Moving History:Promoting Moving Image Archive Collections in an Emerging Digital Age Frank Gray (bio) and Elaine Sheppard (bio) This article has emerged out of recent work mounted by the South East Film and Video Archive (SEFVA), an English regional archive, and our understanding of the United Kingdom's public sector moving image archives. It has two functions. The first is to describe and reflect on the process of designing and launching Moving History, an on-line guide to these archives. The second is more discursive as it is an attempt to explain and explore some of the "drivers" that led to the creation of this Web site and continue to shape our archival activities. Before Moving History is introduced, it is necessary to set the context in which it was created. There are twelve recognized public sector moving image archives across the United Kingdom that offer either regional or national moving image archive collection, preservation, and access services for both educational and public use on a not-for-profit basis. These twelve archives are the national collections of the British Film Institute's National Film and Television Archive, the Imperial War Museum Film and Video Archive, the National Screen and Sound Archive of Wales, the Scottish Screen Archive, and the eight regional film archives of England—East Anglian Film Archive, Media Archive for Central England, North West Film Archive, Northern Region Film and Television Archive, SEFVA, South West Film and Television Archive, Wessex Film and Sound Archive, and the Yorkshire Film Archive. All of these archives are represented by the UK Film Archive Forum.1 This network of archives provides access to moving image material (film, video, and "born digital") that represent the widest possible understanding of these visual media and their histories from the 1890s to the present day. These diverse collections offer an intensely rich and varied reflection of the landscapes, lives, work, leisure, culture, history, and identities of the United Kingdom. They encompass a range of production types such as commercial feature films, amateur fiction films, artists' films, animation, corporate and promotional films, documentaries, educational films, family home movies, government films, newsreels, and regional and national television broadcasts. Themes strongly represented include family and community life; rural landscapes and traditional working practices; industry and the urban environment; maritime and coastal activities; the histories of the health, welfare, and educational systems; and acts of local, regional, and national commemoration and celebration. Our collections represent our great strength. From their use in our archives by the public, scholars, and broadcasters, to their screening in cinemas, classrooms, community centers, and libraries, to their incorporation into displays in museum and other public spaces, to their reconfiguration into either streamable or downloadable files on the Internet, and to their integration into television programs for terrestrial, cable, and satellite viewers, our films are everywhere and are enjoyed literally by millions. In spite of this success, [End Page 110] the majority of these archive collections are largely untapped as academic resources. As a result, they continue to remain "outside of history," outside of scholarship. Why is this? Click for larger view View full resolution Figure 1. Local News 1951, Albany Film Unit Collection. Courtesy SEFVA. The Canon and the Collections Clearly the existence of a canon within film education, publishing, and exhibition is a major factor. In Britain as elsewhere, university teaching and research in film and television studies tend to focus on established, familiar texts. These works become exemplars of particular cinema and television cultures and are valued for their relevance to either genre or auteur or cultural studies. These same texts acquire cultural capital through their presentation and analysis within academic publications, and, as a result, they have a profound impact on the production of new essays and theses. The easy availability of these core texts on videotape and DVD and their iterative use contributes to the formation of the canon and its corollary, the establishment of dominant and popular perspectives on a distinct history of moving images. However, this canon, which consists largely of feature films from the sound period, television dramas, and a rarefied selection of documentaries, represents only a very small part of the holdings of the national...

Twenty-one attention deficit disorder with hyperactivity and seven autistic children were randomly exposed to negatively ionized and ambient atmospheres under rigorously controlled experimental conditions. The negatively ionized condition did not significantly affect measurements of activity level, impulsivity, reality orientation, destructive/constructiveness, attention, or task performance. Significant results might be obtained if subgroups of known hyperserotoninemic autistic and attention deficit disorder children were exposed to negatively ionized conditions.

Ever since the initial demonstration of television both by wire and by radio at Bell Telephone Laboratories in 1927, experimental work has been steadily pursued in order to learn the problems and possibilities of this newest branch of electrical communication. The latest development to be demonstrated is that of twoway television as an adjunct to the telephone. As a result of our development work, there is now set up an experimental and demonstration system between the headquarters building of the American Telephone and Telegraph Company at 195 Broadway and the building of the Bell Telephone Laboratories at 463 West Street, New York City, two miles away. This system makes it possible the experiment with a method of communication in which the parties engaged not only speak with each other but at the same time see each other. Study of this system will serve to give information on the importance of the addition of sight to sound in communication and will give valuable experience in handling the technical problems involved.

A two-way television system, in combination with a telephone circuit, has been developed and demonstrated and is now in use between the Bell Telephone Laboratories, at 463 West Street, and the American Telephone and Telegraph Company, 195 Broadway. With this system two people can both see and talk to each other. It consists in principle of two television systems of the sort described to the Institute in 1927. Scanning is by the beam method, using disks containing 72 holes, in place of 50 as heretofore. Blue light, to which the photoelectric cells are quite sensitive, is used for scanning, with a resultant minimizing of glare to the eyes. Water-cooled neon lamps are employed to give an image bright enough to be seen without interference from the scanning beam. A frequency band of 40,000 cycles width is required for each of the two television circuits. Synchronization is effected by transmission of a 1275-cycle alternating current controlling special synchronous motors rotating 18 times per second. Speech transmission is by microphone and loud speaker concealed in the television booth so that no telephone instrument interferes with the view of the face.

Get PDF Email Share Share with Facebook Tweet This Post on reddit Share with LinkedIn Add to CiteULike Add to Mendeley Add to BibSonomy Get Citation Copy Citation Text Frank Gray and Herbert E. Ives, "Optical Conditions for Direct Scanning in Television," J. Opt. Soc. Am. 17, 428-434 (1928) Export Citation BibTex Endnote (RIS) HTML Plain Text Citation alert Save article