IT'S ONLY A MOVING IMAGE Archives, Access and the Social Contract ...

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30At the same time, we are seeing a growing disconnect between archives and users. The emerging user communities (oftenyounger people) don’t see why their ability to access collections should be limited by institutional priorities, low budgetsor online unavailability. They come from a world that increasingly works on Internet time, where knowledge is rapidlybeing made freely available in digital form at little or no apparent cost. To these users, whose numbers are growing, thereis little reason why archival access should be a sticky door. Do we educate them about realities? Do we try to make iteasier for them to get material? Or do we ignore them? NO MATTER WHAT PATH WE CHOOSE, ACCESS STARTSTO GET COMPLICATED.
valuebegetsenclosure31With the emergence of new distribution media and the practical elaboration of Long Tail business models, the perceivedvalue of archival holdings is increasing. Archives are now strategic repositories, and archivists have become de factogatekeepers to valuable collections. The prototypical narrative of this change is the transition of the Hollywood studiolibraries from quiet bunkers in neglected corners of the lot into secure, temperature- and humidity-controlled vaultbuildings filled with "media assets" whose book value figures prominently on the corporate balance sheet. Greaterperceived value causes fences to rise from the ground and walls to be built.
Page 6 and 7: How can we begin to collect and exp
Page 8 and 9: A BIT OF(FILM) HISTORYFirst —8
Page 10 and 11: Early film archives took on a compl
Page 12 and 13: We must sometimes applaud guardians
Page 14 and 15: Pregnant turtle radiograph: Megan S
Page 16 and 17: Canonical moving image archives use
Page 18 and 19: movement from institutional to indi
Page 20: There’s even an archival fan comm
Page 23 and 24: not just “movies”It may be obvi
Page 25 and 26: Master Hands (Jam Handy Organizatio
Page 27 and 28: Lost generations• Growing body of
Page 29: Garden for the Environment,San Fran
Page 33 and 34: moving image exceptionalismBut let
Page 35 and 36: Moving image exceptionalism• form
Page 37 and 38: Unbundling access from preservation
Page 45 and 46: Lessons of moving-image exceptional
Page 47 and 48: I often wonder why libraries and ar
Page 49 and 50: Access is a spectrum; openness a pr
Page 51 and 52: I am convinced that openness, and I
Page 53 and 54: Unlike many of my copyfighting frie
Page 55 and 56: Dawn, not sunset55Moving images are

IT'S ONLY A MOVING IMAGE Archives, Access and the Social Contract ...

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