1 UNPOPULAR SOURCES By Tedd Urnes BAAC Conference 2008: ”Transformation as Stability: Audiovisual archives in the Era of new Media”. A strategy and philosophy of archiving controversial books, radio, television programmes and movies. BOOK BURNING IN OUR TIME ONLY? “ … Where they have burned books, they will end in burning human beings …” (In German: Dort, wo man Bucher verbrennt, verbrennt man auch Menschen ) Quotation from the German journalist, essayist and romantic poet: Heinrich Heine (1797- 1857). In year 1933, May 10, the books written by Heinrich Heine were burned in Berlin, Germany due to the official policy of the government. About 20 000 so-called degenerate books were burned during a student rally. The aim of the action was to suppress the freedom of speech and the freedom of information. 2 THE AIM OF MY PRESENTATION is to highlight selection policy of different libraries, audiovisual archives, collections of radio Programmes transmitted and not transmitted and television archives and collections. The hidden censorship of movies is also subject of great interest and I will deal with the issue too. SELECTION of the content of audiovisual archives with reference to political censorship of the collections and the struggle for freedom of expression, freedom of speech, freedom of the press and to UNESCO promoting the value of human rights. Selection of books and radio, film and television programmes due to moral and religious issues are not a dominating part of my lecture. CENSORSHIP The exclusion of certain topics from the collections of radio and television programmes transmitted to the population of the country. No access to controversial programmes or productions disliked by a management or a government after having been published. SELECTION POLICY The exclusion of different subjects from the content of broadcast programming. Selection is made due to critical evaluation of the programme and if the programme is not accepted because of the standard both technically and due to the content, the only product might be wiped. No copy is made of the programme. An unofficial and hidden censorship are introduced to the corporation or the production company. WIPING OF TRANSMITTED PROGRAMMES CALLED SELECTION An official policy for the wiping of programmes transmitted with reference to an internal working group set up by the company for this aim only. Due to the cost of new tapes for television programmes during 1960 – 1980 programmes were wiped to be used in new productions. This type of economic policy is still in use in many countries where the economic situation is no good. The only made programme of a certain subject is gone for ever. SELECTION POLICY OR HIDDEN CENSORSHIP? 3 When I was studying for my degree in librarianship about 42 years ago at the Norwegian Parliament Library in Oslo, my mentor the Head librarian Olaf Chr. Torp made this interesting statement: “… Due to the fact that the selection of new books for the library is made by me in cooperation with the staff, nobody could complain about the content of collection with reference to my private and personal opinions in different matters or in religious and political issues….”. He was right in his attitude even if he is a very religious man still active at the age of 80.There was no censorship at the Norwegian Parliament Library. Selection of books was an important part of the curriculum for library students a century ago. The work of selection was also introduced to radio and television archives as a part of the job. -We cannot keep all the programmes transmitted – too much and too many and too bad – We keep only the best programmes produced within a subject. This policy has not been a good one when you wanted to make historical programmes. Even a no good programme could be reused partly in new productions. The number of copies printed to make the costs break-even –was 3000 copies. This means that you might find the published and wanted book somewhere in one or another library. This was not the situation for production of radio and television programmes and movies too. One copy of the programme was forwarded the archive after the transmission date. Chief librarians were actually acting like “ CULTURAL GODS” so to speak. Did we talk about censorship or a personal attitude to what might be good for you to read and not good for you ? The feeling of power is intoxicating. Not everyone was thinking like my former mentor Olaf Chr. Torp. A REPORT AND EXPERIENCE FROM LATIN AMERICA CHILE: SANTIAGO DE CHILE. YEAR 1973 4 The year is not 1933 . We are not viewing a book burning action in Germany but in Chile in the capital: Santiago de Chile and the year is 1973. If you want to view the shots of the soldiers burning books in Chile, search this address: http://www.ina.fr/archivespourtous ( make a click on: Explorer (first headline on the left of the screen/ theme/ histoire/ coup d’etait au Chile/ les consequences/ la repression/ la censure. It is the second item) Or you may search this email: dosaintville@ina.fr “…The facilities of the station were occupied by the military forces. …we observed that in a corner of the complex of buildings, documents and filmic material were burned …”. The quotation is from a lecture given by Amira Arratia in October 2006. The title of her paper “Our Audiovisual Patrimony: Recovering the Memory “. Amira Arratia is working as Jefe Centro de Documentacion Television Nacional de Chile. The paper was presented at FIAT/IFTA Conference in Madrid 2006. In 1973 President Salvador Allende was killed in action and the dictatorship of Pinochet was introduced. The soldiers were acting with licence to burn books disliked by the new head of the state. Political censorship of published material made the content of the National Archive and television and radio archives less important for political studies and research work because the correct facts were not to be found in the libraries or archives. The official policy of censorship was not approved by Amira Arratia . Therefore films and video shots archived were hidden by using different titles or non titles at all. A detailed content description could not be done due to the fact that the information might be given to those who disliked the shots and the result was wiping of the programmes. 