Through a comparison of the literature produced by general archival theorists with that published by photographic archivists, it becomes clear that archival principles are not routinely applied to records in photographic form. Since reflecting knowledge about records creators and circumstances of creation is a basic archival responsibility, this thesis will begin with a discussion of a variety of past and present purposes of photographers in general. The ways in which both purposes and methods can influence photographic information will also be studied. The obligation of photographic archivists to examine records and creators in terms of administrative (including legal), scholarly and other user values will then be examined. The thesis will conclude with a survey of the literature produced by North American photographic archivists to determine whether their responsibilities are fully recognized. / Arts, Faculty of / History, Department of / Graduate

Orientadora: Telma Campanha de Carvalho Madio / Banca: Ana Maria de Almeida Camargo / Banca: Márcia Cristina de Carvalho Pazin Vitoriano / Banca: Maria Leandra Bizello / Banca: Rafael de Luna Freire / Resumo: Considerando as especificidades técnicas e diversos problemas inerentes a documentos audiovisuais, bem como status ou medidas protecionistas atribuídas a tais documentos, isto é, sua patrimonialização, dispositivos legais de autoria, de imagem, buscar-se-á demonstrar que existem documentos desse tipo que são reflexos de função administrativa, com caráter orgânico e função probatória de atividades, e por tal razão devem ser incorporados no contexto de produção. Objetiva-se, assim, imputar a necessidade de que o documento audiovisual seja reconhecido como documento de arquivo e seja inserido nos procedimentos de gestão documental. Para tanto, procede-se a abordagem dos princípios arquivísticos que pauta a gestão de documentos, bem como das características e do percurso histórico dos documentos audiovisuais em arquivos no Brasil, partindo inicialmente da pesquisa bibliográfica para a delimitação do tema de estudo. Nesse sentido, analisam-se tais questões no âmbito nacional, tomando como base os órgãos oficiais de formulação das políticas arquivísticas, assim como dos eventos e publicações promovidos por esses órgãos e associações profissionais da Arquivologia. Tais procedimentos têm como propósito embasar e adquirir informações para o desenvolvimento dessa pesquisa e propor novos olhares sobre esses documentos e suas especificidades, a partir dessa análise retroativa da área dos arquivos no Brasil. Desse modo, observa-se que a reflexão dos conceitos de documentos audiovisuais e ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Considering the technical specificities and various problems inherent in audiovisual records, as well as the status or protectionist measures attributed to such documents, ie their patrimonialization, legal devices of copyright, of image, it will be tried to demonstrate that there are records of this type that are products of an administrative function, with organic character and probative function of activities, and for that reason must be incorporated in the context of production. It is therefore intended to imply the need for the audiovisual record to be recognized as an archival record and to be included in record management procedures. Therefore, the archival principles that guide the records managment, as well as the characteristics and the historical path of audiovisual records in archives in Brazil, are based on the principles of archival principles, starting from the bibliographic research for the delimitation of the topic of study. In this sense, these questions are analyzed at the national level, based on the official bodies for the formulation of archival policies, as well as the events and publications promoted by these professional associations and bodies of the Records Managment. These procedures have as purpose to base and acquire information for the development of this research and to propose new approches on these records and their specificities, from this retroactive analysis of the area of archives in Brazil. In this way, it is observed that the reflection... (Complete abstract click electronic access below) / Doutor

Magister Bibliothecologiae - MBibl / The study investigated the significance of collaboration in the management and preservation of audio-visual archives at the National Archives of Zimbabwe (NAZ) in light of the challenges presented by this heritage resource. An exploration of literature has revealed that managing audio-visuals is not an easy part and most cultural heritage institutions in developing counties have been struggling. The underlying premise is that collaboration ensures efficiency and effectiveness in the management and preservation of audio-visual archives

This thesis introduces a tool for analysis of audiovisual records. The tool uses the audio and closed captions supplied by the user to prepare text annotation. The annotation contains a transcript of the show which is based on the closed captions. In addition, speaker diarization is performed to mark who spoke when. The diarization is performed by a third party library. The library is evaluated on data from DIALOG corpus. The inner workings of the library are described. To assign the right portions of the text to the right section of the record Kaldi, a speech recognition toolkit, is used. Furthermore the thesis contains an overview describing how closed captions are created; overview of speech corpora creation; and a brief review of literature on record analysis. 1

