Film and Sound in HE

8/6/2019 Film and Sound in HE

1/8

Our new educational imperativeMedia permeates modern lie: video, audio, images,

tweets, posts, eeds, and apps cascade across our screens,

lenses, and speakers. By 2014, according to Cisco, video

will exceed 91% o global consumer trafc on the internet.

Googles engineers predict that by 2020 or so all o the

media ever created in the history o mankind will be able

to be stored and played on a device the size o an iPhone.

For those o us involved in culture and education, a

growing challenge is how to make the traditional worlds

o teaching and learning and audiovisual production

relevant or students who come to class in many cases

already media-literate. The typical education consumer is

changing rom someone who was satisfed by text and rote

learning perhaps ten years ago into someone who now

looks to learn rom and produce with the gamut o rich

media available in his or her daily lie.

This new media literacy, online behaviour, and the

prevalence o new technologies o communication

present new challenges or unders, producers, and

practitioners o education in the 2010s. The engines o

our screen culture flm, television, and radio were

the dominant media o the 20th century, and many o the

most important and most memorable

messages o the

20th and 21st centuries have been expressed in movingimages and sound. Yet education has ar to go still to

incorporate them systematically in teaching and learning.

The challengeFor starters, our audiovisual heritage needs to be

digitised. The BBC Archive has digitised and put online

less than 5% o its holdings, or example. ITN Source hasprocessed less than 1% o its news and documentary

resources (over a million hours). Likewise the British

Film Institute has moved less than 1% o its authoritative

flms catalogue online. And this is to say nothing o the

analogue collections at the Library o Congress, the US

National Archives, or the programme libraries and movie

catalogues rom the leading television networks and flmstudios around the globe.

At the same time, educators and culture proessionals

require systematic support in teaching and reaching

publics with flm and sound resources. Institutions need

to become screen- and speaker-equipped. Audiovisual

productions most o which are still

operating according to old broadcastrules need to ft with the

requirements o the digital

A progress report with ten strategic recommendations

Full report at http://flmandsoundthinktank.jisc.ac.uk Paul Gerhardt and Peter B Kaufman

Film and Sound in Higher

and Further Education

Summary
http://filmandsoundthinktank.jisc.ac.uk/http://filmandsoundthinktank.jisc.ac.uk/


2/8

age. And new services, such as those JISC has played a

leadership role in developing and curating, need to be

made available or the sector.

The riskWe believe that there is a real danger that classroom

and distance learning/urther education experiences

as well as scholarly research and publication processes

and cultural heritage experiences will lose relevance

or students, educators, and the public i they remainwalled o rom the wider world o moving images and

recorded sound.

The wider landscapeOur progress in the feld is taking place against a wider

landscape in which the major cultural collections

unded and maintained at public expense are at last

opening up a orm o access. The idea o a Digital

Public Space, conceived by the BBC as a place in which

public collections o flm, video, sound, and other

digitised objects can collectively overcome rights and

access barriers, is a welcome recognition that this new

marketplace has frst to be organised and established.

The Digital Public Space is building on the work o JISCand the Strategic Content Alliance.

As these conversations take place, some see the

advantage o establishing more Open Educational

Resources (OER) in a call or a new kind o learning

commons. Funders and other stakeholders are

pushing educational and cultural institutions

universities, public television, publishers, producers to release more o their courseware, programming,

books, and pedagogic materials as teaching, learning,

and research resources that reside in the public domain

or have been released under an intellectual property

license that permits their ree use or re-purposing by

others. The work involved in producing this material

includes urther clearing o all o its component parts

so that ree use or re-purposing is in line with the

creators and owners intent.

Summary: Film and Sound in Higher and Further Education

Knowledge Is makeA wonderul video rom JISC talking about

the challenges and benefts o reusing and

digitising flm that exists in huge quantities

across the UK i only we had the legal andlicensing keys (and unding!) to unlock.Ben White, Head of Intellectual Property, the British Library.

Available on YouTubehttp://bit.ly/auKBan

and rom JISCwww.jisc.ac.uk/whatwedo/programmes/flmandsound

The flmKnowledge Is provides a 10-minute whistle-stop tour o

the potential locked up in the major collections o sound

and video in the UK, introduced by their key managers.
http://bit.ly/auKBanhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://bit.ly/auKBan


3/8

2 | 3

your own contribution to the media debateA charismatic group o students rom Westminster

Kingsway College, London, set out their need or access

and their study ambitions.

Facts and fgures explain the ast-changing technology

and context or audio and visual discovery including howthe dierent elements are licensed.

The narrative is enriched by the story o womens

surage and how its audio and visual record is core to our

culture.

