PRESENTERS’ BIOGRAPHY

Tuesday, 11 June 2024, 1:00 PM – 5:00 PM (Surakarta Time, GMT+7)

Venue: Sunan Hotel Solo

SESSION 1A

11 June 2024, 1:00 PM – 2:30 PM

AV and Film Preservation as Sustainable in Future (Lesson learned from film Rijksvoorlichtingsdienst (RVD) until Siaran Khusus (SK) as History Context)

Bayu Tanoyo
National Archives of the Republic of Indonesia (ANRI)

Bayu Tanoyo is an archivist at the National Archives of The Republic of Indonesia (ANRI) especially in the Arrangement and Description Directorate. The responsibility is to manage, describe and present reliable information to users by producing an inventory or guide. His work in the world of archiving is well-known due to his experience. He has done many masterpieces. His last education was a Master of Defense at the Indonesia Defense University. His dedication to his profession and constant efforts to evolve with the digital age are commendable, especially combine between digital archive and description of archive in digital age.

Archival Practice in Indonesian Film Production House for Long-Term Use

Amalia Sekarjati usually works as a freelancer in the field of arts and culture, especially
as part of the organizing team. Currently studying archives, especially those related to
the field of arts and culture. Her passion is exploring possibilities and celebrating
encounters through the various activities she undertakes.

The Role of Film and Drama in Constructing the Memory of National Hero in Indonesia

Myra Mentari Abubakar
Australian National University

Myra Mentari Abubakar is currently enrolled at the School of Culture, History, and Language.  Her thesis, entitled A Study of Female Heroism in Indonesia, theorises the concept of female heroism in Indonesia and evaluates the evolving significance of this concept from the nineteenth century to the present. It answers how Indonesian memorial practices have fostered female heroes. She  explores the historical processes and cultural and political narratives that have shaped  what constitutes a female hero in Indonesia. Prior to pursuing her Ph.D., Myra was a lecturer at several universities in Aceh, Indonesia. Her PhD at the Department of Gender, Media and Cultural Studies is supported by the Indonesian Ministry of Education and Culture. She is presently teaching Indonesian at ANU and a number of institutions and schools in Canberra.

SESSION 1B

11 June 2024, 1:00 PM – 2:30 PM

Toward New Collaborative Models: The Case of Myanmar Film Heritage

Martino Cipriani
RMIT University Vietnam / University of Amsterdam 

Martino Cipriani is an associate lecturer in digital film and video at RMIT University Vietnam and a PhD candidate at the University of Amsterdam, ASCA. Currently studying challenges and criticalities that transversally affect audiovisual archives across the Mekong region, his research interests span from film heritage, media archaeology, and cultural conservation to digital technologies and hybrid film workflows. Parallel to his academic activity, he works as a DI colorist post-production consultant and supervisor for several private enterprises across Asia.

Okkar
Save Mynamar Films

Maung Okkar‘s film career began at 15 when he starred in “Dat-khe”, a feature film directed by his father – the celebrated Burmese filmmaker U Wunna. In 2009, he joined Yangon Film School. Then, he tried his hand at directing. A philosophy graduate, Okkar’s first documentary: “Charcoal Boy”, screened and competed at 16 international film festivals, such as the Munich International Festival of Films schools worldwide. Then, he has made some documentaries and a short film. Since 2015, he has been working as a film archive researcher. He completed a summer film restoration course conducted by the International Federation of Film Archives (FIAF) in Bologna, Italy, and digitalization courses in the Thai Film Archive. In 2017, he started working as a Save Myanmar Film Organization project director and led digital restoration projects. He has been working as a film archivist and founded the Save Myanmar Film organization. The organization has been working on preserving all the audiovisual heritage, such as films, non-film or film-related materials, despite the lack of the government’s full support

‘Developing a Collaborative Model for Sustainability and Archival Practice in The Northeast India Audiovisual Archive.’

Phindarishisha Angelia Kharkamni
The Northeast India AV Archive

Phindarishisha Angelia Kharkamni is a student of English Literature, pursuing a Master’s degree in North Eastern Hill University, and a researcher, content writer and editor with The Northeast India Audiovisual Archive, located in St Anthony’s College Shillong and supported by the Sasakawa Peace Foundation Japan and the Department of Tourism, Government of Meghalaya. She is an indigenous woman belonging to the Khasi community in Meghalaya, India, born on the 11th November, 1999. She has experience with conducting research on the cultural practices and heritage of Meghalaya and other Northeast states of India, which is required for all writings related to the activities undertaken by The Northeast India AV Archive. She has experience with cataloguing, the creation and maintenance of inventories at The Northeast India AV Archive. She has experience with the maintenance of websites and social media pages. She has been part of several curatorial activities of The Northeast India AV Archive, such as photo and postcard exhibitions. She was a member of the organising team at the indie8 Film Festival 2023 organised by The Northeast India AV Archive. She also possesses experience in conducting workshops on cataloguing and inventorying. She is currently an editor with the Indian Institute of Management (IIM) Shillong. She is a project coordinator with the IFA-Ever Living Museum Scholarly Project. Phindarishisha Angelia Kharkamni also writes creative pieces, and does oil painting: most of her artwork is influenced by the nineteenth century Luminism techniques.

The Memory of the World- a platform for inclusivity, diversity and understanding

Joie Springer is currently a consultant providing advice on a range of documentary heritage issues from over 30 years of experience of working in an international setting. She therefore has an overview of the common issues that affect av archiving in different countries, especially those in developing countries. She was responsible for planning and implementing global activities for fostering and/or supporting national development through audiovisual archives.
She conducts and facilitates workshops on the assessment of the significance of documentary heritage for nomination to UNESCO Memory of the World Registers and is currently the Chair of the Register Subcommittee. She is a former member of the SEAPAVAA Executive Council.
She is a conference speaker, as well as an author of articles and papers, on general documentary heritage matters.