5 Amira Arratia, to the left in the picture. MOVIES: POLITICAL BOYCOTT AND BANNING OF MOVIES Censorship of films. For nearly the entire history of film production, certain movies have been boycotted by political groups or literally banned by a regime for political reasons. Finland did ban the movie called: “The Manchurian Candidate “. The film was produced in year 1962. The movie is about the son of a prominent political family who has been brainwashed into becoming an unwilling assassin for the Communist Party. Finland banned the film from 1964 – 1987. The film is based on the novel “The Manchurian Candidate “written by Richard Condon, 1959. The novel has been banned in communist states for political reasons and by the American Legion. 6 Germany banned the famous film: “ The Great Dictator” made by Charles Chaplin in 1940. The film is a satire on Nazi Germany. A parody of the Hitler regime. The film was banned from 1940- 1998. Spain also banned the film from 1940 till 1976 for its portrayal of Fascism. Germany banned from 1939 – 1945 also this movie: “Mr. Smith Goes to Washington”. due to the political content. The film was produced in 1939. The film is about a naïve man appointed to fill a vacancy in US Senate. The content is also about political corruption . THE FIGHT FOR FREEDOM OF EXPRESSION – A DANGEROUS FIGHT Since year 2003 about 125 journalists and 49 support workers have been killed in Iraq only . In year 2007 at least 65 journalists were killed around the world on duty. Half of the casualities died in Iraq. We are facing a struggle for correct information about political events and a struggle to keep up the standard of the audiovisual archives – the information banks – too. . 7 SOME REASONS FOR GETTING ACCESS TO AUDIOVISUAL ARCHIVES WORLDWIDE - Footage that is used as a substitute for going out and shooting it yourself - Footage that is used for its historical content - Footage is used for economic reasons reducing the costs of the production - Footage is used to re-create historical scenes - Footage is used to tell you about the year of the events of the film - Footage is used as a creative decision NEWSREEL FOOTAGE – REUSED IN MOVIES For certain reasons old newsreels have been used in movies to tell you about the correct time of the events. Movies about the Second World War are still produced. Realistic fighting scenes have been used in a hidden way. The plane is shot down. It is not made in the studio by a professional filmmaker. He has used the newsreel from the time of the event- from the battle. It is the shots that are important – not the sound or the political comments or report. German newsreels from WWII are very much used. Footage is used to tell you about the years of the events like in the film called: A bridge too Far. The film begins with a montage of actual archival footage and narrated by a Dutch woman Kate Ter Holst (Liv Ullmann). What do these films have in common apart from being combat films containing political messages? -CONTACT (1956) -THE DESERT FOX (1951) -CASABLANCA (1941) -THE YOUNG LIONS (1958) -A BRIDGE TOO FAR (1977) -THE REWARD (BELØNNINGEN) (1980) -L’ACCOMPAGNATICE (1992) 8 9 10 11 Old German newsreels are used in all of the movies. Therefore do not destroy old films because even movies have made use of the products. CONCLUSION – RECOMMENDATIONS -The value of the audiovisual archives is depending on the official policy of the freedom of the press and the freedom of speech and the freedom of expression -Books about the history of your country are based on access to different archives, libraries, private collections of documents, films, video and photos. Those sources mentioned must be correct and not up-dated due to political changes of your country. -An open access to national archives is a must for researchers -The introduction of a legal deposit law dealing with all published material is an important act to make it possible to report about the past. This means that at least one or two copies of all transmitted radio and television programmes and all movies produced during a year must be forwarded the national archive for eternal storage. 12 -A policy for selection of non transmitted films and video shots- copies of a shot – must take place in television companies. This means that a new department must be established where people who have worked for the company must be get a new job. A detailed content description of the shots is a must: Who, Where, What , Why and so on. Worldwide few if any television corporations have yet introduced this type of policy. -The historical television department must work close to different universities where Students and professors are working with issues dealt with in the films. -Radio and sound archives do also wipe too much non transmitted recordings to-day. In close cooperation with universities, the forgotten recordings must be evaluated for future storage. -Controversial statements – not popular statements – must be kept even if the shots are not Transmitted or used in a production. -Television and radio corporations must introduce a “Senior Policy “for the archives. Avoid early pension among the staff because the company may use the information known About the programmes only by those few left. My friend in Australia , Ray Edmondson OAM, B.A. Dip Lib , established his own company Called : “Archive Associates Pty Ltd” after his retirement from office. He found it immoral not to inform audiovisual libraries worldwide about his knowledge in the field. His attitude to work and pension is appreciated by me. You may all contact him: http://www.archival.com.au Ray Edmondson has presented papers on different international conferences and seminars. Reports of his activities are to be found on the web sites of : FIAT/IFTA and AMIA. 13 Photo: Tedd Urnes. Ray Edmondson to the right ,in Paris. MOVIE BANNING -Film banning is a vast of time due to the new technology: The use of Internet has hindered groups or government, banning films. High-speed Internet access and better File compression give more people access to digital copies of movies that might Not be available for viewing in theatres. . Take care of your collections. Good luck and thank you for your attention. 14 Photo: Tedd Urnes. Library, Valdemosa, Mallorca, 2004 Tedd Urnes Teddview Audiovisual Archival Management (TAAM) August 21, 2008

