AMIA conference speakers are media professionals representing all areas of the field. Active within the community, they are experts sharing their experience and knowledge in a forum that brings a broad range of experts together to discuss common challenges and opportunities.
Since May 2013 Tom Adami has been Archivist and Head of the Arusha, Tanzania, Branch of the United Nations, Mechanism for International Criminal Tribunals (UN – MICT) Archives and Records Section (MARS). The Arusha Branch of MARS is tasked with making accessible and preserving the records and archives of the soon to be closed International Criminal Tribunal for Rwanda (ICTR). He worked as Chief Archivist at the ICTR from 1999 to 2007 where after he spent the next 6 years working in information management with UN Peacekeeping Operations in Khartoum, Sudan, and Juba, South Sudan. An archivist for over 25 and originally from Australia, he heads a team of 14 staff in Arusha which includes audiovisual specialists who manage more than 27,000 hours of audiovisual archives in various formats.
Jean-Louis Bigourdan, Senior Research Scientist at the Image Permanence Institute, received his diploma in art conservation from the Institut Français du Restauration des Oeuvres d’Art in Paris. Since 1994, his work at IPI has focused on the effects of microenvironments on the stability of library and archives materials. His work led to the development of preservation strategies for film materials.
Ashley Blewer is an audiovisual archivist, technologist, and enthusiast. She works as an Applications Developer at the New York Public Library, formerly as a web developer and digital archives consultant. She has previously worked in the private sector as an integrations engineer and at the University of South Carolina Moving Image Research Collections as a cataloging manager. She cares about education (especially in tech), access (especially to moving images), and good archival practice (especially with digital formats). She holds Master of Library and Information Science (Archives) and Bachelor of Arts (Graphic Design) degrees from the University of South Carolina and is a graduate of the Flatiron School’s Web Immersive program.. She is an active contributor to MediaConch, a digital video file conformance checker software project under PREFORMA, funded by the European Commission FP7-ICT Programme.
Alex Bliss has been the software architect for the Image Permanence Institute since 2010. He has been professionally designing and developing applications for over ten years. Alex is responsible for the design, development, and maintenance of IPI’s web applications, including FilmCare.org.
Craig Breaden has been Audiovisual Archivist at Duke University’s David M. Rubenstein Rare Book & Manuscript Library since 2012, and from 2006-2012 was Head of Media and Oral History at the Richard B. Russell Library at the University of Georgia. Breaden has a B.A. in history from Texas Christian University, an M.A. in history from Utah State University, and a Masters in Library Science with an emphasis in archives from the University of North Carolina at Chapel Hill.
Ed Carter has been the Documentary Curator of the Academy Film Archive since 1994. Previously he worked at the UCLA Film and Television Archive, and at the Museum of Modern Art. He received a Masters degree in cinema studies from New York University.
A 2002 graduate of the L. Jeffrey Selznick School of Film Preservation, Jared is now an instructor there, guiding the next generation of film archivists in the pursuit of saving our film heritage. As Head of Information, Research, and Access, he oversees the Museum’s catalog and policies in relation to moving images and coordinates access to the collections via on-site research, archival loan, and online engagement. In December of 2011, Jared appeared on Turner Classic Movies, interviewed by Robert Osborne during the network’s salute to George Eastman House. He is Executive Director of The Nitrate Picture Show, an annual film festival dedicated to the exhibition and celebration of films on nitrate stock. He presents at film festivals and conferences across the country, he will be featured in an upcoming episode of Mysteries at the Museum, and his article “Dick Tracy, a (Re)Appreciation” can be found in Cashiers du Cinemart 18.
Liz Coffey is the film conservator for the Harvard Library and an alum of the Selznick School. She enjoys long bicycle rides, short songs, and believes feature films should be no longer than 90 minutes long 90% of the time.
Tanya De Angelis
Tanya De Angelis leads the Sundance Institute Archives, which preserves and shares the unique story of the Institute, its programs, and supported artists, and the Sundance Collection at UCLA, a groundbreaking partnership that preserves and restores independent film. DeAngelis received her MLIS in 2004 and Film Studies MA in 2002 from the University of Arizona.