Global collaboration for a digital audiovisual future – DPC in Australasia and Asia-Pacific

Robin Wright & Michael Popham
Digital Preservation Coalition

Robin Wright is Head Australasia and Asia-Pacific for the Digital Preservation Coalition. She was previously Manager, Scholarly Resources at Swinburne University of Technology, Melbourne, Australia, a Research Fellow at Melbourne Law School’s Centre of Media and Communication Law and has practiced as a solicitor in Victoria, Australia. Robin has managed several research projects exploring the use of digital copyright material by cultural and educational organisations. She is on the Board of the Australian Digital Alliance and is Co-Lead of Creative Commons Australia. Robin has an LLB(Hons), MA and BMus.

Michael Popham is Digital Preservation Analyst with the Digital Preservation Coalition (DPC), where he is part of the Good Practice team, providing advice and guidance to Members. Prior to joining the DPC Michael spent 25 years working for the University of Oxford, holding senior roles in both IT Services and the Bodleian Libraries, where he was Head of Digital Collections and Preservation until 2020. He has led several major digitization and digital preservation projects and has a particular interest in the Digital Humanities. Michael co-ordinates the DPC’s Audiovisual Working Group – a discussion forum open to all DPC Members.

SESSION 1C

11 June 2024, 1:00 PM – 2:30 PM

The UPFI Film Archives and Library Archival Literacy Program: Establishing a Pedagogical Practice in Archives Student Internships

Angela C. Chaves
University of the Philippines Film Institute

Angela C. Chaves currently serves as the Development Management Officer at the National College of Public Administration and Governance – Center for Policy and Executive Development (NCPAG-CPED) at the University of the Philippines- Diliman. She previously served as a University Researcher at the University of the Philippines Film Institute (UPFI), wherein her work included projects and activities for the UPFI Film Library and Archives. She is completing her graduate studies, Master of Arts in Media Studies (Film), also at the same institution. She is an Editorial Researcher for PELIKULA: A Journal of Philippine Cinema and Moving Image, wherein she presently functions as the Project Leader of its extension program, Places. For over ten years, she has served in the following institutions: the University of Santo Tomas, FEU Diliman, and FEU Institute of Technology as a faculty, administrator, researcher, and curriculum developer. Her research interests include oral history and the use of archive objects in documentary filmmaking, archival exhibitions, memory studies, young adult cinema and literature, and BTS studies.

Jaimee M. Lumba
University of the Philippines School of Library Science and Information Studies

Jaimee M. Lumba is currently completing her undergraduate degree in the university and aims to secure her graduation this 2024. Through her internship with the UP Film Institute Archives, she has become interested in audiovisual (AV) archiving and aims to become an AV archivist in the future. She plans to pursue further studies in AV archiving, so she’s working on the side to save up for it. Her other research interests include information ethics, and health information privacy and confidentiality

One Philosophy, Two Practices: Divergent Approaches in Film Preservation Education Across the Strait – A Case Study of Film Archive Studies Center at Xiamen University

Yizhou Wei
Xiamen University, China

As a PhD student and research assistant at the Film Archive Studies Center of Xiamen University, Yizhou began exploring film archiving in 2017 as a senior film studies major. Under the guidance Professor Ray Jiing, former Director of the Taiwan Film & Audiovisual Institute and later a chair professor at both Tainan National University of the Arts and Xiamen University, He developed skills in handling and repairing 35mm films, along with operating 35mm film projectors.

Pursuing a deeper understanding of film archiving, Yizhou earned a master’s degree from the Department of Library and Information Science at National Taiwan University in2021. His thesis was entitled “Study of Concept and Practice of Educational Film Archives”. During his studies in Taiwan, He interned at the Film Collectors Museum, assisting in 8mm film and videotape restoration workshops for Taipei residents.

In September 2021, Yizhou returned to Xiamen University to pursue a Ph.D. in the School of Film and rejoined the Film Archive Studies Center as a research assistant. He is actively involved in film restoration projects at our Film Restoration Laboratory in collaboration with iQIYI (often referred to as China’s Netflix) which specializes in 35mm film restoration, employing a combination of AI assistance and meticulous frame-by-frame refinement. He is integrally involved in the entire restoration process, from physical restoration and scanning to frame-by-frame digital restoration.

My current doctoral dissertation, “A Study on Non-centralized Model for Film Preservation” under Professor Ray Jiing, aims to explore film preservation practices in third-world countries and fathom the cultural significance these practices bring to developing nations—a subject often overlooked in research

Thinking together about education for archivists: relevant to film archives?

Louise Curham
Libraries, Archives, Records and Information Science, Curtin University iSchool (Australia)

Dr. Louise Curham is a lecturer in LARIS at the Curtin University iSchool, teaching in the archives and records area. Louise joined the university sector in 2020 after two decades working in government information, community records and audiovisual collections. She has held AV preservation, policy and project-based roles at the National Archives of Australia (2002-2007; 2009-2019). Louise’s research focuses on objects that elude meaningful digitisation.