even if the paper was published in year 2008 ,I think the content of the paper might be of interest even in year 2026?

Tedd Urnes

 

 

AUDIOVISUAL COLLECTIONS: DIGITALIZATION, COPYRIGHT, SELECTION, CENSORSHIP AND ACCESS TO TRANSMITTED AND NOT TRANSMITTED TELEVISION AND RADIO PROGRAMMES.

 

SOME ISSUES ONLY.

 

 

 

Keywords like – history, society, communication, democracy, freedom of speech and freedom of expression- are important to highlight making future plans for audiovisual archives, libraries or collections contenting important movies, radio programmes, television programmes, photos and written documents published. The audiovisual collections worldwide are important sources for academic work, teaching, research and new productions of radio and television programmes.

 

BALTIC AUDIOVISUAL ARCHIVAL COUNCIL BYLAWS:

An important goal of the council is. II. Activities, 2.10:

“…Endorsing the principle of freedom of access to information, ideas and works of imagination and freedom of expression embodies in Article 19 of the Universal Declaration of Human Rights, for meeting the social , educational,cultural, democratic and economic needs of people, communities and organizations…”

 

 

The content of archives of any country is close connected to the official policy of the country. The word democracy is important to the content of any archive. If there is no free exchange of official information for the inhabitants of a society, the content of the archives must be evaluated with reference to the official policy. Academic studies are depending on access to information stored in archives without having been selected by a governmental body.

 

“…I may disagree with what you have to say, but I shall defend to the death your right to say it…” The quotation is selected from the writings of the French philosopher Francois Voltaire (1694 –1778).

 

The French author and philosopher, Francois Voltaire, understood the society of information and the importance of the policy of digitalization without any idea about the new technology.

 

Official statements made by any citizen of a country have to be based on correct archival facts stored in libraries, state archives or television and radio archives. Digitalization is a new technology perfect made for the modern information society. 

 

COPYRIGHT ISSUES

 

“…Documentary film is a broad category of visual expression that is based on the attempt to document the reality. Stock footage is used intended to make some aspect of reality but the shots have to be used in the correct context…”

 

The purpose with my contribution to the debate about copyright is to highlight some problems and issues connected to reusing of published materials, movies, sound recordings, television programmes and radio programmes.

 

AN UNEXPECTED PROBLEM MAKING A PARODY OF A MOVIE RELEASED.

The Norwegian Broadcasting Corporation (Nrk) transmitted a programme called “ Store Studio “ , March 19,2007. The programme contented a presentation of a Norwegian film: “ Kill Buljo “. The movie is making a parody of a provocative scene made in the movie called: “ Brent av Frost ”(1997) .The original scene is a lovemaking action of a girl and a boy having sex naked in a boat on the heap of death Norwegian fishes. The parody did not go so far as the original film. The girl and the boy are not naked in the film: “ Kill Buljo”.

 

The film: “ Kill Buljo “ also quoted from famous movies like: “Karate Kid “ and “ Titanic “. Parodies from the movies are made in “ Kill Buljo “ and the original scenes from the films were shown together with the original shots in the television programme: “Store Studio “.  

