Tuesday, November 24, 2015

REPORT: THE HISTORY OF BALTIC AUDIOVISUAL ARCHIVAL COUNCIL (BAAC)

REPORT:THE HISTORY OF THE BALTIC AUDIOVISUAL ARCHIVAL COUNCIL (BAAC)
INTRODUCTION
The Board of the Baltic Audiovisual Archival Council (BAAC)  has made  decision to document the history of BAAC with reference to the tenth anniversary of the work of BAAC in year 2015. The goal was to publish a book about the association.This project was not possible to make due to the cost of work.
The goal for the paper presented is to publish a preliminary report about the history of the Baltic council. The report is also dealing with the prehistory of the association ,and the events leading to the  setting up  a Baltic working group.  Therefore I have to report about meetings, venues, conferences, individual persons and above all: The support from two international associations in the field of audiovisual archives: The Interntional Federation of Television Archives (FIAT/IFTA) and the International Association of Sound and Audiovisual Archives (IASA).  Important support from the Norwegian Broadcasting Corporation (NRK) and Swedish Television(SVT) was a must to establish a Baltic council for education in the field of audiovisual archives.
The report is focusing on the content of the Bylaws of BAAC signed at the Estonian Embassy in Stockholm, Sweden, on March 21, 2006. The philosophy of the document is based on ideas and experience known  among members of IASA and FIAT/IFTA.
The report contents different events, conferences, seminars and issues of importance to members of the audiovisual archives in the Baltic countries: Estonia, Latvia and Lithuania.
The preliminary report of the history of BAAC is not ment to present the total history of the work done. I take for granted that some members want to focus on other issues than those I have chosen. A critical approach to the report by  members of BAAC might result in an up-dating of the content of the report?



 THE HISTORY OF BALTIC AUDIOVISUAL  ARCHIVAL COUNCIL (BAAC)
About events leading to the set up of Baltic Audiovisual Archival Council(BAAC)
The site is Antalya, Turkey. The official event is the FIAT/IFTA Conference 2002. The dates for the international conference are October 14- 17.
Delegates from Estonia, Latvia and Lithuania are participating at the conference. The General Secretary of FIAT/IFTA, Tedd Johansen (later Urnes), is also chairing a working group to support members from the Baltic countries. According to FIAT/IFTA statues and policy ,the set up of regional seminars is an important part of the international work of the association. The first FIAT/IFTA Nordic –Baltic  Seminar took place in Tallinn, Estonia, May  26-27, 2000. The seminar was hosted by the Eesti Television and was held at the Hotel Viru located in downtown Tallinn, the capital of Estonia.The members of the organizing committee were: Jyrki Stolt,YLE, Reet Harkmaa,ETV, Tedd Johansen,NRK and Lasse Nilsson,SVT.
During the conference in Antalya, representatives from the three Baltic countries had informal meetings aiming at setting up a conference in Latvia. The contact person for audiovisual archives in Latvia was Andris Kesteris. He speaks Latvian because his family had fled to Canada after the Second World War. We had already a working group for the Baltic countries  within FIAT/IFTA chaired by Tedd Johansen and a contact person who knew the archival situation in Latvia, Andris Kesteris. This is how it all  began: A result of talks with dedicated persons in Antalya in year 2002.
The result of the informal talks and meetings was an invitation by Director General of Latvian Television, Uldis Grava, to hold a seminar at the LTV facilities in Riga, Latvia. The names of the persons who participated in the meetings leading to the seminar in Riga, were: Andris Kesteris, Canada, Tedd Urnes, Norway, Rasa Miskinyte, Lithuania , Reet Harkmaa, Estonia and Uldis Grava, Latvia. No reports were made of the meetings.
We wanted to set up an independent association for the Baltic countries. The official name of the association was not yet decided. The Independent Canadian/Baltic Working Group (CBWG) made a formal contact with The Nordic Branch of IASA about the issue. The later President of IASA, Jacqueline von Arb, supported the work of setting up a new association. Different names for the new association were suggested. ”Task Force for Pan-Baltic Council for the Preservation of Cultural Heritage –or of Audiovisual Material”  were suggested by Jaqueline von Arb. Later on we talked about ” Pan Baltic Council for Preservation of Cultural Heritage ”.
The close contact with The Nordic Branch of IASA led to the seminar in Riga in year 2004, September 30-October 3. The seminar was supported by Norwegian Broadcasting Corporation(NRK) represented by the Head  of Archive & Reseach,NRK, Bjarne Grevsgard. He gave the key note address and participated as a delegate, too. The seminar in Riga was not limited to Baltic countries. It was an international seminar.
Latvian Television, Lithuanian Radio & Television , Estonian Television and Swedish Television supported the seminar. The main host for the seminar was The Latvian Television(LTV).
The title for the seminar was: ” Partnerships, Access and Preserving Our Cultural Heritage ”.

THE BALTIC COUNCIL
In April, 2005, a meeting took place in Riga aiming at a final decision of making a permanent Baltic Council. The new council was elected. The members of the council were:President: Piret Noorhani, Estonian Literary Museum,Vice-President: Rasa Miskinyte, Lithuanian Radio & Television, Vice-President: Inga Vicane, Diena Library,Riga, Secretary: Nora Licite, Latvian Television and board members: Tedd Urnes,NRK, Lasse Nilsson, SVT, Andris Kesteris, National Archives of Canada, Reet Harkmaa, Estonian Television, Jan Aasmund Jakobsen,  Norway, Ivi Tomingas, Estonian Filmarchives, Vilnis Auzins, Latvian Museums of Photography, Eha Vainsalu, Estonian Television, Lelde Neimane, Occupation Museum,Riga, Alexander Jaransky, Lithuanian Radio & Television  and Egle Gudelyte, Lithuanian Radio & Television.
Those of the Board members listed who took an active part in the talks about setting up an independent association for the Batic countries during the FIAT/IFTA conference in Antalya, Turkey in year 2002, were: Rasa Miskinyte, Reet Harkmaa, Andris Kesteris and Tedd Urnes. Director General of the Latvian Television, Uldis Grava, did not take part in the work because he left LTV in Janaury 2004 to work for Janunais Laiks, the party of Prime Minister Einars Repse. Uldis Grava worked for LTV from 2002 to 2004. The host of the Riga seminar was  Deputy Director General  Edgars Kots.