The assetsKey elements o the flm are available or download

and re-use by the wider community at www.jisc.ac.uk/

whatwedo/programmes/flmandsound. These include:

Interviews

Archive ootage

Graphics and inormation

The opportunityKnowledge Is represents just one attempt to tell the

story o the potential o our audio and visual archives, and

the barriers in the way o access. You will have your own

views and your own stories. In the spirit o open access

we would like these materials to be used and re-used. Wehave deliberately cleared these assets or that purpose.
http://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsoundhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsound


4/8

1. Extend Awareness o JISC Resources. Developmarketing strategies or audiovisual collectionsand other audiovisual material relevant toeducation and research including user

case studies and tutorials about collections

across disciplines and departments. Review

the eectiveness and help to coordinate and

streamline the roles o educational institutions

delivering flm and sound resources.

2. Enable Resource Discovery. Make audiovisualcontent investments searchable by applyingrobust, detailed, and machine-readable

metadata; collecting the tools, practices,

and resource discovery methods that may

be adaptable or education; and possibly

establishing an audiovisual extension o JSTOR

and ARTstor or moving images and recordedsound.

3. Clear Rights, Facilitate Use. Complete aninventory o the elemental anatomy o a videoand audio clip requiring rights and licensingattention. Compile a body o legal documents

that can provide the basis or articulating new,

more liberal language or production, curation,

and clearance agreements. Convene public-

private working groups around collaborations

such as the Digital Public Space to determine

how to manage the cumbersome audiovisualclearance process or education and long-term

public access and re-use.

4. Build a Citation System. Develop robustguidelines or the use o video and audio inacademic writing and publishing, on the scale

o the guidelines that have been developed

over centuries or the citation and annotation

o text.

5. Work with Primary Audiovisual Sources. Fundselected production companies and relevantacademic networks to develop sustainable

business models or the storage, curation, and

distribution o uncut ootage and flm and soundraw materials.

6. Build Digital Literacy. Encourage thedevelopment o tools or the use o audiovisualmaterials in academic environments rom

classroom to assignment to publication.

Assemble working groups and inrastructure

teams that include developers and technologists

rom the public and private sectors.

Ten strategic recommendationsOur report http://flmandsoundthinktank.jisc.ac.ukdraws on two years o work by some 50 proessionals in the

higher and urther education, media, and museums, libraries and archives sectors. The recommendations that the

Film & Sound Think Tank puts orward below are designed to support JISCs role in accelerating the integration o

moving image and sound media in urther and higher education.

http://filmandsoundthinktank.jisc.ac.uk/http://filmandsoundthinktank.jisc.ac.uk/


5/8

7.Open National Collections. Develop specifc

subject partnerships with broadcasters and

other AV collections to search, annotate and

develop usage across multiple topics and in

various disciplines. Encourage and support

new orms o access to national collections

or historians, journalists, artists and others

through residencies, placements, blogs and

other schemes.

8. Model New Productions. Fund audiovisualproductions within the academy and publicmedia with explicit requirements or the

end product to be reely licensable. Activate

new productions and academic production

partnerships. Documenting them, build a guide

to best production practices or higher and

urther education.

9.Establish an Integrated Media Service or

Higher Education. Develop a easibility plan or

comprehensive oerings delivered through the

next generation o combined TV/web platorms

such as YouView. Here the education sector

has an opportunity to lead and JISC to play

with a cost-eective strategic intervention a

game-changing role comparable to the media

innovation that established the Open Universityin 1971.

10.Call a Summit. Organise a Video or EducationSummit in London or Washington. This couldhelp acilitate a new kind o laboratory to

experiment with public-private and more

international partnerships to support

digitisation and education.

4 | 5


6/8

Digitised content NewsFilm Online, a selection o news stories and

programme scripts rom the ITN/Reuters archives

some 3,000 hours o ootage and about 6,000 stories1

BFI InView, a selection o moving images exploring

issues and themes in the public sphere. Users are

able to access over 600 hours o ull-length flm and

video material2

Archival Sound Recordings, 21,000 selected

recordings o music, spoken word, and human and

natural environments rom the British Library3

Film and Sound Online, several hundred hours o

high-quality flm, video and sound material rom a

variety o dierent sources4

LBC/IRN Audio Archive, the most noteworthycontent rom the London Broadcasting Company/

Independent Radio News audio archive, a

collection that runs rom 1973 to the mid-1990s

approximately 3,000 hours o recordings relating to

news and current aairs5

1 www.no.ac.uk2 www.bf.org.uk/inview

3 http://sounds.bl.uk4 www.flmandsound.ac.uk5 http://radio.buvc.ac.uk/lbc

Advice and guidance British Universities Film & Video Council (BUFVC)

promotes the production, study and use o moving

image, sound and related media in higher education

and research http://buvc.ac.uk

JISC Digital Media provides advice, guidance

and training to the urther and higher education

community on the creation, delivery, management

and use o still images, moving images and sound

resources www.jiscdigitalmedia.ac.uk

JISC Film & Sound Think Tank productions:Videos can be ound at www.jisc.ac.uk/whatwedo/programmes/flmandsound.aspxPodcasts can be ound atwww.jisc.ac.uk/whatwedo/programmes/flmandsound/meetings.aspx