SESSION 2A

11 June 2024, 2:45 PM – 4:15 PM

Preservation of traditional healing practices and knowledge of traditional herbal medicine of the Khasis through archiving

Dr. Etawanda Saiborne
The Northeast India AV Archive, St. Anthony’s College

Dr. Etawanda Saiborne is an Associate Professor in the Department of Mass Media and is also the board member of The Northeast India AV Archive, St. Anthony’s College, Shillong. She has been teaching in the department for almost 22 years. Her area of expertise is Sound, Videography, Photography and Film studies. She holds a Bachelor’s Degree in Mass Communication and Video Production (St. Anthony’s College). Her Post-graduation was in Communication Media for Children (SNDT, Pune) and her Ph.D. thesis is on “Folk Narratives Adapted as Films” from the Department of Cultural and Creative Studies. North Eastern Hill University (NEHU). She is currently a Member of the Board of Studies of the Department of Journalism and Mass Communication. She is also one of the empaneled members for Government Commissioned Programmes for DDK, Shillong. At present she is also a member of the University Research Ethics Committee, for Martin Luther Christian University, Shillong. She is also an Adjunct Faculty of the Department of Mass Communication and Journalism, Assam Don Bosco University. She has been a resource person for many academic programmes and has also conducted programmes  for the state government  of Meghalaya.

She has contributed a number of research papers on narratives in Khasi films and folklore. She has participated in one iteration of the SEAPAVAA Conference held at Pattaya, 2023.  Her area of interest is archiving and the preservation of folk cultural knowledge.

Unveiling Northeast India’s Oral History Through Archiving and Dissemination

Donskobar Junisha Khongwir
The Northeast India AV Archive

Donskobar Junisha Khongwir, an indigenous Khasi woman born in 1986 and raised in Laitlyngkot, Meghalaya, embodies a rich blend of roles as an educator, visual artist, curator, and author. She is a graduate of AJK MCRC Jamia Millia Islamia University, New Delhi, where she honed her skills and passion for the arts.

Currently serving as an Assistant Professor for eleven years at the Department of Mass Media, St. Anthony’s College, Junisha has contributed to shaping the minds of aspiring media professionals. Her commitment to preserving and showcasing the cultural heritage of Northeast India is evident through her role as the curator at the Northeast India AV Archive.

In addition to her academic and curatorial pursuits, Junisha is a published author. Her book which she coauthored titled ‘Stories from the Valley,’ documents the hidden narratives of the Mizo Diasporic communities in Shillong’s Happy Valley.

Revitalizing Culture of Taiwan’s Indigenous Peoples: Taking “Audiovisual Archiving of the Katratripulr Community” for Example.

Uki Bauki
Tainan National University of the Arts

Uki Bauki is a Taiwanese Indigenous person from the PateRungan community (Kavalan). She is both an archivist and a documentary filmmaker. Through the organization and documentation of visual archives, She aims to preserve the classic and historical audiovisual documentation of the Taiwanese Indigenous community.

By capturing and narrating stories through documentary filmmaking and visual storytelling, She strives to convey the perspectives and narratives of the Indigenous people. She hopes that through this process, Indigenous voices can reach mainstream society, fostering communication and dialogue. She looks forward to mainstream society gaining understanding, and, even more importantly, to the coexistence of the indigenous and Han communities grounded in mutual respect fostered by that understanding.

In 2005 She graduated from the Department of Indigenous Language Communication at National Dong Hwa University and was a program planner at Sanlih Entertainment Television Inc.

In 2019, she founded The Audiovisual Archiving of the Katratripulr Community.

In 2020 she graduated from the Graduate Institute of Documentary & Film Archiving at Tainan National University of the Arts (TNUA). From 2020-2023 council member for the Taiwan Society of Ethnographic Imaging. She was a lecturer in the Department of Communication Studies at Tzu Chi University from 2021-2023.

SESSION 2B

11 June 2024, 2:45 PM – 4:15 PM

A University-Industry Collaboration Initiative: Association for Curators and Programmers of Asian Cinemas

Lydia Wu
Newcastle University/Association for Curators and Programmers of Asian Cinemas

Dr Lydia Wu is a NUAcT Fellow in Culture and Creative Arts at Newcastle University, UK, and the founder of ACPAC (Association for Curators and Programmers of Asian Cinemas). She leads the five-year research project “Decolonising ‘Asian Cinema’ through Curation,” supported by Newcastle University. Her research interests and publications focus on film festival studies, Chinese independent cinema, art cinema and ethics in documentary filmmaking in Asia. Additionally, she is a founding member of the Chinese Independent Film Archive at Newcastle University.

How Wee Ng
University of Westminster/Association for Curators and Programmers of Asian Cinemas

Dr How Wee Ng (he/him) is Lecturer at School of Humanities, University of Westminster and co-founder of ACPAC (Association for Curators and Programmers of Asian Cinemas). Research interests include Sinophone theatre, cinema, television, literature, and broadly, the exclusionary politics of representation related to ethnicity, gender, and class in visual culture. He is the author of “Drama Box and the Social Theatre of Singapore: Cultural Intervention and Artistic Autonomy, 1990-2006”. His new monograph “Worrying about the Audience in Postsocialist China: The Censorship Discourse on Chinese Television” will be published in 2025/2026.