BALTIC AUDIOVISUAL ARCHIVES COUNCIL(BAAC)
The main goal of  BAAC Board meeting in Stockholm,Sweden, on March 21, 2006, was to sign the document for registration of BAAC as a non-profit organization at the Estonian Embassy.
Participants at the Embassy were the elected board members: Piret Noorhani, Juozas Markauskas, Inga Vilcane, Andris Kesteris, Tedd Urnes, Lasse Nilsson, Lars-Gunnar Bengtsson and Kristine Paberza.
The board meeting was held at the premises of Swedish Television, Stockholm.
Eva-Lis Green, Swedish Television and Gunnel Jønsson, SRF Radio Archives, IASA, attended the meeting.
Planning of the Riga seminar 2006 and IASA/BAAC conference 2007 were important issues on the agenda. Opening of the BAAC old webpage at the new address and elaborating its new version were also discussed.
The venue chosen for the first formal meeting of the intrim board of the Baltic Audiovisual Archival Council(BAAC) was the old and beautiful capital of Latvia, Riga. The year was 2005. The month was April. The atmosphere of the old medieval Hanseatic city at the Baltic coast was relaxing. The host for the meeting was the Latvian Television. The aim of the meeting was to twofold: Is it possible to establish a Pan-Baltic audiovisual archiving cooperative organization and do we want to organize a second Riga conference in the fall of 2005? Tedd Urnes, NRK, chaired the meeting. Lasse Nilsson, SVT, was invited to give a limited, but a provocative presentation on the topic: “Why are we doing all this conferencing and networking – what is it good for? “. He asked many crucial questions: Is it worthwhile for our organizations to be investing in this kind of acquisition of knowledge? Will there be people ready to accept the offices and responsibilities in the board of such an organization? How much work will it mean, that has to be carries out in addition to our usual responsibilities? How will the officers of the board be elected? How do we deal with the economy of the organization; funding, membership fees, bank account? What about cooperation with already existing organizations on the audiovisual archiving scene? What will be the main objects of the organization?

THE NAMES OF MEMBERS OF THE INTRIM BOARD OF THE BALTIC AUDIOVISUAL COUNCIL IN RIGA
The Baltic Audiovisual Archival Council (BAAC) is born.
The presidency was accepted by Piret Noorhani, Estonian Literary Museum, Vice Presidents were Rasa Miskinyte, Lithuanian Radio & Television and Inga Vilcane, Diena Library, Secretary Nora Licite, Latvian Radio & Television, members of the board: Andris Kesteris, Library and Archives of Canada, Tedd Urnes (Formely Tedd Johansen), NRK, and Lasse Nilsson,SVT.
All other participants of the meeting signed up as members of the Council.
An answer to the many crucial questions asked by Lasse Nilsson was given by Tedd Urnes who presented a draft document of statues for the new audiovisual council. The draft was accepted as such until further elaboration at a coming membership assembly.
The working fields of the new board was to establish the cooperation with the Nordic Branch of IASA seeking possible funding for the organization and to work out the programme for the Riga 2005 conference.

BAAC BOARD MEETING IN STOCKHOLM 2006-THE ESTONIAN EMBASSY
The BAAC Board elected in September in Riga had its open meeting in Stockholm on March 21, 2006.
The aim of the board meeting was the legalization of BAAC as a non- profit organization. The Estonian Embassy at Tyrgatan in Stockholm was the first venue for the participants at the meeting.  The 2nd Secretary of the Embassy, Sven Tølp, welcomed the participants wishing the organization every success for the future. BAAC documentation was signed for the registration of BAAC as a non-profit organization and the signatures were authenticated by Sven Tølp.
BAAC was registered as a non-profit organization in Estonia (Tartu), April 4, 2006. The official address of the organization is Vanemuise 42, Tartu 51003, Estonia. BAAC has an official logo and stamp. The Council is registered under the laws of the Republic of Estonia.

Participants at the Estonian Embassy were the elected Board members: Piret Noorhani (Estonia), Juozas Markauskas (Lithuania), Inga Vicane ( Latvia), Andris Kesteris(Canada), Tedd Urnes (Norway), Lasse Nilsson (Sweden), Lars-Gunnar Bengtsson (Sweden) and Kristine Paberza (Latvia).
The Board meeting was continued at the premises of Swedish Television chaired by Eva-Lis Green and Gunnel Jønsson, SRF Radio Archives.  On the agenda for the meeting was the opening of the BAAC old webpage at the new address and elaborating its new version. Raising funds for BAAC 
activities and the planning of the Riga seminar 2006 and IASA/BAAC Conference in 2007 were also discussed. The day ended with a most stimulating tour to the archives, news rooms and studios of Swedish Television guided by Lasse Nilsson, Lars-Gunnar Bengtsson and Monika Hurtig.

THE FOUNDERS OF BAAC
The founders of BAAC were dedicated librarians, archivists, academics, media technicians, film-and radio producers and above all: Persons who had participated in international work for years in the field of the development of audiovisual archives. The main aim of the working group was to set up an organization in the field of archiving of the Baltic countries. The work was not limited to sound archives or television archives or movie productions but also libraries and archives for documents, papers and photo collections were targets for the coming work of the organization.
The supporters from international archival bodies came from the International Federation of Television Archives (FIAT/IFTA) and the Nordic Branch of International Association of Sound and Audiovisual Archives (IASA).
The new organization was also supported by The Norwegian Broadcasting Corporation (NRK), Norway, Swedish Television, Sweden and YLE, Finland.
Canada was represented by Library and Archives of Canada.

THE VALUES OF THE NEW BALTIC COUNCIL FOR AUDIOVISUAL ARCHIVES
The members of the founding working group had to ask some some crucial questions before the final signing of the official documents of the new council.
-          What kind of council are we going to set up?
-          What are the values for the work?
-          Do we want to set up an international elite group of dedicated experts in the field of audiovisual archives?
-          Do we want an aristocratic club made for some members only?
-          Do we want to make a new venue for media companies and businessmen to exchange commercial information annually?
-          Do we want a club for the heads of the audiovisual archives of different television and radio companies?
-          What were the needs of supports of the audiovisual archives of the Baltic countries?
-          What kind of language should be used: Russian, German or English?
-          Do we want a democratic organization where the members of the board could be elected as individuals?
-          What about the values of the principles of freedom of access to information, ideas and works of imagination and freedom of expression embodied in the Article 19 of the Universal Declaration of Human Rights, for meeting the social, educational, cultural, democratic and economic needs of people, communities and organizations?
-          What about controversial issues connected to ethnic origin, citizenship, language, race, gender, political philosophy or religion?
-          Seminar, conferences, training meetings and workshops: Aims for the work of the council?



