This piece was written for MIAS 240: Archival Administration, taught by Professor Snowden Becker for the Moving Image Archive Studies Program at UCLA during the Winter of 2012. This course, designed to study the critical procedures and practices that go into the creation of non-profit and/or commercial audiovisual archives also covered issues of budgeting, management, strategic planning and client/donor services, such as licensing and access policies and donor/depositor agreements. This paper was written at the very beginning of the AMIA Student Chapter’s screening series, before our first event, SOMETHING OLD, SOMETHING NEW. Going forward with this new project, our missions and goals were set and it was quite clear how the development of an organization such as ours might mirror that of an archive. Looking to works such as Sam Kula’s ideas of appraisal and many of K.M. Benedict’s case studies for substantive assistance, the screening series flourished. I would, however, ask you to look at the accompanying piece as well. This is also based on the high strategic and analytic work that I was taught in this course. While it was difficult for me to do a full-scale survey on something that had not yet come to pass in the early part of my career, it has not gotten to the point where I have the confidence and skill as a direct result of what was imparted to me via the classwork and readings in MIAS240.
From its very beginnings, the Student Chapter of the Association of Moving Image Archivists has been known for great things. For years, it was the only student chapter of the larger parent organization, AMIA. While student chapters at NYU and the George Eastman House have since been formed, it is still the one at UCLA that holds the auspicious title of “first student chapter.” Beginning in 2000, the AMIA student chapter was borne from students who were in programs that combined Information Studies and Film and Television Studies. While it may have possessed a small member base in the beginning, the AMIA Student Chapter was quite prosperous due to the strength of the newly formed Moving Image Archive Studies program at UCLA. Because this program accentuated the synthesis of film studies and archival preservation, students were more apt to become part of a campus organization whose guidelines emphasized goals such as wanting to “enhance formal education by providing a forum for the discussion of archival issues and engaging students in professional activities” and “introduce[ing] students interested in archives to professionals working in the field and archival institutions.” (Association of Moving Image Archivists n.d.). As the group grew, the activities that were planned and executed reflected this kind of attitude.
From the start of the Chapter all the way up until more recently, the AMIA Student Chapter’s events were clearly centered on archival education, networking and career-planning. From inviting Martha Yee and Dan Einstein to come and speak on issues of cataloging and preservation (respectively) in the 2001-2002 school year to touring the Ascent Media and Cinetech Facilities in 2006-2007, it is clear that the Student Chapter was quite active. In addition to the various educational and career-path oriented events, there were social gatherings, celebratory functions and, of course, the annual AMIA Conference, an event for the smaller chapter to meet up and engage with the larger AMIA body and all of its members, both nationally and internationally. (AMIA Student Chapter at UCLA 2009) Per the requirements of the parent institution (Association of Moving Image Archivists), the Student Chapter had been set up in 2000-2001 with its own constitution, an obligatory feature for a student chapter’s continued existence. AMIA’s procedures state that in order for a student chapter to be approved, it must have a well-defined constitution, a faculty advisor, and a board. A variety of other requirements from the Student Chapter are contained within the Student Chapter Program Guidelines, (Association of Moving Image Archivists n.d.), and the AMIA Student Chapter at UCLA has seen it fit to use the same constitution and set of regulations since the chapter’s inception. While the larger organization has been invaluable in establishing a backbone to the student organization, it has a section within the guidelines stating, in no uncertain terms, that “AMIA cannot be held liable or responsible for student chapters. AMIA has no financial responsibility or obligation to student chapters.” (Association of Moving Image Archivists n.d.) While this may seem to be a bit on the harsh side, it is a declaration that bears fruit for all sides. For the parent organization (AMIA) they do not have to be held accountable should the Student Chapter do something “unseemly.” In addition, in leaner times, they do not have the added responsibility of a student group needing funding.