Harmony in Archives: A Collaborative Effort for Audio-visual Preservation and Accessibility

Dayangku Horiah Binti Awang Gani
Sarawak State Library

Dayangku Horiah binti Awang Gani is the Head of Archives Management Division at the Sarawak State Library, who has the two functions of Library and Archives.  With 24 years of experience in library and archives, she has cataloguing of library materials, records and archives management, as well as library and archives system development contribution to the organization.  Dayangku Horiah has been actively involved in development and enhancement of the Archival Records Management System, and the management of archival records from government agencies to the state archives.  She holds a Bachelor’s Degree in Information Studies (Honors), 1999 (University of Technology MARA) and a Master’s Degree in Information Management, 2018 (University of Technology MARA). Known for expert in archival records management, Dayangku Horiah is dedicated to the task of trainers for archives management practices to government departmental focal officer

Transforming Probe’s Untapped Audiovisual Archive into a Relevant and Sustainable Business

Julie Nealega
Probe Productions Inc. (PPI)

Julie Nealega is currently the Head of Probe Archives and Business Development of Probe Productions Inc. Julie has developed strategies to transform Probe’s audiovisual archives into a relevant and profitable business that aids in funding the organization’s archiving initiatives.

A graduate of the De La Salle University Manila, Julie has always been curious and passionate. Before joining Probe, she worked as a multimedia journalist for ABS-CBN, once the Philippines’ largest TV network until its forced government-led shutdown in 2020. Julie produced for top-rated and award-winning current affairs shows. Her documentary work on illegal mining in the Philippines was a recipient of the (insert year) New York Film Festival Bronze Medal for Investigative News Magazine show.

She is currently completing a Master in Archives and Records Management at the University of the Philippines. She’s part of the pioneering cohort of this innovative postgraduate studies on archiving.

SESSION 2C

11 June 2024, 2:45 PM – 4:15 PM

Audiovisual (AV) Archiving Work Benefiting the Philippine Labor Sector

Adrian D. Mendizabal
University of the Philippines Film Institute

Adrian D. Mendizabal is a University Research Associate of the University of the Philippines Film Institute (UPFI). In July 2023, he successfully earned his MA degree in Media Studies (Film) from UPFI with a thesis titled ‘Towards the Open Image: A Dialectical Materialist Critique of the Long Cinematic Duration in the Cinema of Lav Diaz.’ Currently, he holds the position of Head Researcher for the PUP-NCCA Project focused on the Philippine Documentary Heritage Archival Collection related to the COVID-19 Pandemic, while also providing support for the collections management efforts at the UPFI Film Archives and Library. He was also one of the film critics of VCinema, a film blog that specializes in Asian Cinema. He has contributed several essays on Philippine cinema and the local media industry to various publications like Pelikula: A Journal on Philippine Cinema, Asian Politics & Policy, Plaridel Journal, Kino Punch, NANG 2, La Furia Umana, New Durian Cinema, Transit Journal, Sinekultura Film Journal and MUBI Notebook. He is currently working on a research project exploring the relationship of memory, technics, archives, and social movements.

The Dynamic Interplay of Activism and Social Archives in Shaping Social Change

Brenda Danker
Freedom Film Network

Brenda Danker aims to empower and amplify the voices of the marginalised community for social change through her various roles as educator, media producer and researcher in Malaysia. She currently manages a film network focused on social justice, and mentors social documentary filmmakers through FreedomFilmFest Malaysia. She has initiated participatory storytelling projects with young Orang Asli women, to embolden them to share their seldom heard stories and struggles. She has conducted research in activism (specifically of visuals and digital media used in advocacy, and activism in university students), on human rights film festivals, and of the impact of technology in classroom teaching.

Gendered Narratives in the Archive: A Critical Analysis of Women’s Representation in PPFN’s “Gelora Indonesia” Archival Descriptions

Jajang Nurjaman
National Archives of the Republic of Indonesia

Jajang Nurjaman, archivist at the National Archives of Indonesia. He obtained his M.A. degree from Leiden University, the Netherlands, majoring in History, specializing in Archival Studies. He is also the editor of some journals, such as Jurnal Kearsipan (Arsip Nasional RI) and Jurnal Diplomatika (Gadjah Mada University). He is also an active International Council on Archives (ICA) member. His research mainly focuses on colonial and global history, decolonization, records and archives management, and records and information culture (recordkeeping informatics). Besides his routine work as an archivist, he also teaches dan became a guest lecturer at some universities, such as Gadjah Mada University, Brawijaya University, Semarang States University, Makassar States University, and others universities. His paper entitled Dekolonisasi Arsip sebagai Warisan Budaya: Kajian Awal Pengembalian Arsip Statis Era Hindia Belanda was awarded the first winner of the paper writing competition that was held by Gadjah Mada Archives in 2020. He can be reached by email at j.nurjaman@gmail.com or jajang.nurjaman@anri.go.id

Wednesday, 12 June, 10:20 AM – 5:00 PM (Surakarta Time, GMT+7)

Venue: Sunan Hotel Solo

SESSION 3A

12 June 2024, 10:20 AM – 11:50 AM

Voices from the Waves: Enriching the Archive of Audiovisual Records of the 2004 Tsunami through Oral History Interviews

Prasetya Kurniawan
National Archives of the Republic of Indonesia

Prasetya Kurniawan is a junior archivist at the National Archives of the Republic of Indonesia. Currently, He is assigned to the Access and Utilization of Archives Division at the Office of Archives and Tsunami (BAST). Working as an archivist has been a delightful experience for him, as it allows him to learn into the history of the past through the most reliable sources – archives.
The National Archives of the Republic of Indonesia is a government agency entrusted with a specific mandate to manage archives from all state institutions in Indonesia. Beyond preserve and management, ANRI is also responsible for providing archival guidance to these institutions.