 

 

The photo of the lovemaking scene on the heap of death fishes are taken from the film: “ Brent av Frost”.

 

The scene is taken from the film: “ Kill Buljo”.

 

QUOTATION or ILLUSTRATION?

 

 

Quotation: Visual matter used to clarify or decorate a text. Material used to clarify or explain.

 

Illustration: An explicit reference or allusion in an artistic work or passage or element from another well-known work.

 

 

The programme: “Store Studio” presented the film: “ Kill Buljo”. The sex scene was selected for the presentation of the film together with the original love scene from the film : “ Brent av Frost”(1997). The Legal Department of Nrk decided to make use of the “ Quotation Right “ and accepted to publish parts of the original lovemaking scene to show the difference between the original shot and the parody. The use of the shots was correct with reference to idea of using the “ Quotation Right “ because the content was presented in a correct context. The Legal Director of the Legal Department of Nrk, Olav A. Nyhus, made the decision. He was qualified for making decisions in this field being educated in copyright legislation from the University of Oslo.

 

 

 

 

 

 

 

 

The Legal Director of the Legal Department of The Norwegian Broadcasting Corporation (Nrk), Olav A. Nyhus has dealt with legal affairs for Nrk for about thirteen years. The case mentioned is a rare one. Nrk has not been sued in matters dealing with reuse of archival footage in new production during the last thirteen years. Olav A. Nyhus is Vice President in EBU Legal and Public Affairs Committee and Head of Advisory Board of Norwegian Research Center for Computer and Law.

 

 

 

 

With reference to the idea of “ Quotation Right “ , the producer of the programme, The Norwegian Broadcasting Corporation (Nrk), has the right to reuse any published movie or  moving images or sound recordings with reference to a correct interpretation of the

“Quotation Right” . The quotation has to be used in the right context and not to be used as an “ illustration “. It is important to understand the difference between “ quotation” and “illustration”.

 

DON’T ASK AND DON’T PAY

 

If you want to make use of the right to quote from a published movie or a film or from different radio and television programmes, you do not need to ask for the permission and you do not need to pay for the used shots.

 

Nrk lost the case in The Norwegian Supreme Court. What went wrong? The legal department of Nrk has more than one lawyer to evaluate the complicated case before being sued by an insulted actress from the move: “ Brent av Frost”. The interpretation of the use of “ Quotation Right “  made by the Director Olav A. Nyhus was a correct interpretation. 

 

TWO SECONDS TOO MUCH- TWO SECONDS OF A NAKED GIRL

 

The insulted actress, Gørild Maurseth, making love in the movie:” Brent av Frost”(1997) sued Nrk because she was personal insulted. She was not preoccupied with the right to quote from a published and released movie. Nrk lost the case because two seconds of the scene used had no correct context with the intention of the programme. The lady was shown naked in two seconds without any reference to the correct use of the shot. It is no more talk about the right to quote but it is a question of using shots as an illustration.

 

Conclusion: You have to be aware of the purpose with the shots used as a quotation. You do not ask and you do not pay as long as we talk about quoting from a published product. You have to pay and you have to ask if you want shots to be used as illustration to the text.

 

Nrk had to pay the actress, Gørild Maurseth, about NOK 96.875.-. The fee for the Norwegian Supreme Court  paid by Nrk, was NOK 132.974.- .

 

The Legal Director of Nrk, Olav A, Nyhus, told me that he disliked the final decision of the Norwegian Supreme Court. Nrk was interested in the case to focus on the use of quotation. The insulted actress, Gørild Maurseth, wanted the court to pay attention to her personal feelings and rights with reference to “ Intellectual Property Rights Law “ . Two seconds used were two seconds too much. It was no more talk about the right to quote but a question of illegal use of archival footage for illustration only.   

 

SELECTION POLICY AND CENSORSHIP

 

THE EDUCATION OF LIBRARIANS WORLDWIDE AND BOOK SELECTION

 

Librarians educated to work in public libraries are trained to make book selection weekly. The work is complicated and time -consuming because you add new books to the library collections to up-date the sources for information. The work has to be done to make it possible for the readers to get the last facts of information in different fields.

The selection work is also done due to economic reasons for the library. We all know that the publishing companies have to print a certain numbers of the book to make a break even. In Norway the number was about 3000 copies of a book. A lot of copies of the book were spread around in the country stored in public libraries.