Orientador: Marcius Cesar Soares Freire / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T08:42:32Z (GMT). No. of bitstreams: 1 Silva_IsabelAndersonFerreirada_D.pdf: 2443528 bytes, checksum: da3f0d83f8a03b8b910bbfd027bd7f26 (MD5) Previous issue date: 2014 / Resumo: Este trabalho se dedica a explorar os diferentes conceitos, estilos e procedimentos audiovisuais envolvidos na realização de documentários que se constroem a partir de material de arquivo. Para tanto, são apresentadas sete obras que resultam da compilação de imagens e sons produzidos nos tempos da Segunda Guerra e cuja postura ideológica é antinazista. Apesar de similaridades temáticas e formais, tais filmes se utilizam de estratégias narrativas e de recursos narrativos de maneiras tão diversificadas que se prestam a apresentar contribuições singulares para a linguagem do filme de não ficção. O trabalho dispõe de três grandes capítulos. O primeiro, bastante conceitual, aposta em uma vasta contextualização do material abordado, tanto do ponto de vista formal ¿ o fato de os documentários se definirem como compilações de produtos audiovisuais ¿ quanto do narrativo ¿ seu tema geral (documentário de guerra) e específico (antinazista). Nele, cotejamos conceitos, como "filme de arquivo" e "filme de compilação"; mencionamos diferentes pontos de vista de autores que se dedicam a analisar esta forma de prática documental e apresentamos alguns aspectos relacionados a este tipo de material, como o seu valor historiográfico, sua presença na televisão ou a sua relação com as vanguardas audiovisuais. Mais adiante, já no segundo capítulo, chegamos às análises fílmicas de fato. Observamos no que consiste cada filme, como se deu a sua realização e o que ele representou para a sociedade na qual estava inserido bem como aquilo que, para nós, representa ainda hoje. Também explicitamos as suas particularidades enquanto produtos midiáticos a fim de estabelecermos os diferentes estilos de seus discursos. Por último, no capítulo seguinte, nos atemos aos procedimentos audiovisuais tal como eles aparecem nas construções narrativas dos documentários abordados. Esse capítulo surgiu da necessidade que sentimos de abordar características dos filmes de maneira mais entrosada e, de até certo ponto, comparativa. Englobamos recursos como o som, o narrador e a utilização de fotografias em meio às imagens em movimento. O que nos fica é uma sensação de que a pluralidade, o que nos leva a inferir que uma realização audiovisual é sempre muito individual, mesmo se for feita, em grande parte, a partir do mesmo material de arquivo e a fim de atingir um objetivo ideológico / Abstract: This work is dedicated to the exploration of the different concepts, styles and audiovisual procedures documentaries that are constructed with found footage. For this, we presented seven non-fiction films compiled through images and sounds of the times of World War II and whose ideological stance is anti-Nazi. Although formal and thematic similarities, such films uses narrative strategies and narrative features as diverse ways that lend themselves to provide unique contributions to the language of nonfiction film. The text has three main chapters. The first, very conceptual, makes a wide contextualization of the material covered in both the formal point of view - the fact documentaries define themselves as collections of audiovisual products - as the narrative - his general subject (war documentary) and specific (anti-Nazi). In this chapter, we compare concepts like "found footage" and "compilation film"; mentioned different points of view of authors who are dedicated to analyzing this form of documentary practice and presents some aspects related to this kind of material, as its historiographical value, its presence on television and its relationship with the audiovisual vanguards. Later, in the second chapter, we present the filmic analysis. We observe what is each movie, how was your realization and what he represented to the society in which was inserted as well as what, for us, is today. We also comment their particularities as a media product in order to establish their different styles of communication. Finally, in the next chapter, we focus on audiovisual procedures as applied in narrative constructions of documentaries. This chapter arose from the need we have to address characteristics of the films in a comparative way. We included features like sound, the narrator and the use of photographs together with moving images. What we realize is a sense that the plurality, which leads us to infer that an audiovisual product is always very individual, even if made, in large part, from the same archival material and to achieve the same ideological goal / Doutorado / Multimeios / Doutora em Multimeios

This thesis examines the concepts of reliability, authenticity and documentary form as defined by archival diplomatics and their relation to moving image records, for the purpose of exploring the possibility of using them to develop a method for the preservation of the moving image's intellectual integrity over time. To achieve this purpose, the study establishes a correspondence between the tenriinology and the theories used to express these concepts in the two fields through an examination of archival diplomatics and moving images glossaries, dictionaries and literature. Notwithstanding the different understandings of the concepts examined, the thesis finds that when moving images can be regarded as records - that is, as contextual mediated visual and aural representations compiled for the purpose.of.entering into communication - it is possible to use archival diplomatics methodology to analyze them successfully. On the strength of this finding, the thesis proceeds to establish a correspondence between the diplomatic elements of documentary form and the components of an ideal moving image record, demonstrating parallels and explaining and reconciling differences, in order to build a template for the analysis of all kinds of moving image records. This diplomatic instrument is to be used for the identification of the formal elements of a moving image that allow for the maintenance, verification and preservation of its reliability and authenticity over the long term. The necessity of such an instrument derives from the fact that the use of digital technologies for the making, exhibiting and storing of moving images will render the ability to prove their integrity and their preservation increasingly more difficult. The thesis is concluded by a discussion relating the effects of the pervasive use of digital technologies in the field of moving images, and a demonstration of the substantial threat they present for the continuing reliability and authenticity of moving images. This discussion shows the advantages of a close cooperative effort by archivists and moving image theorists in developing interdisciplinary methods for addressing such threats that are rooted in archival diplomatics and fully respect the nature of the moving image record.