How does this work for the Student Chapter itself? It gives the Student Chapter an unprecedented amount of independence where funding is sought, the events selected, and the manner in which both are done. It does not preclude the larger AMIA organization from giving funds, but it also does not mean that the Student Chapter is forbidden from seeking funds from other institutions. In larger corporate organizations, there are quite a few hoops to jump through and rules to follow based upon who or what the organization needs/wants. While the Student Chapter is clearly not going to enter “unseemly” territory and will proudly uphold all the AMIA standards that we hold to be crucial to the field, the fact that we are our own governing body means that we can independently decide on our own media, our own events, and the methods we will be using to go about getting funding. Sometimes, smaller, more compact factions can be a blessing and not a curse. That flexibility gives you leverage. On the other hand, the independence of the AMIA Student Chapter also presents the necessity for fundraising events and activities. In order for a student group to run properly, there should be at least a comfortable modicum of funds available. Whether the events planned are social outings or paid educational speakers with light refreshments, securing finances for the AMIA Student Chapter to sponsor those activities is an important aspect of the chapter. While there are certain on-campus avenues that are can be approached for these funds (the Graduate Student Administration, the Center for Student Programming, to name just a few) there are things that have to be considered before asking those organizations for funding.
Much like larger groups and the structures behind grant applications, these previously mentioned organizations have very specific rules and regulations on their monies, much of it specifically stating that the money be utilized for on-campus events. While many of our events could be on-campus, not all of them would be, and certainly judging from the history of the student chapter, they wouldn’t be. Thus, financial support is going to need to be sought from a different area. Thus the executive board of the Student Chapter had a meeting and decided that we should have a screening series. This idea has since been developed into what has now been branded, Something Old, Something New: a Celebration of Classic and Modern Cinema. The series will occur once a month and will show two separate films, one older and one more contemporary. In addition to the screening, we plan on showcasing guests alongside the films. This event is to serve two major functions: visibility and fundraising. Due to the student chapter’s unintentional absence for a short time over the history of the Moving Image Archive Studies Program at UCLA, it is vital to regain the kind of stature in the young archivist community that the AMIA Student Chapter at UCLA once had. A public event like a screening series could greatly help in doing this. By establishing ourselves as a force and positive presence, we also stand to garner more donations and more of a following to the film series. Higher turnouts mean higher monetary rewards; higher monetary rewards mean more functions for the student chapter to have. In tandem with the series, we will be offering baked goods at the concession stand, for which all proceeds will go to the student chapter. We expect that these items will generate a nice set of funds in addition to the monies received from the screening itself, after the print costs are conferred to the theater.
When planning for the event, there were a variety of venues in the Los Angeles area that could have been chosen for this event. The most logical one was the Cinefamily (formerly known as the Silent Movie Theater) on Fairfax Blvd., as they have a back patio which would have been ideal for an after-party and they rent their theater for monthly engagements like this on a regular basis. However, the Cinefamily is an extremely expensive location for an event such as this. The rental fees for the location alone would be more than the rental of both prints, thus catapulting it far beyond the student chapter’s consideration. A second locale was the Downtown Independent Theater. While this place has its benefits-a rooftop area for an after-party, alcohol is served at the concession stand, digital and analog capabilities- the disadvantages outweighed them as well. Parking is difficult in downtown L.A. on a Friday night, the theater itself isn’t in the best condition, and the politics of the theater make it exceptionally difficult to deal with and get in touch with anyone. While the Echo Park Film Center would be lovely, it’s too small and unless we wanted to have a small intimate show of 16mm films, it’s not appropriate (although it is a good venue for a later, different kind of event). The Spielberg Theater at the American Cinematheque might have been reasonable, but the pricing on it was also likely to be beyond our means.
The AMIA Student Chapter was offered an incredible deal of no location rental. We would simply need to be part of the print rental fee, which would be taken out of the box office. Any leftover monies would go entirely to the Student Chapter. This was truly an extraordinary offer. The choice was simple. It was a theatre that was willing to work with the Chapter in order to promote archiving and film preservation because that is what the New Beverly has been about for many years. The theater is a second-run, all-35mm print repertory theater owned by Quentin Tarantino but run by the same family that has been running it for the last 30 years. Tarantino bought it when Sherman Torgan, the man who had been managing the theater since the mid-1970’s, died suddenly and the previous landlord saw fit to turn a treasured local theater into a Super Cuts and Baja Fresh. Tarantino said simply, “I always considered the New Beverly my charity, an investment I never wanted back…as long as I’m alive and as long as I’m rich, the New Beverly will be there, showing double features in 35mm.” (Lewinski 2010)
Tarantino’s respect for the Torgan family and their attentiveness through the years to the preciousness of cinematic history reflect the kind of environment this series should be presented in. Additionally, his backing of the theater affords the New Beverly the freedom to allow us to have a series such as this without cause for major worries on certain financial or audience ends. While Tarantino has made some complications in the programming of this first event (the first round of film selections included a film that was vetoed by the management, as Quentin himself wishes to program it later in the year), he has generally not presented a problem. The planning of the function has primarily been with the current theater manager Michael Torgan. This was significantly eased by the fact that an AMIA Student Chapter board member has been a long-standing regular at the theater and formed a very close relationship with the management staff over the last 15 years. The New Beverly Cinema is a film community, much like AMIA itself is a community, so the parallels between the two places were already well-established. There was an enormous amount of freedom given to do what was desired with the evening, and while it hasn’t always been the easiest task to get the entire thing pinned down and details set (Michael runs most aspects of the theater by himself, so it can be tricky to track him down at times), with enough determination and perseverance, it seems to be coming together. In order for this event to actually come off as a fundraiser, funds need to be raised and the result cannot be to simply break even.