COMMITMENT OF THE COUNCIL OF BAAC: BYLAW II: ACTIVITIES-MINI-SEMINARS
With reference to bylaw II. 2.4.The council are committed to set up conferences, seminars and workshops. The result of the goal of BAAC was the organization of mini- seminars for the members.
Th first travelling mini-seminar was organized by Lithuanian Television. Vilnius was the venue for the seminar. The year was 2007. The month was February. The delegates experienced a cold but nice city.The host of the mini- seminar was the Lithuanian Television. The pratical work was arranged by the Vice-President of BAAC, Juozas Markauskas and the Head of the Lithuanian Television Archive, Jonas Korys. The Lithuanian Television and Radio Director Kestutis Petrauskis was also responsible for the successs of the seminar.
The goal of the mini-seminar was to invite new people from the Baltic audiovisual archives to join the BAAC programmes that included themes like:
-To increase public interest for awareness of audiovisual archives of the Baltic countries
-To inform about the importance of sources stored in audiovisual archives for academic studies
-Access to cultural, educational, historical sources stored in audiovisual archives
-New training possibilities set up by the Council of BAAC
-The latest news in the progress of digitalization programmes of the members of BAAC and official reports of the progress in the field from different archives not located in the Baltic countries
-Television companies: Updating of the reports of the work of Television and Radio archives
-The development of National Archives:The content of the archives, Legal deposit Laws, preservation policy, storage of old tapes and films, document and paper collections,  access policy for public use
The programme committe of the seminar made the programme with reference to the goals mentioned. The result of the work was a good programme including keywords like:
-          Future thoughts about BAAC, reuse of the archival footage, mass migration, content description, digitalization policy, storage and preservation works.
The last part of the programme was a visit to the archives of Lithuanian Radio and Television .

ESTONIA. TALLINN – THE SECOND MINI-SEMINAR
In year 2007 the Counsil set up a mini-seminar in the capital of Estonia, Tallinn. The month is June.
The publishing of the positive information of the first travelling mini-seminar in Vilnius, Lithuania resulted in an increase of the number of participants at the seminar in Tallinn. The host of the seminar was Estonian Public Broadcasting Corporation. The venue of the seminar was the Estonian National Library located in the center of Tallinn. The seminar was supported by the Estonian Ministry of Education and Research. To highlight subjects of interest for audiovisual archives of the Baltic countries were the main goals for the mini-seminar.Keywords for the programme were preservation and reuse. The new director of EPBC, Margus Allikmaa, supported the seminar.Colleagues from Estonia, Finland, Sweden and Norway presented various thematic issues.
The programme of the seminar was dominated by speekers from Sweden, Norway and Finland. Gunnel Jønsson worked at Swedish Broadcasting Resources as Head of Radio Archive and Technical Group of the Sound Archives. Besides, she was Secretary-General of IASA. Lasse Nilsson worked at Swedish Television and former Secretary-General of FIAT/IFTA. Tedd Urnes worked at the Norwegian Broadcasting Corporation (NRK) as senior adviser and former President and Secretary-General of FIAT/IFTA. The contribution from Finland was: Eila Haikarainen from YLE Finnish Broadcasting Corporation, Riita Koskivirta from Finnish Photomuseum  and Paavo Rytsa from YLE Finnish Broadcasting Corporation.
The paper presented by Gunnel Jønsson dealt with definitions of the concepts of archives in the audiovisual world. Information of other international media associations was given with focus on the work done by IASA in different fields. Lasse Nilsson dealt with the work and planning of migration projects within SVT. From videotape to digital file was the subject he focused on. Tedd Urnes presented a paper dealing with content description of unknown films about Estonia. Elementary training in making a minimum data list for a catalogue of films was also a subject for the seminar. A joint presentation made by Lasse Nilsson and Tedd Urnes about reusing of archival footage in the future took place.
Paavo Rytsa gave a paper on Finnish culture and the living archive. Riita Koskivirta presented a report about preservation of original photographs. Eila Haikatainen was preoccopied with issues concerning publishing of archive photos and copyrights.



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 BAAC: KEY NOTE SPEECHES
” …A keynote in public speaking is a talk that establishes the main underlying theme of the seminar or a conference. The keynote address is supposed to emphasize the framework for the following programme of events , the core message or the most important revelation of the conference. The task of the keynote speaker is to draw the attention of the delegates to the principal themes of the conference…”.
To make use of keynote speakers at the seminars and conferences set by BAAC are not a commen policy. Welcome speches made by official representatives from the Norwegian Embassy and the Swedish Embassy have been a tradition together with a speech to officially open the conference.
The archive of BAAC has reports of some of the keynote speakers only.
 Historian Hans Fredrik Dahl, Director of Fritt Ord, Erik Rudeng, The Head of the Audiovisual archives of NRK, Bjarne Grevsgard and Andris Viks from The Ministry of Culture of Latvia.
The Norwegian historian Hans Fredrik Dahl gave a speech in 2004 at the conference in Riga. The title of his paper is: ” History of the Digital Mode ”.
The Norwegian Director of Fritt Ord, Erik Rudeng, gave a speech at the conference in Riga in 2006.
Fritt Ord ( The Freedom of Expression Foundation, Norway) is located in Oslo. The title of his speech is: ” Freedom of Speech-The future value of audiovisual archives in a Democratic society”.
The issues of freedom of speech, access to information and fredom of expression are stated in the bylaws of BAAC: Bylaw: II.ACTIVITIES: 2.10: endorsing the principles of freedom of access to  information, ideas and works of imagination and freedom of expression embodied in Article 19 of the Universal Declaration of Human Rights, for meeting the social, educational, cultural, democratic and economic need of people, communities and organizations.
The Norwegian Director of the Audiovisual archives of Nrk, Bjarne Grevsgard, presented his paper at the conference in Riga in year 2005.
The Latvian representative of The Ministry of Culture of Latvia gave his speech at the conferenc in Riga in 2007.






 ANNUAL CONFERENCE AND SEMINAR
The Council is committed to organizing conferencs, seminars and workshops
(Bylaw II. Activities. 2.4)
The arrangement of the annual conference or seminar is the main task for the Board of BAAC. The programme committee has to evaluate the proposals received. A final decision about the content of the programme has to be made with reference to the aims of BAAC. Subjects related to the development and work of audiovisual archives must be highlighted in the final official programme. The selection of items is limited to themes like: Exchange of information and new ideas, preservation work of tapes, films, sound recording, books, photos are among important subjects for the programme. The introduction of new technology to the libraries and archives is a permanent theme for the conferences. The main keyword is: Digitalization. Reports from different libraries, archives and collections about the latest news within the development of the digitalization of the archival materials, are on the agenda every year. Academic research and access to the audiovisual archives for academics have been an increasing theme for the content of the seminars and meetings. Training policy of the media librarians working for the Baltic archives is a topic to report on.