Utilization of news television audiovisual archives for the general public: a case study of Metro TV’s audiovisual archives of natural disasters

Mohammad Rezcky Ramadhan
METRO TV (PT. MEDIA TELEVISI INDONESIA)

He has been a librarian at the digital library center at Metro TV since 2012. He is currently the Coordinator for NOAR (Non Airing) Project collecting old master coverage documentation to add value and be resold or distributed to social media platforms associated with Metro TV and Media Group Network. He has finished his bachelor’s degree and master’s degree in Library Science at the Universtas Indonesia. He is also an active member of Ikatan Sarjana Ilmu Perpustakaan dan Informasi Indonesia (ISIIPI), Forum Perpustakaan Khusus Indonesia (FPKI), and Perkumpulan Profesi Pengelola Rekod Indonesia (P3RI)

Our Challenges to Revive the Great Kanto Earthquake (1923) Images: Introducing NHK Archives’ “Disaster Archive”

Tomonori Kawai
Japan Broadcasting Corporation (NHK)

Tomonori Kawai joined NHK Archives after a career in NHK News for 13 years. For NHK News, he served as a video editor and news producer, covering social issues. His current responsibilities at NHK Archives include development of web contents, promotion of utilizing and valorizing archival footages. NHK, or Japan Broadcasting Corporation, is a public service media in Japan, and has been producing news, documentaries, dramas, sports, educational and other audio-visual contents. NHK started TV broadcast in 1953. The first radio broadcast by Tokyo Broadcasting Station was in 1925.

SESSION 3B

12 June 2024, 10:20 AM – 11:50 AM

Seeing with the Other Eyes: Examining the Issue of Global Audiovisual Preservation Collaboration Initiative

Julita Pratiwi
New York University, Moving Images Archiving and Preservation

Julita has recently graduated from Moving Images Archiving and Preservation at New York University. As a young-emerging audiovisual archivist, she has been interested in projects related to preserving and representing a marginalized or underrepresented audiovisual collection. In 2021, she and her colleague organized a collective in the form of a virtual class called Kelas Liarsip. It focuses on learning film archives and tracing the involvement of women in Indonesian film history. Recently, Kelar Liarsip attempted to rediscover Ratna Asmara – the first female director in Indonesian cinema, by digitizing and presenting her work Dr. Samsi (1952).

Breathing life into 150,000 reels

Geetha Sanumathy
Prasad Corporation Pvt. Ltd., India

She heads the Film Preservation practice in Prasad. She has been deeply involved in helping archives with their preservation needs, from physical preservation and preventive conservation to final digital deliverables. Manages a team of 450+ digitization, restoration, QC, and metadata technicians located between Chennai and three other locations in India. Her biggest strength is process management, capability to design, build and deliver extraordinary customer and client outcomes. Founded in 1956, Prasad Corporation is recognized as a global leader and innovator in the realm of Film Preservation. Our enduring legacy of excellence is marked by deep collaborations with archives worldwide. We are dedicated to ongoing investments in advanced technologies and progressive methodologies for Film Preservation. This commitment has solidified Prasad’s reputation among global archives, fostering long-term partnerships to safeguard its cultural heritage for the benefit of future generations. Delve into our meaningful mission and learn how we can contribute to your preservation initiatives by visiting our website at www.prasadcorp.com  / #preserve4posterity

A Student-Archivist Participating in Digital Restoration Project : Taking Nitrate Film of “Southward Expansion to Taiwan” as an Example

Guan-Ying LU
Tainan National University of the Arts, Taiwan

Born in 1997, Guan-Ying Lu graduated from the Department of Cultural Heritage Conservation at National Yunlin University of Science and Technology. Currently, she is a graduate student in Graduate Institute of Documentary & Film Archiving at Tainan National University of the Arts. With a background in film restoration, she has contributed to the restoration of the film “The Woman of Wrath” and is currently involved in the digital restoration project “Southward Expansion to Taiwan,” a documentary film. Her primary research interests include interdisciplinary studies on cultural heritage and film preservation, as well as the ethics and practices of digital restoration.

SESSION 3C

12 June 2024, 10:20 AM – 11:50 AM

Restoring Ratna Asmara’s Dr Samsi

Lisabona Rahman & Efi Sri Handayani
Kelas Liarsip

Lisabona Rahman studied moving image preservation and presentation in Amsterdam. In 2021 she joined Kelas Liarsip collective, a feminist virtual learning group on film preservation and women’s work in Indonesian cinema. She conducts performative lectures involving stories deriving from filmic artifacts. Lisabona also has been creating archival film screening programs for festivals, archives and galleries. Her works were created and shown with the support of different institutions such as the Arsenal Institut in Berlin, rubanah underground hub Jakarta, Thai Film Archive Bangkok and Eye Filmmuseum Amsterdam. Since 2018 she also creates knowledge sharing activities related to celluloid films, which have taken place in different cities such as Berlin, Cairo, Jakarta and Jos.

Efi Sri Handayani is an artist-activist with special interest in arts and film preservation. She is also part of the Purple Code Collective that works in the intersection of gender, human rights and technology. She has worked at the Indonesian Film Centre as film archivist. Efi is a freelance archivist working for various projects in the field of film archiving and researching women’s work in Indonesian cinema.

Kelas Liarsip is a virtual learning group with a special focus of study on film archiving, restoration and women’s work in Indonesian cinema. The group started its activities in March 2021. Its activities involve six women and non-binary from various disciplinary backgrounds yet they share similar concerns. The collective consists of Efi Sri Handayani (film archivist and illustrator), Imelda Mandala (photographer), Julita Pratiwi (academic and researcher), Lisabona Rahman (film archivist and programmer), Umi Lestari (academic, historian and curator) and the late Siti Anisah (film archive manager).

Joint Research on the Preservation and the Handling of Cellulose Nitrate Films

Akane Nohara & Hitomi Hosaka
Imagica Entertainment Media Services, Inc.