Christophe Dupin is the Senior Administrator of the International Federation of Film Archives (FIAF), the Executive Publisher of the Journal of Film Preservation, and a film historian. Previously, he worked for the British Film Institute (1999-2004) while writing a PhD thesis on the history of the BFI’s Production Board, and then co-led a five-year research project on the BFI’s history at Queen Mary – University of London, which resulted in the publication of The British Film Film Institute, the Government and Film Culture, 1933-2004 (Manchester University Press, 2012), co-edited with Geoffrey Nowell-Smith. His other main research areas are the British ‘Free Cinema’ movement, about which he has produced DVD box-set for the BFI, and the history of the international film archive movement. He is the co-editor of Lindsay Anderson Revisited, a forthcoming collection of new writings about British filmmaker Lindsay Anderson (Macmillan, 2016).
Helen has worked for over 20 years in a variety of roles focused on collection care, development, access to and conservation of the BFI’s collections, both paper and moving image. She has coordinated several mass digitisation and access projects at the BFI and project managed a major two year collections management review and move programme to relocate the preservation film collection to the BFI’s newly constructed Master Film Store. She contributed to the delivery of the BFI’s Collections Information Database (CID). As Collections Manager her work now involves standards, processes and procedures required for collections care, development and access, with responsibility for the BFI’s Collection Gateway team delivering access to the collections of the BFI National Archive.
Israel Ehrisman is Chief Technology Officer for IndieCollect, and designer of the IndieCollect Index. This catalog of U.S. independent film, video and digital titles is a new virtual archive intended to meet the needs of our community of users: media makers & activists, archivists, scholars, programmers and cinephiles. Besides his experience in software development and network security, Ehrisman has produced or co-produced several films, including Prodigal Sons and Paul Goodman Changed My Life.
Karianne Fiorini is an independent film archivist and curator. She is one of the founders of the Archivio Nazionale del Film di Famiglia (Italy), where she was Manager of Film Collections and Cataloguing for twelve years (2003-2015). Since 2004 she has curated both Home Movie Day and UNESCO World Day for Audiovisual Heritage events. Between 2009 and 2012 she was Director of the home movies cataloguing project associated with “Una città per gli archivi” which made more then 1000 films accessible online (http://www.cittadegliarchivi.it/soggetti-conservatori/it-cpa-sc-home-movies). She has been a frequent contributor to international meetings and symposia on home movies and amateur films, including the AMIA Conference (2007, 2010) and the Home Movie Summit (2010). She is currently working on a “catalogue raisonné” of the work of the German filmmaker Helga Fanderl and curating film programmes, of which the latest was for the Mostra Internazionale del Nuovo Cinema di Pesaro (June, 2015).
As part of the Metadata & Asset Management team in the HBO Archives department, Meghan Fitzgerald brings her background in library science and information services to the media and entertainment industry. For five and a half years, she provided metadata advisory, indexed video content, and developed schemas and controlled vocabularies for Turner Broadcasting. Now, at HBO, she works to establish a robust digital archive and the tools and services needed to support it. In both roles, she has partnered with numerous technology teams to build and acquire software that supports the goal of information access, and to provide guidance for consistency, discoverability, and accessibility in content and asset management.
After first coming to the WGBH Media Library and Archives as a National Digital Stewardship (NDSR) Resident in 2014, Rebecca joined the staff of WGBH as an archivist in 2015, focusing on the AAPB NDSR program, the development of the PBCore metadata standard, and the ongoing migration of digital assets. Prior to moving up north, Rebecca served as the Audiovisual Projects Manager for the Dance Heritage Coalition, managing a large-scale endeavor to digitize and make accessible dance-related media. She also worked on the XFR STN exhibit at the New Museum, which opened up video preservation to the public, and subsequently co-founded XFR Collective, a New York-based nonprofit organization focused on the preservation of at-risk and obsolete community media. Rebecca holds an MA in Moving Image Archiving and Preservation from NYU.
Jean Gagnon is Director of preservation and access to collections at the Cinémathèque Québécoise in Montreal, Québec, Canada since 2010.He earned a Ph.D. in Études et pratiques des arts from Université du Québec à Montréal (UQAM) in 2014 and his thesis was titled: Faire comme les musiciens. Le jeu instrumental dans les performances audiovisuelles. He continues independant activities as curator and art critic and occasionally publishes in periodicals such as Art Journal, Artpress 2, esse arts + opinions, ETC, CV Photo. He is a member of the board of the latter publication.