Higher Education BroadcastingThree visions or contemporaryeducational media. (28 min)

Building Film & Sound Resources orEducation

How JISC has built up its audio-visualcollections. (8.5 min)

Opening Documentaries or Teaching &Learning: The Brook Lapping Case StudyA major documentary company exploresits relationship with educationalresources. (11.25 min)

Copyright and Moving Images inEducationOU sta tackle Open Access toresources. (8.14 min)

Unlocking Artists Rights

Bringing actors and musicians into openaccess media. (11.04 min)

Using Audio in Higher EducationThe growth o podcasting and audiorecording. (6.17 min)

Podcast: Think Tank Meeting 3The JISC Steeple project. Using video insports science.

Podcast: Think Tank Meeting 4BBC archives copyright strategy. Using

Creative Commons.Podcast: Think Tank Meeting 5Primary visual resources. The BritishSound Library.

Podcast: Think Tank Meeting 6Wikipedia video.


Film & sound resources: where to go, how to fnd them
http://www.nfo.ac.uk/http://www.bfi.org.uk/inviewhttp://http//sounds.bl.ukhttp://www.filmandsound.ac.uk/http://radio.bufvc.ac.uk/lbchttp://bufvc.ac.uk/http://www.jiscdigitalmedia.ac.uk/http://www.jisc.ac.uk/whatwedo/programmes/filmandsound.aspxhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsound/meetings.aspxhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsound/meetings.aspxhttp://www.jisc.ac.uk/whatwedo/programmes/filmandsound.aspxhttp://www.jiscdigitalmedia.ac.uk/http://bufvc.ac.uk/http://radio.bufvc.ac.uk/lbchttp://www.filmandsound.ac.uk/http://http//sounds.bl.ukhttp://www.bfi.org.uk/inviewhttp://www.nfo.ac.uk/


7/8

About the authors

Paul Gerhardt runs theindependent consultancy

Archives or Creativity (www.

archivesorcreativity.com),

working with cultural

organisations, public

broadcasters and archives to

stimulate the educational and

creative use o flm, television and sound. His clients

include the BBC, Arts Council England, the US

Corporation or Public Broadcasting, New Deal o the

Mind and Skillset. Gerhardts career in broadcasting

spans the early years o Channel 4 through to senior

management at the BBC. He was BBC Controller,

Learning, and Head o Commissioning at the BBC/Open

University. Gerhardt originated and led the BAFTAaward-winning BBC Creative Archive project. He is

currently the co-chair o the Film & Sound Think Tank

or JISC (Joint Inormation Systems Committee), digital

archives consultant or Arts Council England, Creative

Director or New Deal o the Mind and consultant

producer or The Nine Muses, John Akomrahs archive-

based eature flm.

Peter B. Kauman is Presidentand Executive Producer o

Intelligent Television.

Intelligent Television (www.

intelligenttelevision.com)

produces flms, television, and

video in close association with

universities, museums,

libraries, and archives and with the worlds leading

producers, directors, and cinematographers. Intelligent

Televisions research and consulting projects or

cultural and educational institutions seek to broaden

public access worldwide to audiovisual collections.

Kauman currently serves as co-chair o the JISC Film

& Sound Think Tank; an access consultant or the

Library o Congress Division o Motion Pictures,Broadcasting, and Recorded Sound; and co-chair o the

Copyright Committee o the Association o Moving

Image Archivists. Previously he served as Associate

Director o the Columbia University Center or New

Media Teaching and Learning. His current work is

ocused on building new orms o flm and video

production or education and creating new business

models or networking cultural and educational

institutions online.

6 | 7
http://www.archivesforcreativity.com/http://www.archivesforcreativity.com/http://www.intelligenttelevision.com/http://www.intelligenttelevision.com/http://www.intelligenttelevision.com/http://www.intelligenttelevision.com/http://www.archivesforcreativity.com/http://www.archivesforcreativity.com/


8/8

Film and Soundin Higher and

Further EducationA progress report with ten strategic

recommendations: SummaryPaul Gerhardt and Peter B Kaufman

HEFCE 2011. The Higher Education Funding Council forEngland (HEFCE), on behalf of JISC, permits reuse of this

publication and its contents under the terms of the CreativeCommons Attribution-Non-Commercial-No Derivative

Works 2.0 UK: England & Wales Licence. All reproductionsrequire an acknowledgement of the source and the author

of the work and must comply with the terms of the Licence.

Reuse of any third party content is subject to prior writtenpermission from third party rights holders as appropriate.

Version 1.1, March 2011

Documents

Film and Sound in HE