This thesis examines the concepts of reliability, authenticity and documentary form as defined by archival diplomatics and their relation to moving image records, for the purpose of exploring the possibility of using them to develop a method for the preservation of the moving image's intellectual integrity over time. To achieve this purpose, the study establishes a correspondence between the tenriinology and the theories used to express these concepts in the two fields through an examination of archival diplomatics and moving images glossaries, dictionaries and literature. Notwithstanding the different understandings of the concepts examined, the thesis finds that when moving images can be regarded as records - that is, as contextual mediated visual and aural representations compiled for the purpose.of.entering into communication - it is possible to use archival diplomatics methodology to analyze them successfully. On the strength of this finding, the thesis proceeds to establish a correspondence between the diplomatic elements of documentary form and the components of an ideal moving image record, demonstrating parallels and explaining and reconciling differences, in order to build a template for the analysis of all kinds of moving image records. This diplomatic instrument is to be used for the identification of the formal elements of a moving image that allow for the maintenance, verification and preservation of its reliability and authenticity over the long term. The necessity of such an instrument derives from the fact that the use of digital technologies for the making, exhibiting and storing of moving images will render the ability to prove their integrity and their preservation increasingly more difficult. The thesis is concluded by a discussion relating the effects of the pervasive use of digital technologies in the field of moving images, and a demonstration of the substantial threat they present for the continuing reliability and authenticity of moving images. This discussion shows the advantages of a close cooperative effort by archivists and moving image theorists in developing interdisciplinary methods for addressing such threats that are rooted in archival diplomatics and fully respect the nature of the moving image record. / Arts, Faculty of / Library, Archival and Information Studies (SLAIS), School of / Graduate

The thesis probes issues associated with interactive audio and video retrieval of relevant segments. Text-based methods for search in audio-visual archives using automatic transcripts, subtitles and metadata are first described. Search quality is analyzed with respect to video segmentation methods. Navigation using multimodal hyperlinks between video segments is then examined as well as methods for automatic detection of the most informative anchoring segments suitable for subsequent hyperlinking application. The described text-based search, hyperlinking and anchoring methods are finally presented in working form through their incorporation in an online graphical user interface.

O objetivo desta dissertação é realizar uma revisão crítica da primeira década do Museu da Imagem e do Som de São Paulo (MIS). Criado em 1970, foi um dos primeiros museus do Brasil a dedicar-se à produção e preservação de material audiovisual reprodutível. O projeto museológico idealizado para o MIS, baseado na formação de um acervo documental e na difusão de novas mídias, será apresentado e discutido. O intuito é avaliar em que medida as diretrizes iniciais do museu, que surge em plena ditadura militar, foram postas em prática durante a gestão de seu primeiro diretor, Rudá de Andrade (1970 - 1980). Parte-se da hipótese de que apesar das diversas mudanças de sede, das dificuldades orçamentárias e de um quadro de funcionários reduzido, o MIS consolidou um espaço pioneiro e experimental, voltado para a produção e difusão de conteúdo e conhecimento e desenvolveu uma programação coerente com o projeto redigido em sua criação. Foram consultadas distintas fontes, muitas delas tornadas públicas por meio desta pesquisa. Espera-se com esta dissertação contribuir para o estudo dos museus e das políticas públicas na área da cultura desenvolvidas no Estado de São Paulo na segunda metade do século XX. / This dissertation aims to build a critical review of the first decade of the Museum of Image and Sound (MIS) of São Paulo. Created in 1970, it was one of the first museums in Brazil dedicated to the production and preservation of reproducible audio-visual material at the time. The museological project conceived for MIS, which is presented and discussed here, intends to establish a documentary archive and broaden new media awareness. The aim is to analyse the extent to which the initial guidelines of the museum, which emerged during the military dictatorship, were put into practice during the management of its first director, Rudá de Andrade (1970 - 1980). It is assumed that despite the various changes in headquarters, budgetary difficulties and a reduced staff, MIS consolidated a pioneering and experimental venue focused on the production and dissemination of content and knowledge, and developed a program in accordance with its foundational project. Several sources were consulted, many of them made public through this research. This dissertation is expected to contribute to the study of museums and public cultural policies in the State of São Paulo in the second half of the twentieth century.