He was the initiator and co-director of the DOCAM research alliance (Documentation and Conservation of the Media Arts Heritage) from 2005 to 2010. He founded the Centre for Research and Documentation (CR + D) of the Daniel Langlois foundation for art, science and technology and its program of researcher in residence (2002-2010). The Langlois foundation’s collections and archives were given to the Cinémathèque québécoise in 2011. He produced Digital Snow, a digital resource and catalog about the entire work of Michael Snow. In the Fall of 2007, he was the curator of the exhibition e-art. Contemporary art and new technologies at the Montreal Museum of Fine Arts.
With his dual major degree in Mass Communications-Journalism and Broadcasting and Film Production, Randy Gitsch wasted no time moving directly to Southern California upon graduating from the University of Iowa. One of his first real jobs in Hollywood was as a staff researcher in the RKO Studio Archives (1984-89), which led to his ultimately becoming that collections manager. After RKO’s liquidation, Randy worked as a film sales librarian for both the Sherman Grinberg and Energy stock footage film libraries. Reacting to the film deterioration he found himself having to deal with on a daily basis, in 1990, he became one of the founding members of the Association of Moving Image Archivists, a professional organization which champions the preservation of film and video.
In addition to making motion pictures, Randy has remained a full-time archivist. With Pro-Tek Vaults, since 2001, he’s worn a variety of hats as a Film Inventory Technician, and a Film Inspector. He’s also worked off-site for Pro-Tek clients, including 20th Century Fox and Warner Bros. on their studio lots and at the Museum of Modern Art’s Celeste Bartos Film Preservation Center in Hamlin, PA. For the past 5 years he has been the Supervisor for a crew of eight working to inventory, re-house and digitize the Warner Bros. still photo library and another engaged scanning photos from the Paramount Pictures Archives.
Julie Judkins is the Principal Archivist in Special Collections at the University of North Texas Libraries. She previously held positions at the University of Michigan’s Center for the History of Medicine, the Dolph Briscoe Center for American History at the University of Texas at Austin, and the Gerald R. Ford Presidential Library. A native Portlander, she was featured on AM Northwest, a local morning television program, six hours after her birth.
Grace Lile is Director of Operations at WITNESS, at which she founded the WITNESS Media Archive in 2003, and adjunct professor at NYU’s Moving Image Archiving and Preservation Program. She has been an AMIA member since 1995.
Shola Lynch is the Curator of film and audio at the New York Public Library’s Schomburg Center for Research in Black Culture. She has a M.A. in Public History Resource Management from the University of California, Riverside as well as a M.S. from Columbia University’s Graduate School of Journalism. Lynch is also an award-winning filmmaker. She has written and directed for CNN, ESPN, HBO Sports and PBS. Her first independent documentary, Chisholm ’72 – Unbought & Unbossed, premiered at the Sundance Film Festival and won a Peabody Award. Her second feature, which was co-produced with De Films En Aiguille, recounts the politically charged events that thrust academic and activist Angela Davis on to the FBI’s Ten Most Wanted list. Toronto International Film Festival premiered Free Angela and All Political Prisoners. The film sold internationally in Brazil, France, South Africa and Sweden. In the US, Code Black/Lionsgate distributed the film theatrically and BET broadcast it. Free Angela won numerous awards including a NAACP Image Award for Best Documentary and is available on iTunes. Lynch lives in Harlem, New York with her husband, Vincent Morgan and their two young children.
Morgan McKeehan completed her MS in Library Science and her MA in Art History in the dual-degree Master’s program at the University of North Carolina at Chapel Hill, where she focused on digital preservation along with her subject specialization in in arts librarianship. Morgan is currently the National Digital Stewardship Resident at Rhizome, an internet-based contemporary arts organization. Her residency focuses on developing and implementing standardized criteria and metadata to express levels of access quality within preservation workflows, as well as exploring the cloud-based Emulation as a Service software and Webrecorder, a high-fidelity web archiving tool for dynamic web sites, for the functional preservation of born-digital artworks.