THE RESULT OF A CRITICAL EVALUATING OF THE CONTENT OF THE PROGRAMMES OF THE SEMINARS AND CONFERENCES.
The web site of BAAC is a good source for an evaluation of the programmes whether BAAC has succeed in fulfilment of the status and the aims of the association?
The selection of the content of the programmes and the main themes to be presented might raise some questions about  the reason to repeat the same issues and subjects year by year? The correct answer to the question is that the presenters are dealing with the same issue year by year with an up-dated version of the former paper presented. The main issue is digitalization of any archival collections: old tapes, old films, photos, written documents, sound recordings, music recordings – any archival material which meet a final storage within a library or an archive. Any professional lecturer can give a speech and present a paper for any audience but not for the same audience year by year. This means that you might find the same published documents on internet presented at different conferences worldwide by the same person. The professional speakers will only let you publish a short version of the paper or no paper at all. Web site of BAAC does not give you a complite picture of the information given at the conferences because some presenters have not permitted the publishing of their papers. BAAC has published on the web site 144 papers presented at the conferences and seminars of BAAC from year 2004 to 2014 . To get a real impression of the content of the different seminars and conferences, the study of both the published programme and the list of presentations left after the meetings are a must.

THE LIST OF OTHER TOPICAL THEMES WORTH TO MENTION
Even if the talk about new technology has dominated the programmes for years, bylaws related subjects like content description of radio programmes, television programmes, movies, untransmitted archival films, amateur recordings of sound and moving images and above all: Media archaeology for academics , journalists and professional researchers have been presented too.

THE PRINCIPLES OF FREEDOM EMBODIED IN ARTICLE 19 OF THE UNIVERSAL DECLARATION OF HUMAN RIGHTS
The BAAC bylaw, 2.10 deals with the matter. Few international associations want to add the question of human rights to the guidelines of the association. The main reason for not dealing with the matter is the official policy of the very country where they live. Human rights are not an issue for considerations for the government of the country. What is at stake for the content of the audiovisual archives if censurship is the official policy of the country? The content of the archives is limited to documents selected. The standard of the archive for future researchers is restricted to a limited number of papers. What about an active access policy for people when they are denied access to information due to lack of essential sources of information?
The introduction of the policy of digitalization is an important change for the citizens who want to take part in democratic work of the country. Easy access to information is the practical result of the digitalization of archival materials which means more exchange of facts and opinions among people.

CULTURAL HERITAGE –NATIONAL LIBRARY AND NATIONAL ARCHIVES-LEGAL DEPOSIT LAW
BAAC has not made use of key note speakers at every conference only four have been reported. When keynote speakers have been selected for the opening of the conference the subject chosen is cutural heritage, the importance of digitalization and culture values of the archives.
Official reports of national archives or libraries are subjects for evaluation at most of the seminars and conferences due to the fact that the national bodies have to take care of different old materials made by television companies, radio corporations and the movie industry. The cultural heritage of any country is connected to the philosophy and the introduction of legal deposit law of all transmitted and published materials. The main question asked about how to preserve the cultural heritage of a country  is answered by making legal deposit law a reality. The selection policy of the materials made by professional librarians for years is history. No selections of published archival materias anymore.

INFORMATION ABOUT NEW PROJECTS AND DIGITAL SYSTEMS MENT FOR SALE
BAAC: A NEW SALES DEPARTMENT FOR INTERNATIONAL COMMERICAL INTERESTS?
”… BAAC is a non profit organization of juridical and natural persons, founded as a voluntary association…”. Quotation taken from the Bylaw I.General of BAAC. Non profit association and not an association for a sale market for commercial companies in different fields. Anyway BAAC has to invite companies who are producing new tools for the libraries. Presentations of new projects initiated by independent and commerical companies have been on the agenda at every seminar. The challenge for the programme committee is to make a clear distincion between business and fact information of the products presented. A close study of the programmes shows that the programme committee has succeeded in keeping up a balance between important facts searching and commercial interests of the companies.
The conflict between business values and the values of  national cultural information were highlighted by the Norwegian Professor Hans Fredrik Dahl in his paper presented at the first BAAC seminar in Riga in 2004. He asked the question: ” … Are we facing a future where national cultural information will be dominated by global firms?...”. The title of his lecture is: ” History of the Digital Mode ”. Only a limited abstract of his paper is accessable for public viewing.

THE VENUES FOR THE ANNUAL CONFERENCES
The head office of the Council is located in Tartu, Estonia. The Council is registered under the laws of the Republic of Estonia and functions according to these laws.
Nevertheless the desicion to set up meetings and conferences in the capitals of all three Baltic countries was introduced as a rule at an early stage of the association. This means that Tallinn, Riga and Vilnius have hosted the conferencs apart from one where Helsinki, Finland (2012) was chosen for the annual conference. The record of the conferences and annual seminars shows that the city of Riga has been chosen seven times while Tallinn has been the venue two times and Tartu one time. The city of Vilnius has welcomed BAAC one time but the city has hosted local seminars too. The annual event of BAAC will take place in Tallinn in year 2015.

AN EVAUATION OF THE THEMES PRESENTED AT THE ANNUAL EVENTS WITH REFERENCE TO THE TITLE OF THE MEETINGS
The list of the titles of the annual seminars and conferences of BAAC:
Riga Seminar 2004 Programme (2004), Pan-Baltic Images: Reading out to the world Pan-Baltic Imges :Reaching out to the world, Riga (2005), Audiovisual Archives: Access and Service in the Public Interest, Riga (2006), IASA-BAAC Conference 2007.Building an Archive for the Future, Riga (2007),Transformation as Stability: Audiovisual Archives in the Era of New Media, Tartu, Estonia (2008), Aggregation and Management of Audiovisual Content in the Digital Space, Riga (2009), Back to Analogue: Preserving audiovisual resources for digitisation and Posterity, Riga (2010), Digital Access and Research, Tallinn (2011),  From digitization to access and research, Helsinki, Finland (2012), Open Doors: New Ideas, New Technologies, Vilnius (2013). Joint IASA-BAAC Conference 2013., Safe and reusable: Ideals versus real life, Riga (2014).
Keywords like: Access, reuse, digitalization, public service, research, content and new technology show that the topical themes are repeated year by year contenting up-dated information in the fields of common interest for the Baltic members of BAAC.