Akane was first engaged in film inspection for producing new prints of feature films and commercial reels. Later she started working with the restoration of archival films, handling films of special format and of severe deterioration. Currently she is in charge of projects with the National Film Archive of Japan, where she has brought many valuable films back to life. In particular, in the restoration of the short-lived Kodacolor standard, released between 1928 and 1935, before the advent of color film, she succeeded in restoring films that until recently had been difficult to colorize due to their extremely special structure. The restored films were screened at the NFAJ as part of ‘Cinema: Lost and Found 2018’, and she was also a lecturer at the ‘NFC Archive Seminar’ held at the same time. Furthermore, in order to preserve film footage for future generations, she focuses not only on restoration techniques but also on efforts to reduce the deterioration of the films themselves. She is actively involved in organizing seminars and workshops on preventive conservation and is a lecturer, working closely with staff in local authorities, museums, art galleries, libraries and universities across the country who are striving to create a dedicated conservation environment where films are stored.

As an archiving and restoration coordinator since 2019, Hitomi has been involved in various restoration projects for both domestic and international clients. In the “Mekong-Japan Exchange Year : Japanese-Myanmar Classics Joint Screening and Film Community Exchange Program”, organized by the Agency of Cultural Affairs, she has run film screenings, invited guests from Myanmar, and hosted a film festival & digital restoration workshop in Nay Pyi Taw.

PANEL SESSION 4A

12 June 2024, 1:00 PM – 2:30 PM

After Disaster Recovery, Going back to Normal

Swee Cheng Wong
State Library of Queensland, Australia

Swee Cheng WONG is the Audiovisual Conservator at State Library of Queensland. She has been caring for the original motion picture film, video and audio collections in State Library for the past decade.

Nobukazu Suzuki
Kawasaki City Museum, Japan

Nobukazu SUZUKI is an audiovisual archivist who has worked in film preservation and digitization for 18 years. Nobukazu learned the foundations of film archiving when he worked as an assistant film curator, from 2005 to 2007, at the National Film Center, The National Museum of Modern Art, Tokyo. As a film technician at Tokyo Ko-on, Inc., since 2007, he has inspected and digitized several thousand films from the 1910s to the present. He has conducted the film salvation project for the great East Japan Earthquake since 2011 and devised salvaging methods for water damaged films and videotapes. From 2014 to 2015, he worked as an AV archivist at the Bophana Audiovisual Resource Center in Cambodia supported the Agency for Cultural Affairs, Japan. He inspected the film collection of the Cambodian government and carries on researching Cambodian film history. Between 2016 and 2019, he worked as an AV preservation consultant for the film preservation project in Malawi, Africa, organized by National Archives of Malawi, Rei foundation Ltd., and Tokyo Ko-on, Inc. Since 2019, he has supported to salvage and digitize water damaged film collection by natural disaster in Kawasaki city museum, Japan.

He is a member of Film Preservation Society, Tokyo and an individual member of ICOM (International Council of Museums).

Prasetya KURNIAWAN
National Archives of the Republic of Indonesia

 Prasetya Kurniawan is a junior archivist at the National Archives of the Republic of Indonesia. Currently, He is assigned to the Access and Utilization of Archives Division at the Office of Archives and Tsunami (BAST). Working as an archivist has been a delightful experience for him, as it allows him to learn into the history of the past through the most reliable sources – archives.

The National Archives of the Republic of Indonesia is a government agency entrusted with a specific mandate to manage archives from all state institutions in Indonesia. Beyond preserve  and management, ANRI is also responsible for providing archival guidance to these institutions.

Joshua HARRIS
Head of Media Preservation – Department of Preservation Services
University of Illinois Libraries
USA

Joshua Harris, with 25 years of experience in preserving cultural heritage materials, currently serves as the Head of Media Preservation at the University of Illinois Libraries, USA. His past roles include being an archaeologist for the Illinois State Museum and the University of Tennessee, a museum technician at the Smithsonian Institution, and various positions at the National Geographic Society Film and Television Archives.
Since 2011, he has spearheaded the University’s first audiovisual preservation program, establishing in-house labs for film, audio, and video in addition to training and mentoring university students.

Joshua consults and engages with organizations internationally, particularly in Southeast Asia, the Pacific and the Middle East. He has been involved in the Southeast Asia Pacific Audiovisual Archive Association (SEAPAVAA) for 20 years, previously serving two terms as Treasurer. He currently holds the position of Secretary-General He has numerous credits for his work with archival film and sound preservation and restoration and recently contributed a chapter to “Keeping Memories: Cinema and Archiving in the Asia-Pacific” (Ateneo de Manila Press 2022)

Sandy DITCHBURN
Senior Collections Archivist
Ngā Taonga Sound & Vision, New Zealand

SESSION 4B

12 June 2024, 1:00 PM – 2:30 PM

Beyond the Screen: (Re)Exploring Access

Tee Pao CHEW
Asian Film Archive

Tee Pao has been with the Asian Film Archive (AFA) since 2009. As Senior Archivist, Tee Pao plans AFA’s preservation strategies and oversees the development of film collections, as well as curating various film programmes to showcase these collections. He also selects and oversees AFA’s film restorations, including works like Mike de Leon’s Batch ‘81 (1982) and Dharmasena Pathiraja’s Bambaru Avith (1978), which was selected for Cannes Classics in 2020. His publications on film preservation include an article on NANG magazine and a co-written chapter on “Independent Digital Filmmaking and its Impact on Film Archiving in Singapore” for the book Singapore Cinema: New Perspectives (2017).