Hannah Palin helped to create the moving image preservation program at the UW Libraries, Special Collections and has been working on moving image projects there for over a decade. In her work as the Moving Image Archives Specialist, she has managed a number of grant projects including the Washington Film Preservation Project, in which Special Collections performed preservation work and conducted workshops for nine regional institutions that did not have the ability to preserve their film collections, including Seattle Municipal Archives, the Museum of History and Industry, the Museum of Flight, the Yakama Nation, and the Burke Museum. She co-authored The Washington State Film Preservation Manual: Low-cost and No-cost Suggestions to Care for your Film with Nicolette Bromberg, Visual Materials Curator for the UW Libraries Special Collections. They also co-authored a recent article in the Association of Moving Image Archivists journal The Moving Image, “Starting from Nothing, The Art of Creating a Film Archive.” She has recently completed work on a major multi-year project funded by the National Endowment for the Humanities to preserve the Mountaineers Film Collection. She taught workshops on moving image preservation for the Society of American Archivists, the University of Oregon, and the University of Washington. She is also one of the founders of Moving Image Preservation of Puget Sound, a collaborative project to assist small, regional heritage institutions preserve their videotape collections. Ms. Palin worked in both film and radio production and, before coming to Special Collections, she used to spend forty hours a week, sitting in the dark, watching home movies in a local film transfer lab.
Stefan Palko is a 2009 graduate of The L. Jeffrey Selznick School of Film Preservation and Archiving, and holds a BA in Communications (Film and Media Theory) from Virginia Tech. He has worked professionally in audio/video for Panasonic Electronics and the experimental music software company Cycling ’74, and transitioned into film as a stock footage researcher at Oddball Film + Video in San Francisco, CA. He currently resides in Los Angeles, where he handles all incoming donations and deposits as the Acquisitions Coordinator at the Academy Film Archive.
Shira Peltzman is the Digital Archivist for the UCLA Library where she leads the development of a sustainable preservation program for born-digital material. Shira received her M.A. in Moving Image Archiving and Preservation from New York University’s Tisch School of the Arts, after which she was selected for the inaugural class of the National Digital Stewardship Residency in New York (NDSR-NY) program. Shira has worked at several organizations globally that strive to preserve audiovisual material and make it widely accessible, including Martin Scorsese’s World Cinema Foundation, the British Film Institute in London, the Bay Area TV Archive in San Francisco, and AVPreserve in New York City.
Meredith Reese is the Manager of Archives, Metadata and Asset Management at HBO. She has extensive experience advising on best practices for digital asset management and media preservation as well as a background in film and television post production. Currently working on projects related to file and content verification, automated metadata capture, and incorporating finding aids for legacy content and new collections into a corporate archive. Meredith is also an active member of SCA, SAA, and AMIA.
Sean Savage is a graduate of NYU’s Moving Image Archiving and Preservation program, and was previously the Programming Director of the Olympia Film Society (and Festival) in Washington State. Subsequently he has worked at Northeast Historic Film and HBO, and has been at the Academy Film Archive since 2008. He is a multiple contributor to The Moving Image journal, most recently with a feature article (issue 14.2) on the Saul Bass film Phase IV, and also wrote the liner notes to that film’s soundtrack album, issued by Waxwork Records in 2015.
Sandra Schulberg is President & Executive Director the Laboratory for Icon & Idiom, the non-profit organization behind IndieCollect. A longtime advocate of “Off-Hollywood” filmmakers, she founded the IFP in the late 70s, co-founded First Run Features in 1980, and is a member of the distribution cooperative, New Day Films. As a producer, she has many movies to her credit, included the Oscar-nominated Quills and Beth B’s Exposed, which premiered at the 2013 Berlin Film Festival. She restored her father’s documentary, Nuremberg: Its Lesson for Today [The Schulberg/Waletzky Restoration], and collaborated with the Academy Film Archive to preserve two dozen Marshall Plan and OMGUS films. She serves on the advisory committee of the Women’s Film Preservation Fund and is a member of the Association of Moving Image Archivists.
