In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology—the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers—provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Védrès's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.

Drawing on cultural policy, queer and feminist theory, materialist media studies, and postcolonial historiography, Bliss Cua Lim analyzes the crisis-ridden history of Philippine film archiving—a history of lost films, limited access, and collapsed archives. Rather than denigrate underfunded Philippine audiovisual archives in contrast to institutions in the global North, The Archival Afterlives of Philippine Cinema shows how archival practices of making do can inspire alternative theoretical and historical approaches to cinema. Lim examines formal state and corporate archives, analyzing restorations of the last nitrate film and a star-studded lesbian classic as well as archiving under the Marcos dictatorship. She also foregrounds informal archival efforts: a cinephilic video store specializing in vintage Tagalog classics; a microcuratorial initiative for experimental films; and guerilla screenings for rural Visayan audiences. Throughout, Lim centers the improvisational creativity of audiovisual archivists, collectors, advocates, and amateurs who embrace imperfect access in the face of inhospitable conditions.

This directory lists education institutions world-wide where professional education and training programmes in the field of library, archive and information science are carried out at a tertiary level of education or higher. More than ten years after the publication of the last edition, this up-to-date reference source includes more than 900 universities and other institutions, and more than 1.500 relevant programmes. Entries provide contact information as well as details such as statistical information, tuition fees, admission requirements, programmes' contents.

Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.

Following Art Spiegelman's declaration that 'the future of comics is in the past,' this book considers comics memory in the contemporary North American graphic novel. Cartoonists such as Chris Ware, Seth, Charles Burns, Daniel Clowes, and others have not only produced some of the most important graphic novels, they have also turned to the history of comics as a common visual heritage to pass on to new readers. This book is a full-length study of contemporary cartoonists when they are at work as historians: it offers a detailed description of how they draw from the archives of comics history, examining the different gestures of collecting, curating, reprinting, swiping, and undrawing that give shape to their engagement with the past. In recognizing these different acts of transmission, this book argues for a material and vernacular history of how comics are remembered, shared, and recirculated over time.

"Counter-Archive brilliantly reflects the visual character of philosophy, geography, and historiography in twentieth-century France. Organized hermetically and crafted meticulously, this volume offers a wealth of information as it considers film theory."---Tom Conley, Harvard University Tucked Away in a Garden on the edge of Paris is a multimedia archive like no other: Albert Kahn's Archives de la Planete (1908-1931). Kahn's vast photo-cinematographic experiment preserved world memory through the privileged lens of everyday life, and Counter-Archive situates this project in its biographic, intellectual, and cinematic contexts. Tracing the archive's key influences, such as the philosopher Henri Bergson, the geographer Jean Brunhes, and the biologist Jean Comandon, Paula Amad maps an alternative landscape of French cultural modernity, in which vitalist philosophy cross-pollinated with early film theory, documentary film with the avant-grade, cinematic models of temporality with the early Annales school of history, and film's appropriation of the planet with human geography and colonial ideology. At the heart of the book is an insightful meditation upon the transformed concept of the archive in the age of cinema and an innovative argument about film's counter-archival challenge to history. "This impressive book carves out a field of interest that, prior to Paula Amad's scrutiny, did not exist. Amad displays extraordinary erudition, assembling a remarkable bibliography of primary sources. She invites us to ponder her ideas in relation to our own digital, counter-archival, image overload."---Antonia Lant, New York University, editor of Red Velvet Seat: Women's Writings on the First Fifty Years of Cinema. "Paula Amad handles technical details with flourish and mastery, and the research in the French archives is exhilarating."---Donald Crafton, University of Notre Dame "Paula Amad's book is far more than an unusually successful effort to recover and analyze Kahn's unique dream of `archiving the planet.' It stages a theoretical interrogation of the terms archive, everyday life, and modernity, arguing that the emergence of motion pictures produced a revisionist concept of the archive or what she calls the counter-archive. Her book ultimately mounts a highly original methodological exploration of the intersection of history and theory."---Richard Abel, University of Michigan

The fifth title in the Docalogue series, this book examines Ahmir “Questlove” Thompson’s 2021 documentary, Summer of Soul (...Or, When the Revolution Could Not Be Televised). The award-winning film draws on archival footage and interviews to examine the legacy of the Harlem Cultural Festival, a showcase of Black music staged weekly throughout the summer of 1969. The film interrogates this event as a piece of “forgotten” history and prompts critical reflection on why this history was lost while also raising important questions related to archival preservation and cultural memory. Combining five different perspectives, this book acts both as an intensive scholarly treatment and as a pedagogical guide for how to analyze, theorize, and contextualize a documentary. Together, the essays in this book touch upon key topics related to the study of popular music, musical performance, and audiences; the discovery and reuse of archives and archival documents; and Black studies and American cultural history more broadly. This book will be of interest to students and scholars in multiple areas including but not limited to archival studies, Black studies, cultural studies, documentary studies, historiography, and music studies.