WORKSHOP REPORT
Tallinn was the venue for the workshop dealing with issues of conservation of photography. The year for the workshop was 2012.
THE PRESIDENTS
The founders of BAAC viewed bylaws and guidelines set up by different international associations like IASA ,AMIA and FIAT/IFTA. Agreement among the founders was made about the election of the President: The President had to be elected from one of the Baltic countries because the goal of BAAC was to make the members of the Baltic countries the dominated part of the members of BAAC.
The present President of BAAC is Zane Grosa. She was elected in year 2011. From 2012 she is the head of Audiovisual Reading Room at the National Library of Latvia. Zane Grosa holds Masters of Music from SUNY at Stony Brook, USA , a Bachelor of Music from the Music Academy of Latvia and Information Management at RMIT University in Melbourne, Australia. Since 2009 she is a board member of BAAC.
 Zane Grosa succeeded Juozas Markauskas from Vilnius, Lithuania who hold the office from 2007 to 2011. Juozas Markauskas made the first web site of BAAC. He is editing and improving the web site because he graduated in the field of digital preservation and archival systems from the University of Vilnius.
Juozas Markuskas is working as the Head of Digitalisation Department, DIZI Heritage, Lithuania.
Juozas Markauskas was elected President after Piret Noorhani decided to resign the office in 2007. Piret Noorhani was one of the founders of BAAC. She was elected President in 2005 as the first President of BAAC. She has studied Estonian language and literature at the University of Tartu, Estonia. Worked as researcher and archivist at the Estonian Cultural History Archives of he Estonian Literary Museum from about 1991 to 1996. Since 2007 she has been Estonian Deaspora project manager in the Estonia National Museum and The President of the Baltic Heritage Network since 2008.
Piret Noorhani, Estonia, Juozas Markauskas, Lithuania and Zane Grosa, Latvia have worked hard to improve the standard of the work and international reputation of BAAC during 12 years of business.

HONORARY MEMBERS
”…Honorary member is any person whose great contribution and merit to the advancement of AV archives has been recognized by the Board of the Council, and who is nominated by the general meeting as a recipient of this status…”. Quotation: The bylaw of BAAC, 3.2.3.
In 2009 at the BAAC conference in Vilnius, four dedicated members of BAAC were nominated and elected as Honorary members of BAAC: Lasse Nilsson, Lars-Gunnar Bengtsson, Andris Kesteris and Tedd Urnes.
For those of you who have joined BAAC after 2009, you may ask questions about who are the persons elected as Honorary member?
None of the persons are working or living in any of the Baltic countries. Two of them have Swedish nationality, one is working and living in Canada and one is Norwegian.
A short presentations of the persons mentioned is necessary.
Andris Kesteris
He is a founding member of the BAAC and a member of the Board of BAAC. Andris Kesteris is Canadian. He is President of the Baltic Federation in Canada(BFC). Over a period of ten years he has organized and developed the Baltic Film Festival in Canada, presenting films from Estonia, Latvia and Lithuania to Canadian audiences. He  has a diverse film and broadcasting experience in various divisions of the Library and Archives Canada(LAC- formerly National Library and National Archives). Andris Kesteris is an independent producer/ Director.
Tedd Urnes (formerly Johansen)
He is a founding member of BAAC. Former Head of Film and Videotape Library of the Norwegian Broadcasting Corporation(NRK), former Senior Adviser of NRK. Tedd Urnes was President, Vice-President and Secretary General of FIAT/IFTA. He has chaired the Latin American Regional Working Group(LARG), the Technical Commission and a member of Television Studies Commission of FIAT/IFTA. Consultant at ” Teddview Audiovisual Archival Management (TAAM).

LARS-GUNNAR BENGTSSON
Control room manager and archives coordinator at Newsroom, Swedish Television at the city of Malmø, Sweden. He is a founding member of BAAC. He was member of the Board of BAAC from 2005 to 2010. From 2014 Lars- Gunnar Bengtsson is working freelance.
LASSE NILSSON
Lasse Nilsson is a founding member of BAAC. He been working with SVT archives as archivist, manager of Documentation and Research Department and  project manager. He is a former Secretary General of FIAT/IFTA,  former chair of Programming Commission and a member of FIAT/IFTA Television Studies Commission. Lasse Nilsson is retired from SVT.



 CONCLUSION
The members of  the founding working group of BAAC asked  some crucial questions before the final signing of the official documents of BAAC at the Estonian Embassy in Stockholm in year 2006. An important question asked was: What are the values of the work? A critical evaluation of the ten years of archival business pluss some prehistorian years of the work ,has been done while writing the report. The goals of the work have been evaluated with reference to the Bylaws of BAAC. The result of the evaluation is that BAAC has managed to satisfy the dreams , the hopes and  the ambitions of the founding members .BAAC is proud to have increased professional standards in audiovisual archives situated in the three Baltic countries.Professional contact between members have been stimulated. The challenge for the future is to understand the need for development and education of the different audiovisual archives within the three countries. The founders of BAAC have finished the work. The members who are working in television archives, libraries, radio archives, national archives and document archives in Estonia, Latvia and Lithuania, have to make the programme for the future by scouting for new ideas , technology and tools to improve the work.
Oslo, September 30, 2015
Tedd Urnes































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Sunday, August 9, 2015

PONT DU LOUP: COMMUNE DE TOURRETTES SUR LOUP

The summer of 2015 in the city of Nice, France, was a hot event. What to do when the temperature shows about 33 degree celcius? My advice is: Leave the city of Nice as soon as possible aiming at a nice little village not far from  Tourrettes- sur- Loup and Nice. The goal for your travelling is Pont du Loup situated between the river Gorges du loup and the mountains of Grasse. The village is not a modern site set up for tourists some years ago. No. At the end of the 19th century the village used to be a fashionable country resort . In 1944 the German troops blew up the arches spanning the river . The ruines of the railway have not been moved. The sweet factory and the waterfalls are  targets for any visit to the Pont du Loup. If you belong to the group of people addict to chocolate , you join me for a visit to the chocolate factory where we might enjoy the plessure of the addiction of eating chocolates. Besides you may take a swim or a bath in the cold but nice river close to the factory. The waterfalls are refreshing too!





Friday, August 7, 2015

ROOF ADVENTURE: THE BIRTH OF PIGEONS

Wild pigeons have no pigeon house, no birth control, no assistance in feeding new born pigeons. The adventure took place on a roof somewhere in Norway this summer. It was fascinating to take part in the event of the birth of pigeons -wild pigeons. As you may know, pigeons can be trained to fly back to its home with messages. Do we need to set up pigeon houses around in the country to make life better for the birds?







NICE: BEACH LIBRARY IN NICE YEAR 2015

Access to books and general information are important for people even when they are paying the beaches of the city of Nice, France a visit. The library service should take place in Norway too even if the summer is not so hot here as in Nice. I met two nice librarians working. The girl to the left is Levana and Cheoe to the right. Welcome to Nice and welcome to the beach for book lovers. Any person who is sun bathing on the beach get access to the books and periodicals. Good luck.The public library is open from July 1 to August 30, 2015, from 1300 to 1800. The service is splendid!