Michael’s offer of the theater for free and to simply take the print rental fees out of the door (not to mention not charging extra, were the event not to break even on ticket sales), is a great example of what can result from establishing strong community relationships, something that the AMIA Student Chapter wishes to do. By becoming more of an active part of the New Beverly and the Los Angeles film community, the young archiving talent of the MIAS (Moving Image Archive Studies) and IS (Information Studies) departments will be able to do outreach beyond the spectrum of just the UCLA campus, leading to possible career opportunities as well as being dynamic educational forces for moving image archiving. Relationships and community are of the utmost importance, especially when it comes to economic matters. By accessing already established relationships, we should be able to bump the level of this event up a bracket in the amount of money that it makes. Looking into the films that are being played, one of them is a TriStar film, a company which Sony Pictures is accountable for. Grover Crisp and Michael Friend, the gentlemen who have been responsible for AMIA’s annual technical conference The Reel Thing, are employed by Sony and may have the capacity to assist with the rental fees from that film. If they cannot do anything about rental fees, it is also quite possible that they can donate DVDs from Sony as raffle prizes. Upon attempts to pursue this avenue, it has not been successful. But there are other individuals at Sony that have not yet been contacted. They might be able to help in making this a reality. This is an example of the methodology that the Student Chapter plans to use as standard procedure for all future events and activities in order to increase activity worth and caliber and be recognized by the wider archiving communities. If we can get eventually get financial backing and/or prizes from bigger institutions, this will increase our worth on a cultural and academic level. We will rise from a small Student Group that had all but disappeared within the last year or two to a Student Group that has significant figures behind us.
In this same vein, we have received confirmation that the store Wacko, a specialty shop in east Hollywood specializing in art books and various cinema and cult ephemera has graciously agreed to donate items to the raffle, due to personal relationships with the members of the Student Chapter board and managing staff of the store. While these things are obviously of mutual benefit to the institutions and the event itself (free positive advertising has always been a much-loved aspect of donated goods), they will also affect the series as a whole due to word of mouth. Audience members are some of the most powerful walking billboards that no-money can buy. Good raffle prizes will always be appreciated, and bring viewers (and their friends) back the next time. Aside from that, Wacko is a Los Angeles institution with a museum attached to it, thus opening the possibility of future event-related activities there or, at the very least, regular sponsorship. Selecting sponsors is also of definite import to the group. While there are a variety of restaurants or shops around the UCLA campus who might be willing to provide gift certificates or a modicum of sponsor-related materials, for an event that is meant to study cultural heritage, it is highly preferable to be able to access specially selected elements. Skylight Books in Los Feliz is another location for future door-prize acquisitions. Like archival materials (especially the 35mm prints we will be concentrating on in the Something Old, Something New series), books in print form are becoming more and more of a rarity. Thus considering a partnership with Skylight would underscore the import of the physical medium of literature, and the fact that they have an entire portion of the store dedicated to cinema literature, comic books and art culture makes them especially attractive. Local associations, in all forms (door prizes, location of screening, etc), are an essential aspect of the AMIA Student Chapter as much as they are an essential part of archiving in general.
