Contributors
- Contributors
Snowden Becker is an IMLS/Harrington PhD fellow in preservation administration at the University of Texas, Austin, School of Information. She is also a cofounder of Home Movie Day and the Center for Home Movies.
Dylan Cave has worked at the BFI National Archive since 2000. He is currently part of the Curatorial Unit, where he researches and develops the fiction collection. He regularly contributes to the BFI's online educational resource Screenonline, has presented interviews and seasons at BFI Southbank, and recently produced Jean-Pierre Melville's L'Armée des ombres (1969) for a DVD release.
Ray Edmondson, OAM, BA, Dip. Lib., is a director of Archive Associates, a consultancy company (www.archival.com.au). He began his career in archiving in the film section of the National Library of Australia in 1968, ultimately becoming the section's director. Described as the moving spirit behind the creation of the National Film and Sound Archive (NFSA) in 1984, he served as its deputy director until early 2001, then becoming its first honorary curator emeritus. In 1987, he was awarded the Medal of the Order of Australia (OAM) for his professional work and in 2003 received the Silver Light Award of the Association of Moving Image Archivists (AMIA) for his career achievement. Ray writes, speaks, and teaches internationally within the audiovisual archiving field and currently holds office in two of its federations (SEAPAVAA and AMIA). Since 1996, he has been involved in UNESCO's Memory of the World Program, authoring its current General Guidelines, and presently serves on its national, regional, and international committees. His latest monograph, Audiovisual Archiving: Philosophy and Principles, was published by UNESCO in 2004. Closer to home, Ray is the secretary of the advocacy group, Archive Forum, and is working on his doctorate at Charles Sturt University.
Leo Enticknap is a lecturer in cinema at the University of Leeds. He was formerly the curator of an English regional film archive, a projectionist, and a cinema engineer. Enticknap has published a number of articles related to the practice and ethics of archival film preservation and restoration, and his first book, Moving Image Technology: From Zoetrope to Digital, was published in 2005. Enticknap is a cochair of AMIA's Projection and Presentation Group and has recently started work on the implications of film restoration for historians and film scholars.
Dino Everett works for the UCLA Film & Television Archive and is a volunteer archivist for the Echo Park Film Center. He is known to some as the "punk rock archivist" because of his large collection and use of early seventies' punk material and has worked on archival projects for the Sex Pistols, the Avengers, FEAR, CRIME, the music channel VH1, and others. He has written for music magazines and has a collection of essays in the Encyclopedia of Documentary Film (2006). He is currently working on a book about Roland West. He lives in Long Beach, California, with his wife Sherra. [Begin Page 63]
Martin L. Johnson is a doctoral student in cinema studies at New York University. His dissertation research is on local film production and reception in the 1920s through the 1940s in the United States.
Tom Kemper has degrees from University of California, Berkeley, and the University of Southern California, where he earned his PhD last year. He currently teaches at Crossroads School in Santa Monica, and his book on the history of Hollywood agents is forthcoming from University of California Press.
Sean Savage is a graduate of the Moving Image Archiving and Preservation program at New York University and has subsequently worked with Northeast Historic Film, HBO, and the San Diego Historical Society. His research on silent-era industrial film was presented at the 2005 Orphans symposium and was incorporated into the NFPF Field Guide to Sponsored Films. Currently, he is cataloging the Northeast Historical Film component of the IMLS-Open Video Digital Library Toolkit project. He lives in Southern California.
David Walsh is the head of preservation at the Film and Video Archive of the Imperial War Museum, London, a position he has held since 1999. He received an MA in chemistry from the University of Oxford in 1974 and has worked in...