Sunday, July 5, 2015

ARCHIVAL FOOTAGE: ACCESS AND REUSE OF ARCHIVAL FOOTAGE -SOME CRITICAL ISSUES



Ethics and competence in using archival footage.

"...The Devil is in the Details..."

The aim of the presentation of my paper is to highlight issues related to incorrect use of archival footage in new films, television and radio productions. New historical documentaries are released on the market annually. National television corporations worldwide are transmitting programmes where the content is based on an active and creative reuse of transmitted films, radio and television productions. The selection of the sources for the productions is an important task. Written documents are evaluated by the producers, sound recordings are selected and excerpts from movies and television productions are evaluated for the new productions. My paper is a critical approach to the selection of the sources. The written work is still the most commonly used source. Stock footage from audiovisual archives has been used in historical movies and programmes in an incorrect way. The story told by reusing real shots of the event must content excerpts relating to the event. My paper is dealing with misuse and lack of studies of dependable primary documentation. Above all: The famous idiom: “ ...The devil is in the details ...” has been a reminder of the research of different documentaries viewed. Unknown facts hidden in the details must be highlighted.?

The idiom " The devil is in the details"derives from earlier phrase, " God is in the detail", expressing the idea that whatever one does should be done thoroughly. For academic papers details are the essential objects for the studies.What about the production of documentaries contenting photos, sound recordings and archivaal footage from television productions and movies?


NORWAY IN 1940 – GERMAN INVASION AND OCCUPATION OF NORWAY – CRITICAL USE OF SOURCES.

The city of Oslo taken by a German military orchestra only?
April 9, 1940: The German attack on Norway came as surprise for the Norwegian military leaders who were of the opinion that the main threat was Russia, not Germany. From a military point of view, the invasion of Norway, “ Operation Weserubung”  ,was a success.[1] The German generals were told that the Norwegians would not defend themselves. Therefore a German military orchestra was embarked on the new German cruiser “ Blucher “ . The task of the orchestra was to play and march for the people of Oslo to make the invasion as friendly as possible. The German soldiers were told that they came to Norway to avoid a British invasion of Norway. The German cruiser “ Blucher “ was attacked by Oscarsborg fortress resulting in the sinking of the ship together with the German military orchestra. When the German soldiers arrived at Oslo there were no orchestra to play. The archival footage showing German soldiers marching together with an orchestra on April 9 is not correct. But a new orchestra played for the inhabitants of Oslo on April 10 the very day after the invasion. It was important for the German military propaganda to show the success of the invasion of Norway and Oslo. Therefore a new orchestra was brought to Oslo by airplane, Junkers G.38 on April 10 to Fornebu airport close to Oslo. The orchestra came from Fliegerhorst kommantur Staaken close to the city of Berlin, Germany.[2]

APRIL 9 OR APRIL 10, 1940? THE ORCHESTRA PLAYED WHEN?
New historical documentaries are released in year 2015 dealing with Norway and The Second World War. The story of the German in invasion of Oslo is highlighted in more than one programme showing the German orchestra playing and marching together with the German soldiers on the day of the invasion – April 9. The incorrect use of archival footage creates a wrong picture of the event that took place in Oslo, April 9. The atmosphere among people in Oslo was relaxed in favour of the German army but not that relaxed as the official German propaganda wanted to show.
The head of the German invasion of Norway, Lieutenant General Nicolaus von Falkenhorst, took it for granted that the Norwegian Government would cooperate with the German generals. He had booked a room at KNA-Hotel in Oslo before the invasion took place to be sure that he got a nice place to stay.
He planned and commanded the German invasion of Denmark and Norway in 1940
He was born Nikolaus von Jastrzembski in Breslau, Silesia  ,in Prussia, January 17, 1885. He belonged to Polish-Prussian nobility. He was promoted to Colonel General (Generaloberst) after the invasion of Denmark and Norway. He died in 1968.







OSLO ATTACKED BY AMERICAN BOMBERS IN APRIL 1940?

The question has to be asked when you are viewing a newly released documentary about Norway and the Second World War. The title of the documentary is: “ Offer eller Spion? “ (Victim or Spy ? ). The film has been released in year 2015 for public viewing at cinemas only. No television transmission of the film, so far. Stock footage of aircrafts in the production is used in a way not possible for the audience to decide the kind of aircrafts used. The Germans attacked Oslo with Messerschmitt Bf 110c. The archival footage selected for the invasion scene used in the film: “ Offer eller Spion ?” (Victim or Spy ?) shows the American bombers attacking the capital of Norway, Oslo.


Boeing B-17, Flying fortress.

“Flying Fortress “ Boeing B-17-Fortress. US Army Air Force.

Messerschmitt Bf 110c which was used by the Germans in April 1940 during the attack and invasion of Norway and Oslo.

My research for misusing of archival footage in documentaries released for public viewing has been focusing on events related to The Second World War and Norway. My attention is not to highlight the official content and the story dealt with in the documentaries but important details presented as facts leading to misinterpretations of the actual event.

GENERAL CARL GUSTAV FLEISCHER – THE NORWEGIAN GENERAL WHO WON THE FIRST MAJOR VICTORY AGAINST THE GERMANS IN WWII

The site is Vadsø in Finnmark in the Northern Norway. When the Germans attacked Norway in April 9, he was on duty in Vadsø. Due to extreme weather conditions in Vadsø he could not leave Vadsø either by ship or by naval aircraft. He had to make it to the city of Trømsø as soon as possible. On April 10 he managed to set off for Trømsø by M.F11 naval aircraft. He arrived atTromsø after flying in terrible weather conditions. As commander-in chief of the Norwegian armed forces in North Norway in 1940, he issued orders for a total civilian and military mobilization. The Northern Norway was declared a theatre of war.[3]
A documentary[4] transmitted on the Norwegian Broadcasting Corporation (NRK) in year 2015 about General Fleischer (1883-1942) , shows that he left Vadsø by an aircraft. Take a look at the archival footage of the aircraft used. It is a Catalina aircraft made in Canada and not in active service in Norway in 1940. The aircraft was a good plane. The tour to Tromsø would have been comfortable for the general flying a Catalina aircraft. The true story is that he left Vadsø in an old Norwegian naval aircraft: M.F. 11.


The Norwegian general Carl Gustav Fleischer (1883 – 1942) was the first Allied general who defeated the German Army at the Battle of Narvik in 1940 in the Northern part of the country.