Katrina manages the access and IPR services for a global community of donors and rights holders to the BFI’s national film and TV collections. Her department has taken a role in managing rights holders digital requirements borne out of the BFI’s strategic Unlocking Film Heritage programme to digitise 10,000 titles in 5 years. Past standalone projects include contributions to the IOC’s restoration of 1948 London Olympics film The Glory of Sport, and partnering with the Paramount Film Archive to digitally preserve the Republic Library. Katrina joined the British Film Institute in 2001 after working in film exhibition and distribution for a number of years, based at The Phoenix Picturehouse in Oxford, one of the UK’s oldest and finest movie theatres. She has also worked in collections and donor relations management at Oxford University’s Ashmolean Museum.
Rachael Stoeltje is the Director of the Indiana University Libraries Moving Image Archive (IULMIA). For two decades she has worked on preserving, archiving and providing access to vast and varied film, photography, media and individual personal collections. In 2010, she formally established the IU Libraries’ moving archive collections into the IULMIA archive. In addition to managing the moving image archive, her other work includes research on educational film collections and the Teaching Film Custodians corporation in particular; projects involving current and future use of motion picture film stock; teaching and educational outreach programs and the planning and development for film and video digitization and access for the IU campus wide Media Digitization and Preservation Initiative. She also serves as an Executive Committee member of the International Federation of Film Archives (FIAF) and as the FIAF representative for CCAAA (Co-ordinating Council of Audiovisual Archives Associations) and as a member of the Al Larvick Conservation Fund board, which supports preservation of American home movies & amateur films.
Jeff has both his BA in Media Studies (1993) and his Masters of Library Science (1997) from the State University of New York at Buffalo, his hometown. While completing his MLS he interned at both the American Film Institute and George Eastman House. The Eastman House internship led to his employment as the Administrator of the L. Jeffrey Selznick School of Film Preservation, a position he’s held since 1997.
Deborah is from Fresno, CA where she received her BA in Economics from California State University, Fresno. After graduating from The L. Jeffrey Selznick School in 1998 she worked at the National Baseball Hall of Fame and Museum in Cooperstown, NY assessing their 16mm collection. Returning to Rochester, she was the Assistant Vault Manager, William K. Everson Collection at George Eastman House, from 1998-2000 and the Nitrate Vault Manager of the Louis B. Mayer Conservation Center since 2000. In 2010 she became the Collection Manager of the Moving Image Department Film and Video Collection. With holdings of over 100,000 reels in nitrate and safety stock, Deborah works to keep this film heritage in the best conditions possible, so that they may last for generations. She is an instructor in The L. Jeffrey Selznick School of Film Preservation teaching the identification, storage, and inspection of motion picture film. She is also the Technical Director of the Nitrate Picture Show, now an annual event, with the next Show in Rochester from April 29-May 1, 2016.
After receiving a B.A. degree in Broadcasting and Film from the University of Iowa in 1973, David Strohmaier quickly landed an apprentice editor position at Warner Bros. studios and was eventually promoted to become an assistant editor under Academy Award-winning film editor, Thomas Stanford. David also was head of the film production workshop at Warner where he taught production techniques to aspiring young filmmakers on the lot. Upon becoming a full film editor, David has worked for all the major studios and networks. Some of his extensive credits include feature movies like AMERICAN SAMURAI, and television series like NORTHERN EXPOSURE, ALIEN NATION, THE PRETENDER, STRONG MEDICINE and SO NOTORIOUS. David also went on to edit and associate produce several documentaries and promotional films for The Walt Disney Company’s EPCOT theme park.
David operates and maintains a Hi-def editing bay at his home office which has Avid, Adobe Premiere and Final Cut Pro applications along with software tools that are used for extensive sound effects, temporary sound mixes and graphics/visual effects. He is a member in long standing of the Motion Picture Editors Guild.
Linda Tadic is Founder and CEO of Digital Bedrock, a digital preservation service for archives, businesses, and consumers. She is an adjunct professor in UCLA’s Moving Image Archive Studies program (course: Digital Asset Management), and previously was an adjunct professor in NYU’s Moving Image Archiving and Preservation program (courses in collection management and cataloging and metadata). She consults and lectures on digital asset management, audiovisual and digital preservation, copyright, and metadata, with clients as diverse as WNET/Thirteen, the Academy of Motion Picture Arts and Sciences, SBS (Australia), Dunhuang Academy (China), ESPN, and the Missouri History Museum. She is co-author of the book Descriptive Metadata for Television: an End-to-End Introduction (Focal Press, 2006). Ms. Tadic’s almost 30 years’ experience includes holding the positions of Director of Operations for ARTstor, Director of the Media Archives and Peabody Awards Collection at the University of Georgia, and Manager of the Digital Library at Home Box Office (HBO). She is a founding member and former President of the Association of Moving Image Archivists (AMIA).
