radio sound archive
- Selection
· identifying programme content
· selection criteria
· relating selection policy to output
· acquisition and commissioning
- Access
· internal and external
· publicity and programme information
· the broadcaster as customer
· storage media and formats
Another Regional course the Working Party became aware of was presented in Kuala Lumpur by the Asia Pacific Institute for Broadcasting Development. Entitled the Development of Libraries and Resource Centres in Broadcasting Organisations it represents a specialised course for broadcasting library and archive personnel based on a region. The course lasted three weeks.