Enhancing Online Access to Oral History Audiovisual Archives at the Hong Kong Film Archive

Kevin CHOI
Hong Kong Film Archive (HKFA), Hong Kong

Kevin CHOI joined the Hong Kong Film Archive in 2015 and has been involved in film collection, research and editorial work, and collection system management. He has assisted in compiling the Hong Kong Filmography series, organizing oral history projects, and compiling the online project “Hong Kong Filmmakers Search”. He is now the Unit Head of the Systems Unit at the Hong Kong Film Archive, where he collaborates and liaises with various stakeholders to facilitate the development of the Museum Collection Management System (MCMS) and the System Upgrade of e-Marketing of Museum Services (eMS2) for the Leisure and Cultural Services Department.

A NASTI Collaboration: Putting the National Archives of Singapore on Tiktok

Ray Tan

National Archives of Singapore

Ray Tan, an audio-visual archivist from the National Archives of Singapore, is part of the NAS Tik Tok team that comprises of June Pok, Edwin Francis Van Huizen, Roger Tan, Lisa Wong, Yasmin Raine and Phua Ying Ying.

The National Archives of Singapore (NAS) is the official custodian of Singapore’s collective memory. Established in 1968, NAS is responsible for the collection and management of records in various mediums and formats pertaining to the nation’s political, social and economic history. NAS also plays an active role in promoting the awareness of and research into Singapore’s history through programmes, exhibitions, publications and publicity.

SESSION 4C

12 June 2024, 1:00 PM – 2:30 PM

Navigating the Challenges of Establishing a Photochemical Lab in the Post-Analogue Era

Sanchai Chotirosseranee
Thai Film Archive (Public Organization)

Sanchai Chotirosseranee holds a B.A. from the Faculty of Journalism and Mass Communication, Thammasat University, Thailand, and a M.A. in Film Studies from the University of East Anglia in the United Kingdom. He is currently the Deputy Director of the Thai Film Archive (Public Organization).

Exploring Audiovisual Archiving at Archives New Zealand

Victoria Chu, Karyn Lo and Joshua Ng

Archives New Zealand

Victoria Chu is the Film and Audiovisual Specialist at Archives New Zealand. She is also one of the quality control supervisors on the Utaina project.

Karyn Lo is an Archives New Zealand archivist on the Utaina project. She was a preservation technician prior to this and was responsible in setting up the pre-digitisation contingency workflow.

Joshua Ng is a Digital Preservation Analyst at Archives New Zealand. His primary responsibility is to ensure that all the necessary processes are in place to maintain the integrity of the Government Digital Archive. In addition to his regular duties, Joshua has been actively involved in Utaina, a joint Audiovisual Preservation Project that brings together multiple agencies. This project focuses on preserving New Zealand’s at-risk audiovisual magnetic media and has been running since 2020.

Preservation at Ngā Taonga: Adapting to Digital Storage and Delivery

Kate Roberts
Ngā Taonga Sound and Vision

Kate is a Wellingtonian born and bred and originally trained as an objects conservator at the University of Canberra when it was the CCAE in the early 1980s, followed by an internship at the Canadian Conservation Institute in 1985. Kate’s career has been in materials conservation and then preservation management, leading to a library management career in the era of combined museum and library services. Kate has worked in numerous institutions in the New Zealand cultural and documentary heritage sector, and worked in Australia at the Kimberley Language Resource Centre in Halls Creek, then at Artsource and the Art Gallery of Western Australia in Perth between 2014 and 2019, returning to New Zealand to work for Ngā Taonga at the end of 2019.

Kate was appointed Digital Preservation Manager for the Utaina AV mass digitisation project in 2020 and oversaw the set up of production line processes to safely deliver and return collection items being digitised. Kate has been in the role of Group Manager, Preservation including Project Executive responsibility for Utaina since late 2022.

SESSION 5A

12 June 2024,  2:30 PM – 4:00 PM

Using the expertise of Audiovisual Archivists in Non-audiovisual Archives

Hitomi Matsuyama
Kobe Planet Film Archive

Hitomi Matsuyama, an audiovisual archivist based in Osaka and Kobe. She holds a Master’s degree in Preservation and Presentation of the Moving Image from the University of Amsterdam. She worked at the National Film Archive (formerly the National Film Center) as a researcher for the BDC project. Later, while working for other cultural organizations, she is also one of the members of the NPO that runs the Kobe Planet Film Archive.

Safeguarding Audiovisual Records: Collection Management Development Issues in Malaysia

Nor Azah binti Hashim
National Archives of Malaysia

Nor Azah binti Hashim has been serving as an archivist at the National Archives of Malaysia (NAM) since 2010, and she has proven to be an asset to the institution. She graduated from MARA University of Technology (UiTM) in Malaysia with a Bachelor’s degree in Records and Document Management (Hons.) and a Master of Science in Records and Document Management. In her undergraduate and graduate studies, Nor Azah demonstrated exceptional academic performance, and her hard work culminated in published paper. Her paper mainly focused on managing audiovisual materials. Her knowledge and expertise in the field of records

management are impressive, and her contribution to NAM has been invaluable. Throughout her working experience, she has served as a cadre officer and Head of Records Management Unit in the Ministry of Human Resources and the Ministry of Environment and Water. She is currently working in the Audiovisual Archives Section as the Head of the Photographic Unit, where she is responsible for a range of tasks, including the preservation and digitisation of photos and other audiovisual materials.

