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The Association of Moving Image Archivists (AMIA) is a 501(c)(3) not-for-profit organization established to advance the field of moving image archiving by fostering cooperation among individuals and organizations concerned with the acquisition, description, preservation, exhibition and use of moving image materials.
In 2010, IASA and the Association of Moving Image Archivists (AMIA) came together for the first time in a joint IASA-AMIA conference held in Philadelphia, USA. With more than 750 participants and more than 100 presentations and lectures this was one of the biggest conferences in the audiovisual archiving field ever.
Milton R. Shefter is a Los Angeles-based film and media-asset archivist and preservationist.He is best known for the creation, design, and management of the extensive Paramount Pictures Asset Protection Program, [3] and for co-authoring the 2007 report from the Science and Technology Council of the Academy of Motion Picture Arts and Sciences, The Digital Dilemma, as well as its 2012 followup ...
Academy of Certified Archivists; Archives and Records Association; Archives and Records Association, Ireland; ARMA International; Arxivers sense Fronteres; Association for Recorded Sound Collections; Association of Moving Image Archivists; Australian Society of Archivists
The National Center for Film and Video Preservation was established in 1984 by the American Film Institute and the National Endowment for the Arts to [1]. coordinate American moving image preservation activities on a national scale serving as Secretariat for the Association of Moving Image Archivists and The Film Foundation.
The Museum of the Moving Image (MoMI) has announced a new exhibit titled “Clayography in Motion: Adam Elliot’s Memoir of a Snail,” which will open Dec. 20 and run until March 2025. In ...
The Orphan Film symposia, together with an important presence for orphan, amateur, and small-gauge films within the Association of Moving Image Archivists throughout the 1990s and afterward, suggest the coalescing of various international and regional movements to look more closely at these subaltern cinemas. [6]
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