Naval aircraft: M.F. 11
A detail only ?– no. Making use of incorrect archival footage is the beginning of making the real story not trustworthy. The drama of general Fleischers attempt to reach his soldiers has been reduced from being a dramatic flight to a nice tour lasting for about six hours with a modern plane-Catalina aircraft. The Norwegian commander – in chief- wanted to fight the Germans as soon as possible- and bad weather conditions were not an obstacle for making it clear to all that Norway was at war with Germany – and not Soviet-Union. A detail only? – no.  But “ ...The devil is in the details ...” .

THE EVACUATION OF BRITISH, FRENCH AND ALLIED SOLDIERS IN DUNKERQUE IN FRANCE IN 1940
What about Norwegian commandos during the evacuation from Dunkerque in France? Did Norwegian soldiers assist the British to evacuate in France in 1940?
If you are viewing a documentary dealing with the Battle of Britain and if you are a strong believer of historical facts presented and published by a serious documentary titled: “ The Battle of Britain “, you might be right. But the true story is a different one. The Norwegian commandos were fighting at the Dutch island Walcheren in year 1944. No Norwegian soldiers were present on the beaches of Dunkerque in year 1940.


To control the facts, I paid a visit to The Norwegian Defence Media Centre situated in Oslo at Akershus Castle. The film: “ Norske commandos på Walcheren “ (Norwegian commandos at Walcheren) was viewed by me. To my surprise I saw the same shots used in the documentary mentioned. The film was a realistic film about the hard fighting at Walcheren in 1944. The battle of Walcheren is dealt with by the Norwegian writer, Arnfinn Haga, in his book: “ Klar til storm” published in Norway in 1984.
Details only? Details are important to any researcher wanting to report about a historical event with the intention to be taken seriously.

US CARABINE AND THE BRITISH MADE SUB-MACHINE GUN “ STEN GUN”
The story of the youth of the famous Norwegian saboteur, Max Manus (1914-1996), was told by a friend in the documentary about Max Manus: Max Manus, mannen og myten ( Max Manus, The Man and the Myth). The boys where living at Ljan that is a residential neighbourhood in the borough Nordstrand in Oslo, Norway. Ljan is located in the eastern rolling hillsides of the fjord Bunnefjorden. Both boys were interesting in shooting. Max Manus owned a gun, a Winchester 22 cal. Kjell Staff, a close friend, told a story about how they tested the shooting qualifications of Max Manus. Archival footage is used. But we do not see the boys making use of a Winchester 22 cal. Rifle, but a US Carabine and the British sub-machine gun, Sten Gun. The story told in the film and the archival footage used is not matching.This is a US Carabine which the boy to the right in the photo is carrying.
Max Manus is carrying a Sten Gun to the left in the photo. We do not see any Winchester 22 cal., rifle at all.[5]
Max Manus was bodyguard for the Norwegian crown prince Olav in 1945. The war was finished. The crown prince was driving in an open car to be greeted by the population of Oslo. Max Manus got the work to protect the crown prince at any cost. Max Manus is armed with a Swedish submashine, Carl Gustav, not the British Sten Gun. The photo taken of the two men has been a historical source. People remember the photo. When the Norwegian periodical, History (Historie), published an article about the British submaschine Sten Gun the famous photo was used with the text that Max Manus was armed with a Sten Gun.The periodical was published in 2012, nr.18. Librarians like me want to believe in the written words. We believe that the content of the books published are more reliable that newspapers, radio news and television news.A mistake published in a book or a periodiacal might be selected as a source for future studies. The devil is there and the devil is in the details.

Crown prince Olav to the left in the photo and Max Manus to the right armed with a sub mashine made in Sweden.

MEDIA ARCHAEOLOGY: ARCHIVAL FOOTAGE IN MOVIES          
My private collection of movies and documentaries contents about 2000 titles. The collection has been an object for different research projects aiming at searching for hidden archival footage used in movies and documentaries. To search after “ the reality “ used in movies is a time consuming business. News of events believed lost might be found in films made for light entertainment only. The result of my private research is a list of 164 movies dating from 1941 to 2014 where I discovered stock footage used. In some movies the archival footage has been used not to be discovered as stock footage. The viewer of the film is not supposed to see that real news reels of events have been put together with fictional scenes. No information about the source for the shots is given on the credit list at the end of the film. The main reasons for making use of archival footage are:
-For economic reasons only. It is less expensive making copies of films made during an historical event than to make a reconstruction of the event.
-To make the moviegoers aware of the time of the historical events dealt with in the film.
-To avoid making reconstructions of the events in a studio.
-Because the reality is better on television news than made in the film studio.
-Copyright is no problem when it comes to German news reels from the Second World War.
-To portray a person by using real shots of the person might make the film better than using actors.[6]

COMBAT SHOTS USED: A WARNING GIVEN TO THE VIEWER-THE BATTLE OF MIDWAY.


It is not common that you find an introduction to the movie warning you that actual combat shots are used. The aircrafts destroyed by the enemy are not fictional scenes but real shots from the battle. The shots were taken by service men and news people during the battle.
The historical movie, Midway, about the naval Battle of Midway in Pacific in June 1942, was produced in 1976. A written introduction to the docudrama is presented at the beginning of the film contenting a statement about the shots used. Actual film shots taken during the combat are used.
 ...Ethical competence is a key distinguisher between simply having skills and having a true sense of professionalism...

AN ILLUSTRATION OF FEAR
From an ethical point of view the sources used must be identifies clearly. “ Fear “ expressed or shown by making use of clips from movies without a note about the title of the movies is not acceptable. “ Psycho” is a famous horror film known by many. The scenes are well-known. Photos or clips of the face of the American actor, Janet Leigh, expressing fear has been used as an illustration without mentioning the original movie from which the scene is taken. The clip is put on the final credit list at the end of the documentary but few read the credit list. [8]


The American actor, Janet Leigh, in the horror movie “ Psycho”.