 

When I was studying for my degree in librarianship 44 years ago at The Norwegian Parliament Library situated in the city of Oslo, my mentor the late Head Librarian Olaf Chr. Torp explained his problems with the policy of book selection of the Parliament Library . Politicians from different parties used the library daily. None of the politicians would have accepted a policy of hidden censorship called book selections. Olaf Chr. Torp made an interesting statement about the issue:

“ …Due to the fact that the selection of new books for the library is made by me in cooperation with the staff, nobody could complain about the content of the book collection with reference to my private and personal opinions in political and religious matters…”

He was right in his attitude even if we all knew he was a very religious man. There was no censorship at the Norwegian Parliament Library.

 

The librarian made book selection for the library with reference to the official aim of the library. No harm is done by refusing buying some books. Countries where the official policy of legal deposit of all published materials are introduced, have no problem in the finding the wanted book. At least one copy has to be deposit in the National Library.

 

SELECTION OF TRANSMITTED TELEVISION AND RADIO PROGRAMMES

 

A provocative question has to be asked: Who are the selectors of programmes within the field of library and television and radio archives? Who want the power of selection and who are doing the work making the final decision of life and death of the products published for all people within a country? The main issue is why the wiping of transmitted sound recordings from radio programmes, official meetings, court meetings, transmitted documentaries and unpublished footage and television programmes takes place in societies defined as democratic states? 

When radio and television were introduced to people, the cost of new tapes was high. You had to reuse the tapes due to economic reasons. Television and radio programmes were not regarded as important sources for university studies. Sorry. The scholars had not put any official pressure on the producing bodies for keeping the tapes.

 

 

ONE TAPE AND ONE PROGRAMME-NO COPIES

 

Before the official announcement of the introduction of digitalization of archival collections, it was quite common to find only one copy of the transmitted programmed stored in the archives. No back up copy. For your information: Programmes made on film were put in the archive without any evaluation because you could not reuse the film. But films were not as safe as we all believed. When the vinegar syndrome was discovered on films, the preservation of films became an important issue. If the film collection had got what we call vinegar syndrome, you had to make a new copy of the film in due time before the film was gone for ever.

 

To set up an office to make a qualified selection of programmes for the archive is a vast of time because the cost of the tapes is not expensive .The new tapes do not have the same seize as the old two inch tapes.

 

 

SELECTION AND CENSORSHIP: BOOK BURNING AND TAPE WIPING

 

“…Where they have burned books, they will end in burning human beings…”

(In German:Dort, wo man Bucher verbrennt, verbrennt man auch Menschen)

Quotation from the German journalist,essayist and romantic poet: Heinrich Heine (17971857).

 

 

 

We do not burn books anymore-do we? Take a look at the photo taken in Santiago de Chile, Chile in year 1973. Books not wanted by the government , are burned in public by soldiers from the Chilean army. It might happen again. Wiping of television programmes have been an official policy of many television companies. Do we talk about a hidden censorship? The audiovisual collections- films, photos, sound tracks, sound recordings, videotapestransmitted to people within a nation are a part of the cultural heritage of the people. The main task for international and local bodies and associations dealing with preservation and storage of audiovisual collections, is to advocate for a philosophy to keep as much as possible of published documents, films, videotapes and sound recordings.

 

 

 

SOUND RECORDINGS FROM OFFICIAL MEETINGS AND RECORDINGS FROM COURT.

 

The year is 2011. The introduction of a policy for digitalization of official documents, maps, books and transmitted radio and television programmes is done. Access to written documents is a must for any professor who wants to study social science issues or the history of the country during a certain time. But what about the sound recordings made many years ago?  The study of body languages of men in high positions during an important meeting or event has been accepted as equal as the reports from the meetings. Voices and the way you express yourself during a meeting or in court , are sources to be studied to understand the decisions made during a meeting or why the political matters ended without ant result.

 

The tape recorder to the right in the photo was the first tape recorder released for sale in Norway. My family bought the recorder in the late fifties. The tape recorder to the left is a modern version of the same recorder. Both are still in use.   

 

THE SPY CASE OF ARNE TREHOLT – THE TAPES FROM THE COURT.

 

The former Norwegian Labour Party politician and diplomat , Arne Treholt, (b.1942) was convicted of high treason and espionage on behalf of Soviet Union and Iraq during the Cold War. He was pardoned in 1992 . He left Norway to settle in Cyprus to work as businessman and consultant. Arne Treholt has fought to reopen the case because he has never accepted the charge of having worked as a spy for the Soviet Union.