Another way in which we have positively exploited the ideology of the archival “community” or “partnership” is through our guest conscription and media design. By asking the assistance of New Beverly regulars who also happen to be heavily tied into the Los Angeles film community on a larger internet basis we have not only begun to formulate partnerships with the New Beverly film community, but we also likely guarantee a larger audience. In order for us to ask for the ticket price to be raised, we have to offer a better presentation than what will be offered the next night that the same films will be playing. Therefore, we needed something extra for the audience. So we asked Peter Avellino, one of the more popular film bloggers in the community, (who happens to be on a friendly basis with Daniel Waters, the co-writer of Hudson Hawk), if he could help us get access to him. Luckily for the AMIA Student Chapter, Mr. Waters happily complied. Another regular volunteered his help in the flyer design and, knowing his financial situation, he will be on our guest list along with his wife, even though he said that was “not necessary.” Like Peter, however, the flyer-designer is quite well-known/respected in the internet-world and will be able to give us free publicity, both now and for future events. He’ll be attending which, in turn, might bring others out. In addition, he can say that he designed the flyer. All of these kinds of support are good.
One of the issues that came up when the flyer was being charted out was a rather difficult one. The first individual who agreed to assist with the flyer did not come through with a version that was suitable for the event. In order to avoid the catastrophe of a broken personal relationship, it was decided that I would thank him, and find something/someone else. It was mutually agreed upon, thankfully, but it could have been ugly. This is a danger of working with people with whom you have personal relationships for business ventures. Due to time constraints, there was a need for a new flyer immediately. Two other compatriots offered their services, and the information was sent to both. The reasoning behind this was to see which one came out the best, and that would be the one that would be used. Both flyers were quite lovely, however, and easy to adjust with the needed specifications. The designers were understanding, patient, and easy to work with. They were the opposite of the initial designer, even though their work was not as fancy. The choice was simple. We would use both. One would be the web flyer and one would be the print flyer. Since our funds prevent us from having a color flyer in print, we can have one on the web, and still use one of the works that the designer so generously spent his time making. The flyer which will likely become our flyer for the future will be for print distribution. This decision was made due to a careful calculation on my part. The designers gave of their time, produced lovely product, and I felt that there was room for both elements to be showcased. While it may have not been the most ideal decision as far as branding is concerned (two flyers is visually confusing for the consumer), it was the best decision as far as people were concerned, and if we need these services in the future, burning bridges is never a good idea.
Archival partnerships can be seen all over the world. A great example is Texas Archive of the Moving Image (T.A.M.I)’s “Texas Film Round-Up” which partnered with the Office of the Governor’s Texas Film Commission in order to “preserve and celebrate home movies, advertisements, local television, industrial films, feature films, and other Texas-related moving images” (Texas Association of the Moving Image n.d.). This event, while possessing a much larger base to operate from than the AMIA Student Chapter, operates within similar margins. The details are different, the goals are similar. The Texas Film Round-Up travels to different locales, collects locally-based materials, digitizes elements for free and provides educational workshops, screening activities and a variety of lectures, demonstrations and participatory events for audiences. By engaging a variety of people in a wide spectrum of tasks and tying in relevant educational information, T.A.M.I is able to achieve extensive goals of education, collection, archiving, preservation and individual archival training. By informing the public of the importance of preservation and archives and emphasizing the essential nature of items as seemingly inconsequential as a family Christmas party, archiving becomes a process that involves the public as well as the professionals. The Texas Round-Up provides a good model for the AMIA Student Chapter as we are going to be in direct communication with the public at least once a month with our screenings.
In this, we have the opportunity to directly affect their interpretation of film-viewing, film-preservation, and the archival world. While we don’t want to preach (our event is ideally a fun “night at the movies” first and foremost), there is no reason why we cannot involve well-respected archivists for Q&A sessions or have archival/film equipment on display on the stage during the intermission for the audience to look at and study before the next film begins. Sadly, it is quite likely that most of the audience has never seen a real 16mm projector up-close-and-personal. Something that simple would be wonderful for the community and for our image as a Student Chapter made of future archivists. Also, community is a critical aspect of the archival world. Studying other archives, they depend on each other and their relationships with each other in order to make certain that all materials that they are presented with get housed with the right archives as well as preserved in the proper manner. As it says in the collections policy of Northeast Historic Film, “Much of the film and video brought to NHF relates to northern New England. But other moving image material also reaches our door, including dramas, newsreels, animated shorts, and comedies. NHF’s primary goal is preservation, and will work to find the appropriate home for material that may not be related to the region.” (Northeast Historic Film n.d.) The camaraderie expressed in this statement is not just endemic to NHF. It is an integral part of archival ethics. If your archive receives something that you cannot handle or store or if it receives something that is inappropriate to the goals and missions of your particular archive, it is the archivally responsible thing to do to help it find a new, more suitable home. In order to do this, archivists must be active on several fronts. The first thing is that they must maintain a community. Without an established community, it would be a great deal more difficult to access any given information about where a given element should go, if not to your institution. The second thing is that in order to have a good community, there should be strong and regular communication, whether that is through conferences (like AMIA’s annual conference, The Reel Thing, or smaller regional archivist conferences), online forums, or regular email and discussions between archives.