Kimberly Tarr is the head of the media preservation unit in the Barbara Goldsmith Preservation and Conservation Department at New York University Libraries. In this role, she oversees all preservation activities for film, video, and audio materials. Tarr received her B.A. in American Studies from the University of California, Berkeley and her M.A. from New York University’s Moving Image Archiving and Preservation (MIAP), a graduate program in which she currently serves as an adjunct instructor. Her recent publications have appeared in The Moving Image. In 2014, she served as the film archivist on the restoration of The Grim Game (1919), the first feature film to star Harry Houdini which was long thought to be a lost silent film.
Erica Titkemeyer is the AV Conservator and Project Director at the Southern Folklife Collection at the University of North Carolina at Chapel Hill. Within this position she is coordinating the work of a project team to develop and implement an audiovisual preservation and access program for SFC materials, and eventually all of UNC special collections. Prior to her position at UNC she was a 2013 National Digital Stewardship Resident at the Smithsonian Institution Archives.
Andy Uhrich is a film archivist at the Indiana University Libraries Moving image Archive. He is also a PhD student at IU in the Film and Media Studies program and is currently researching a dissertation on the history of film collectors and amateur forms of media preservation. Since 2010 he has been on the board of the Center for Home Movies.
Travis is a doctoral student in The University of South Carolina’s School of Library and Information Sciences and at teaching assistant and lecturer in USC’s Women’s and Gender Studies Department. He is also a cataloger and processing intern at the University of South Carolina’s Moving Image Research Collections and works as a consultant to multiple Columbia-based community archives, specifically honing in on preserving and digitizing fragile audio-visual materials. His work relates to the role that language-based access plays concerning content creation and distribution within moving image archives, giving specific consideration for how this affects context and interpretation of visual information.
David Walsh has worked at the Imperial War Museum since 1975, having studied Chemistry at Oxford University. From an initial project to study the decomposition of cellulose nitrate film, he has established himself as an expert in the preservation and digitisation of film and video, and is currently the Head of the Technical Commission of the International Federation of Film Archives (FIAF). His work includes teaching film archivists from around the world through the annual FOCAL International Footage Training Week and at the FIAF Summer School. At present he is responsible for the Imperial War Museum’s strategy for digitisation and for long-term preservation of digital media.
Anne Wootton is CEO of Pop Up Archive, and holds a Master’s degree from the University of California Berkeley in Information Management and Systems, where she focused in digital archives and the sociology of technology. Pop Up Archive makes thousands of hours of spoken word searchable for media companies, producers, universities, libraries, and archives. Its latest project, Audiosear.ch, is a full-¬text search and intelligence engine for podcasts. Anne is a winner of the 2012 Knight News Challenge: Data and has worked closely with federal grant agencies and foundations on library innovation and improving access to audiovisual collections. Before arriving in California, Anne lived in France, and managed a historic newspaper digitization project at Brown University.
Lindsay Zarwell received a BA in History from American University in Washington, DC in 1999 and a Master of Library Science from the University of Maryland’s College of Information Studies in 2004. Ms. Zarwell has worked as an archivist in the Steven Spielberg Film and Video Archive at the United States Holocaust Memorial Museum since 2000. In this capacity she conceived and regularly develops the Archive’s public access database, acquires and catalogs original film materials, and manages several significant digital and film preservation projects. She is an active member of the Association of Moving Image Archivists and presented at annual conferences on the topics If We Stream It, Will They Watch (2012) and Recording Retribution: Issues in the Curation of, and Access to, Actuality Footage of War and Atrocity (2007). She has recently focused on interpreting and presenting the Museum’s amateur film collections and co-published an essay on home movies titled “Yes, There Was a World: Prewar Jewish Life on Film” in Archäologie des Amateurfilms (2015).