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H. Harrison (ed.), Audiovisual Archives: A Practical Reader, UNESCO, 1997
“The Reader is not meant to be definitive or exhaustive – that would take up a very large volume, but it is aimed at the practical rather than the theoretical aspects of audiovisual archive work. It aims to provide access to existing published information for archivists working at a professional level in developed and developing countries, promote the education and professional training of audiovisual archivists in all countries and serve as a reference tool in daily work.”
Moving Image Collections: Guidance Notes, British Film Institute, 2004.
“These guidance notes for moving image collections were produced by the BFI National Archive. They were written in support of a mapping survey questionnaire for archives, libraries and museums in London.”
Prepared by Patrick Russell, Keeper of Non-Fiction Films, BFI.
The Film Preservation Guide, The Basics for Archives, Libraries, and Museums, National Film Preservation Foundation, USA, 2004.
“For many libraries, museums, and archives the hardest step in preserving film collections is getting started. The Film Preservation Guide is designed for these organizations. It introduces film preservation to nonprofit and public institutions that have collections of motion picture film but lack information about how to take care of them. Written and produced by the National Film Preservation Foundation, the book is a primer for “beginners”—professionals trained in archival studies, librarianship, museum work, or history but unschooled in this technical specialty.”
D. M. Lee, Film & Sound Archives in Non-specialist Repositories, Society of Archivists, UK, revised version, 2009.
“This guideline is aimed directly at non-specialist (‘specialist’ meaning film and sound) archive repositories, which happen to store cinefilm, video and sound recordings alongside other records.”
R. Edmundson, Audiovisual Archiving: Philosophy and Principles, UNESCO, 2004.
“This has been a first attempt to codify the philosophical basis of the profession of audiovisual archiving. That it may quickly prove to be incomplete, or in need of modification, would cause neither surprise nor offence to those involved in its creation. Part of its purpose is to stimulate discussion and debate, to encourage analysis, to invite the questioning of assumptions. […] Audiovisual archiving – the collecting, preserving, management and use of audiovisual heritage – has tabled its credentials as a distinct profession. In a field as dynamic as this, assumptions must be constantly tested and the implications of new developments embraced.”
The Dangers of Cellulose Nitrate Film, Health & Safety Executive, UK, 2013.
“This leaflet is for private individuals and voluntary groups who have or find old film in domestic or other non-workplace premises. Cellulose nitrate film is extremely dangerous. It catches fire very easily and one alight is difficult to put out.”