The key to this event is meant to be success, and success can be gauged by many things. Since we want to continue to operate with the New Beverly, we have a certain responsibility to bring in a certain amount of people. For the AMIA Student Chapter, success can measured in attendance as we will then be guaranteed a spot the next month. The content of our show is a direct correlative to this, as event content usually attracts audience members. When looking for good models of this, the first places that can be analyzed should be the ones most close to home. While the content of our home institution’s screenings have been wonderful, there has been some fault in the ways that the events have been organized and that is something that we need to learn from. Unfortunately for some of the events put on by the UCLA Film and Television Archive and the GSA Melnitz Movies organizations, the attendance has been somewhat infrequent and inconsistent. The wonderful series that the UCLA Film and Television Archive programmed in tandem with the Million Dollar Theater in downtown Los Angeles has not proven to be as successful as what they were hoping it would be, judging from attendance levels. Other campus-related screenings have suffered similar setbacks. From personally attending multiple screenings at all the different locales and speaking with the various programmers, some events have been more successful than others, but it is still a matter of filling the seats and that has been problematic.
The location is not the reason, nor is the price (Melnitz Movies is free!). Is it the content? Is it the environment? The presentation? I would argue that the answer is quite simple: it is the outreach and presentation. Los Angeles is a very digital and PR-savvy town. Practically everyone in this industry-driven city has a smart phone, a twitter account, a facebook and is the mayor of at least one Starbucks on foursquare. I believe that with the right cocktail of presentation, media-marketing and saturation, content and location, we could have a very powerful tool that will call attention to the AMIA Student Chapter as a functioning and powerful organization that focuses on the education and support of burgeoning archivists throughout the scholastic community as well as the outlying areas. As a point of reference, the methodologies utilized by the MIAS students in the Warner Archive Collection event held at the James Bridges Theater on March 10, 2012 showed that a much greater and more varied audience could be achieved with the right elements. Previously, similar events to that one had not gotten the same response. Using a similar outreach team, it is likely that the AMIA Student Chapter could expect similar results; including audience members afterwards asking about the “next time” an event like this was to occur.
To add further currency to this social media/outreach theory, the New Beverly had an incredibly popular regular Saturday Midnight series. While it wasn’t always well-attended, it was incredibly well loved and (for the most part) attended well-enough to keep it going. The reason that this series was so strong was not simply the content, nor was it the occasional guest- it was the barrage of social and print media for each film that New Beverly consumers would receive in regards to the film. Tweets, Facebook, postcards and emails were all used. These are all things that would be quite advantageous to our series. If we followed that methodology, we could very possibly have a healthy audience. When the Saturday Midnight series left and a different midnight series came to fill in, everything changed. Instead of the evenings being about the films, energy and Saturday Midnight “ness” that were amped up through the constant PR, now people just come to see the films. The twitterfeed is sporadic at best, the emails are still regular, and the print calendar (one of the things the New Beverly is best known for) still exist, but the films that had the great energy had that due to the great publicity given to them. In a sense, you gotta give love to get love.
Projected proposals for Something Old, Something New involve a great deal of love. If we take a look at Jim Collins’ discussion in Good to Great and the Social Sectors: Why Business Thinking is Not the Answer, I can say that the New Beverly is a great business, although it does have its issues. While my personal relationship with the management is wonderful, dealing with him on a business level has been challenging and required an exceptional amount of brutal determination on my part. I have found the same set of circumstances with other people that have been involved in the marketing and advertising design process. The trick was faith, perseverance and continued good will. Collins’ definition of a “great” business is that it is an institution that “delivers superior performance and makes a distinctive impact over a long period of time.” (Collins 2005) In addition, he delineates between a business organization and a social sector organization and their definitions of “output” vis-à-vis money and community effect. Reasonably, the intent of Something Old, Something New is for it to generate output of the economic variety so that the AMIA Student Chapter can pursue our mission and goals. This would be ideal. However, the AMIA Student Chapter operates much like an institution from the social sector. In many ways we are far more concerned with the question that social sector organizations ask themselves, according to Collins: “How effectively do we deliver on our mission and make a distinctive impact, relative to our resources?” (Collins 2005) Is our show solely about the benefit to the organization or are we attempting to create more of a larger sea change within the Los Angeles film-going population? Can we do both? Is it more important to make money or would the film series serve as a good platform for MIAS students to negotiate public-speaking skills and event organizing, similar to the Warner Archives event? Which is more central to our mission?