 

The Norwegian Police Security Service (PST) is part of the Norwegian police service reporting directly to the Ministry of Justice. Access to the tapes has been refused by PST for years. The press wanted access to the tapes to evaluate the case of Arne Treholt.

 

 

 

 

 

My aim is not to discuss whether he was a spy or not. My aim is to focus on the use of documentation for reopening the case. Tape recordings from the court were done during the trail. Arne Treholt’s lawyer asked for the permission to listen to the tapes from the court. The request for using the tapes was denied. The year is 2011. Sound recordings as source have not been regarded or taken for granted when information is wanted. The secret documents from the court were released June 2011 but not the tapes. For 26 years the secret documents about the trail were not permitted to be evaluated or published.

 

GOOD NEWS

While writing about the tapes, Oslo District Court has made a decision to change the policy of access to the tapes. The press is free to use the tapes. The Norwegian Police Security Service (PST) lost the case in Oslo District Court. The year is 2011.

 

ACCESS TO TELEVISION AND RADIO PROGRAMMES – TRANSMITTED AND NOT

TRANSMITTED FOOTAGE – THE UNKNOWN FILMS

 

SOME FORGOTTEN SECONDS OF FILMS ONLY AND A TOP HAT

 

 

 

Each year different companies are introducing to the market new devises and complicated systems to make it easy to get access to a huge number of programmes transmitted. It is no problem in getting a quick access to wanted footage anymore. The problem is to up-date your knowledge in the field of new products. The challenge of any producers of film documentaries is the unknown films or forgotten footage stored in an office used by journalists or producers. Forgotten and lost, so to say. Let me talk about a famous event and some forgotten seconds: The inauguration of the President of United States of America, the late John F. Kennedy. An interesting question: Why did John F. Kennedy greeted his father, Joseph P. Kennedy, standing up in his car passing his father at the inauguration ceremony? John F. Kennedy greeted his father by taking off his top hat as an official recognition of the support and the work he had done for him. Some seconds of films showed a top hat and a man standing in an open car greeting a person viewing the ceremony. The shot was found by a coincidence. The shot was not evaluated as interesting for the production and the shot was put away.

                           

 

The common rule among producers of television production is to wipe the footage not used.

Media archaeology is a subject to highlight. We need to take care of unknown footage for future academic research and for economic reasons too. Some archives have begun to sell footage not transmitted. In USA, unpublished sport footage of American football and baseball matches are popular shots.

 

 

CONCLUSION AND SOME RECOMMENDATIONS

 

“ … There is myth, once digitized, a document or moving image is preserved forever…the answers to the long-term storage files will only be answered in the long term…” so far a statement made by Andrea Kalas, former President of the Association of Moving Image Archivists (AMIA).

 

The life time of files, videotapes, sound recordings and photos is unknown. We know that there is no eternal life for any of the mentioned formats. Preservation of the archival footage is important. The work done in fields like copyright, selections, censorship, content description of the programmes, up-dating of the content of the catalogues, digitalization of  Radio and television programmes, is a vast of time if you cannot keep the products. Research work to find archival footage is time consuming. The work of making a good content description of a programme is time consuming too. My recommendation is that the content description must be done by those journalists who made the programmes. The work has to be done during the shooting of the films. The media librarians must add further information to work later on and do research in the footage.

 

SENIOR POLICY FOR THE AUDIOVISUAL BANKS

Television and radio companies must introduce a “ Senior policy “ for the banks and libraries.

It is important to reduce the policy of early retirement among the staff because the company needs to up-date the information about the content of the products transmitted by the assistance of the staff.

 

No selection of programmes transmitted for the archive. Wiping of programmes is forbidden. Selection policy and censorship with reference to whether a programme shall be transmitted or stored in the archive later on, are actions not to be recommended for a modern democratic society where Facebook , Internet, Twitter are common communication tools.

 

To cooperate with media universities and with historians are a must if the cultural heritage of your country shall be preserved to be reused year by year.

 

Thank you for your attention.

 

Tedd Urnes

Teddview Audiovisual Archival Management (TAAM)

teddview@getmail.no

September 20, 2011

 

Dokumentet ble skrevet i 2011- men har betydning også i dag - dessverre - 15 år har gått men problemet er der likevel

Tedd Urnes