PHOTOS OF HISTORICAL EVENTS AND PERSONALITIES AS SOURCES FOR ACADEMIC RESEARCH 
The site is The Museum of Leon Trotsky (Museo Casa Trotsky) situated in Mexico City. I paid the museum a visit in 2011. On the walls in one of the buildings photos of Leon Trotsky are shown. Leon Trotsky stayed in Norway from 1935 to 1936. He had many friends in Norway. One of the photos on the wall shows Leon Trotsky with family and Norwegian friends having a picnic party at the sea in the southern part of Norway in August 1936. The site is Stangnesholmen. No names of the persons are  put up close to the photo.  
During research work later on I discovered that the photo had been used to illustrate papers and books dealing with the life of Leon Trotsky making use of incorrect information about the site for the party and of the names of the persons on the photo.[9] The outdoor picnic party took place close to the sea and not in the mountains of Norway as one writer has written.[10]
The mistake made once was repeated by writers who wanted to make use of the famous photo.
During my private visit to the museum in Mexico City I bought a DVD about the life of Leon Trotsky in Mexico: “ Trotsky y Mexico: Dos revoluciones del Siglo XX “, direccion Adolfo Garcia Videla. 2007.
The photo has been used in the documentary without any information about the content of the photo. Besides, the photo has been made smaller. This means that an important friend of Leon Trotsky who is sitting in a chair has been cut out of the photo. His name is Olav Scheflo who was an important politician in the Norwegian Labour Party. The stay of Leon Trotsky in Norway was a matter  of political conflicts and debates. Editor Olav Scheflo and editor Konrad Knudsen supported the stay of Leon Trotsky in Norway.

From the left:Hilda Knudsen, Bjørn Hilt (in the background), Inge Scheflo, Natalia Sedova, Beret(Mosse) Scheflo, Trotsky, Kathinka (Thinka) Zahl, Martin Skjærseth(accounter in the newspaper Sørlandet), Konrad Knudsen, Botolf Flood-Engebretsen (Samorg-sekretær)and Olav Scheflo sitting in the chair.[11]

WHO WAS LEON TROTSKY AND WHAT WAS THE AIM OF HIS VISIT TO NORWAY IN 1935?
Leon Trotsky was born Lev Davidovich Bronstein on November 7, 1879. He was a Bolshevik revolutionary , Marxist theorist, an agitator, a leader in October Revolution of 1917 in Russia and later a commissar of foreign affairs and of war in Soviet Union. In 1929 he was removed from all positions of power and later exiled. When he came to Norway in 1935 the aim of his visit was not to advocate for better political relations between Norway and Soviet Union. On the contrary: He had been expelled from the Communist Party and deported from Soviet Union. In Norway he was a guest of Konrad Knudsen. The stay in Norway was not a nice experience for him. In 1936 he moved to Mexico where he was assassinated in 1940 after order from Josef Stalin.
The photo of the picnic close to sea in Norway has been used to illustrate normal relationship between Norway and Soviet Union in a newspaper article. The mistake is made once more due to the fact that the content of the photo has not been described in a correct way.[12]






CONCLUSION
The sources presented might give you a superficial impression that the matter is of no importance. What does it matter making use of wrong aircrafts describing historical events? An aircraft is an aircraft, and the viewer of the movie, the film or the television transmitted programme is not able to see the difference between the shots due to the speed of the moving pictures. Small, invisible- but important details have been highlighted in my paper aiming at making use of archival footage must be dealt with in a serious way. “ ...The Devil is in the details ...” -making use of cars, guns, aircrafts to describe an event known to many, must not be treated as realistic as possible. If the president of any nation is driving a car “ Ford” at an official parade, you have to get shots of a car “ Ford” for the documentary.  Above all: We see an increasing lack of respect and recognition of the sources selected from radio programmes, television programmes, movies among the researchers and producers of the documentaries. Selection of photos and archival footage means that you know what you are searching for. A practical recommendation is to study books where you find photos of the shots you want. “ Warbirds/Illustaded .Arms and armour Press. London “  is the title of a company published  books about aircrafts worldwide - a tool to be recommended for any researcher in the business of finding good sources for the film.[13]

Documentary filmmakers and journalists must take full responsibility for the information provided for the work regardless of medium. Information selected must be verified before releasing. The sources need to be identified clearly. Visual information, facts, photos and written documents should be treated as equal sources for the work of the documentary filmmakers for whom ethical behaviour is at the core of their projects. Facts or context including visual information used must not be distorted to create a story of interest for the audience and as a need for economic profit of the work.


























[1] Asbjørn Øksendal: Operasjon Weserubung. Vidkun Quisling og forspillet til 9.april 1940
[2] Cato Guhnfeldt: Fornebu 9.april. Wings Forlag A/S. Page 303-306
[3] Torkel Hovland: General Carl Gustav Fleischer. Storhet og fall. Forum-Aschehoug. 2000. Page 82-83
[4] Makten og Æren ( The Power and The Honour) .AS Videomaker. 2005. The documentary was transmitted by NRK in 2015.
[5] Max Manus, mannen og myten. Dokumentar. Prod.år.:1996
[6]Tedd Urnes: Media Archaeology: A critical approach to the policy of active reusing of archival footage in  audiovisual archives worldwide.  2010. Pages 23.
[7]Tedd Urnes: Audiovisual Archives: An Essay on the Policies of Access to Audiovisual Archives for Academics, Teachers, Researchers, and Students. IASA Journal, no 43, January 2014. Page 80 -88.



ADDITIONAL INFORMATION: THE STORY OF ARCHIVAL FOOTAGE OF A FAMOUS AMERICAN AIRCRAFT

The Untold History of the United States is documentary series directed, produced and above all: Narrated by Oliver Stone. The film is devoted to fostering critical thinking and debate about US foreign policy during the past few decades. The series contains no interview subjects. The introduction to and the conclusion of the series are made by Oliver Stone himself. Each episode consists of archival material: Stock shots, photographs, video and audio recordings, computer generated maps, diagrams, and clips from fictional movies. Oliver Stone has used clips from about 60 fictional movies and television shows in the documentary about the history of United States. Archival footage shows American dive-bombers, Douglas SBN Dauntless, in action.

Pearl Harbour is attacked in 1941 by American aircrafts?

The listed documentaries and movie have used the same archival footage as  the series about the history of United States produced by Oliver Stone: “ From here to Eternity” (movie), “ The Century of Warfare “ , “ SEMPER FI: The United States Marines in World War II” and “ Days that shock the World. Attack on Pearl Harbour “. The American dive-bombers , Douglas SBN Dauntless, are seen in action in all mentioned productions.

Documentary filmmakers must verify information before the final releasing of the film because -as mentioned- " The Devil is in the details". The correct use of sources is important for the content of
any audiovisual archives worldwide.

Tedd Urnes
Teddview Audiovisual Archival Management (TAAM)
July 6, 2015



[8] The Untold History of the United States. Documentary by Oliver Stone.
[9]Joar Hoel Larsen: ”Gjentar historien seg? Fra Leo Trotskij i 1936 til Dalai Lama 2014”
[10] Modkraft.Dk-Progressiv portal
[11] Oddvar Høidal: Trotskij i Norge. Et sår som aldri gror. 2009. p. 224
[12] Klassekampen, 16.juni 2015: Tina Åmodt: Frykt og forventninger.
[13] Tedd Urnes: Television Archives: Content description of the collection of television archives. 2010.