It is an essential thing when conducting this series to remember what our possibilities could be, both as an organization and for the event itself. Our society has set economics and monetary value as the gauges of quality. When we look at the reviews of films these days, it is all in terms of what the “box office” is and not how well it was written nor the acting/directing/cinematographic talent. This is a profound mistake. The more we do this in our culture, the more we are driving ourselves away from ourselves. By judging the quality of artistic pieces on the amount of tickets sold, and how economically viable a film may be on the market, we are no longer letting it seep into our conception as a piece of cultural heritage and narrative import. It has maintained about as much artistic structure as the vitamin content in overcooked vegetables; that is to say, none at all. However, not every set of institutions has that structural leaning or has to have that bend. As Collins writes, “In business, money is both an input (a resource for achieving greatness) and an output (a measure of greatness). In the social sectors, money is only an input, and not a measure of greatness.” (Collins 2005) It is a shame that we have trained society at large to see films in pure business terms, but it does not have to be the sole controlling function of the way in which we conduct our business as a student chapter or as moving image archivists. Business and monetary issues are integral to events and archives. We need to charge admission and write grants. But to sacrifice the ethics and moral character of what makes cinema and moving image archiving great by being more concerned about making money than having a good, quality show is the antithesis of what we are striving for.
There have been vital programming choices made for places like the UCLA Film and Television Archive or even Cinefamily that have drawn smaller audiences and made little money. Were they failures? They were completely successful. What they served to do was build up the institution’s image and open up possibilities for further exploration in other areas. One never knows, down the line, whether or not a rich donor might say- “Oh, that theater? Weren’t they the first people to show that small Polish film series? I’m glad someone had the guts to do that. Here’s a check.” And, regardless of the possibility of monetary reward, important and possibly unusual programming can give institutions credence as independent and film-loving bodies. In the foreword to the National Film and Sound Archive Collection Policy in 2006, Paolo Cherchi states “The best way to test the validity of a tool is to use it over time and review it periodically. This is what we intend to do every 18 months by listening to your suggestions. Our aim is to make the NSFA Collection Policy a more efficient way to engage with those who experience audiovisual works and interpret their context: all of us, now and in the next century.” Like the NFSA, Something Old, Something New will be a screening series that will gauge itself on its audience and re-evaluate itself periodically. Not only is this a screening series that will be based upon the desires/feedback of those watching, but those planning it.
What do we want to reflect, as moving image archive students? As we head into a highly digital era, how are we going to gear an analogue screening series into the modern age? This will be an event that will constantly need fresh ideas and fresh feedback, especially if we wish it to yield some kind of profit for our chapter. Ideally, this will be a series that extends itself in a variety of directions and yields other opportunities for the members of the AMIA Student Chapter, whether it is writing for the blog or researching a future film and presenting their findings for the audience. With the organization that has been done thus far, all that is left is to see how the events themselves turn out. Regardless, the process thus far seems to have yielded good results, meaning that most things are pointing to a successful activity which will, all things going to plan, snowball the AMIA Student Chapter straight from current invisibility to future dynamism, vitality and a full-blown participatory identity just through a bit of hard work and planning.
AMIA Student Chapter at UCLA. Association of Moving Image Archivists (AMIA) at UCLA: Activities. 2009. http://polaris.gseis.ucla.edu/amia/activities.html (accessed 2012 йил 12-March). Association of Moving Image Archivists. “AMIA: Student Chapters, Guidelines.” AMIA: Association of Moving Image Archivists. (accessed 2012 йил 12-March).
Collins, Jim. “Good to Great and the Social Sectors.” Good to Great and the Social Sectors. Boulder: J. Collins, 2005.
Lewinski, John Scott. “Quentin Tarantino Saves L.A. Theater.” Hollywood Reporter, 2010.
Northeast Historic Film. Northeast Historic Film: Collection Policy. http://oldfilm.org/node/23 (accessed 2012 йил 17-March).
Texas Association of the Moving Image. Texas Archive of the Moving Image: Events. http://www.texasarchive.org/library/index.php/Events (accessed 2012 йил 14-March).