Copyright management of audio-visual archives

Coco Wei
Shanghai Audio Visual Archives

Coco specializes in corporate copyright management and rights protection; have rich copyright management practical experiences; focuses on copyright-related practices and legislative research；made suggestions on legislation and amendments in copyright and other related fields. Shanghai Audio Visual Archives, namely Copyright Assets Centre of SMG was established in 1984. As a unit of Shanghai Media Group, SAVA is the first professional institution to implement centralized management on radio and television program files in China, which is also the only professional audio and visual archive in Shanghai. SAVA makes great efforts in copyright management, media assets service, archive researching and content exploitation.

PANEL SESSION 5B

12 June 2024,  2:30 PM – 4:00 PM

Navigating the Future: AI/ML Applications in Audiovisual Archiving

Joshua Ng
Archives New Zealand

Joshua Ng is a Digital Preservation Analyst at Archives New Zealand. His primary responsibility is to ensure that all the necessary processes are in place to maintain the integrity of the Government Digital Archive. He latest research interest is the use of artificial intelligence and machine learning in digital archiving and digital preservation.

Tasdik Eko Pramono, S.Kom., M.T., CHFI, CCO.
Digital Forensic and Artificial Intelligence Lab – The National Archives of The Republic of Indonesia

Tasdik is an academic and AI practitioner, having completed his Master’s in Informatics specializing in Chief Information Officer (CIO) from Institut Teknologi Bandung (ITB) in 2014, funded by the Ministry of Communication and Information Technology’s Scholarship. Since returning from his studies, Tasdik has been imparting his knowledge as a Professional Lecturer in the Office Administration Study Program at the Vocational Program of Universitas Indonesia, a position he has held since 2015.
Beyond academia, Tasdik is actively involved in the Ministry of Communication and Information Technology’s Digitalent Scholarship Program, focusing on the Government Transformation Academy. His expertise grows in the realm of AI, particularly demonstrated through his significant contributions since the inception of the ANRI Digital Forensic and Artificial Intelligence Lab in 2021. There, Tasdik and his team have pioneered in utilizing AI for archival purposes, including automatic archive description, recognition of national figure in the archives, and archival content analysis using AI.
Tasdik’s achievements extend to the competitive sphere as well; he and his team secured the second place in a 2023 National-Level Anti-Money Laundering Hackathon, showcasing their prowess in applying AI to complex real-world problems.

Reto Kromer
AV Preservation by reto.ch

Having graduated in both mathematics and computer science, Reto Kromer became involved in audio-visual conservation and restoration thirty-six years ago. He has been running his own preservation company and lecturing at the Bern University of Applied Sciences, the Academy of Fine Arts Vienna and the Elías Querejeta Zine Eskola in Donostia (San Sebastián). Previously he was head of preservation at the Cinémathèque suisse (the Swiss National Film Archive) as well as a lecturer at the University of Lausanne. He is a SEAPAVAA fellow.

Shahab QAMAR
National Film and Sound Archive, Australia

SESSION 5C

12 June 2024,  2:30 PM – 4:00 PM

The Great Migration: Planning and Performing Media Migrations for Audiovisual Collections

Matthew Yang
New York University

Matthew is the Research Fellow at the Digital Preservation Outreach and Education Network and Audio Preservation Intern at the City University of New York. He previously worked in digital preservation and film restoration at the Asian Film Archive in Singapore. Most recently, he organized Singapore’s first Home Movie Day and wrote an optical media preservation guide for Cinemateca de Bogotá with Dr. Juana Suárez.

The transformation of Taiwan Television Enterprise Ltd. (TTV) newsreels preserved by the Newsreel and Documentary Film Archives of Tainan National University of the Arts (TNNUA)

Pu-Hua Wu
Graduate Institute of Documentary & Film Archiving, TNNUA, Taiwan

Pu-Hua Wu is a graduate student at the Graduate Institute of Documentary & Film Archiving at Tainan National University of the Arts. His undergraduate degree is in History. He has experience in museum-related work, including curating exhibitions and publishing exhibition books. To gain knowledge in restoration, he enrolled at the Tainan National University of the Arts. He is researching Taiwan Television Enterprise, Ltd. newsreels, primarily focusing on the conventional processes of repairing and scanning film reels.

Digitizing Audio Visual Collections at the Kiribati National Archives presents preservation challenges

Teangiraoi Tebuka
Kiribati National Archives

Teangiraoi Tebuka, an I-Kiribati citizen, works as a senior archivist at the Kiribati National Library and Archives. She has been a librarian for over 15 years, but after completing her bachelor’s degree in library information system in January, 2022 at the Fiji National Library in Suva, Fiji, She was first appointed as a senior archivist in March, 2022. One of her main responsibilities as a senior archivist is to supervise the preservation, scanning, and digitization of all archives documents. As a result, she possesses more knowledge and expertise in good communication skills, listening, reading, speaking and writing mostly  in preservation, as both libraries and archives rely heavily on the preservation of books and documents.

Kiribati National Archives is the institution which is the mother of all Archives in Kiribati where it preserves the belongings of the Kiribati people. The core mission of the Kiribati National Archives’ archival imperative is preservation, which extends the life of all collections and helps to improve and develop the preservation and safeguarding of historical data from Kiribati public records or historical materials, including historical manuscripts, a film archive, and preserved materials like land lists. Land court minutes, vital closed files from ministries and outlying islands, old photographs, genealogy, audiovisuals, personal files for former employees, old newspapers such as Atoll Pioneer and Te Tero, birth, marriage, and death certificates. One of the Kiribati National Archives’ most significant collections is audio visual, which is especially relevant to the historical narratives and films of the Kiribati people. Audio Visual Collections must be preserved since preservation is one of the National Archives’ auxiliary services for a brighter future.

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