UCLA is at the forefront of educating and training the next generation of audiovisual archivists.

Over the past two decades, the technical and cultural challenges to preserving our moving image heritage have steadily increased. UCLA plays a key part in meeting those challenges–not only through the outstanding preservation and research conducted by the UCLA Film and Television Archive, but also by training the emerging generation of information professionals to anticipate, manage, and solve the preservation problems of audiovisual media.

Established in 2002, UCLA’s Moving Image Archive Studies (MIAS) MA degree program is the first degree-granting graduate program in North America to offer specialized training in audiovisual preservation. In a reflection of the highly interdisciplinary nature of the media preservation field, MIAS is jointly sponsored by UCLA’s Film and Television Archive, Department of Information Studies and Department of Film, Television and Digital Media.

MIAS is an intensive two-year course of study consisting of specialized seminars, directed studies, an extensive practicum program, workshops, screenings, guest lectures and technical demonstrations. In order to meet the increasing demands upon archival preservation and access that come with rapid technological change and the dramatic expansion of media types, MIAS’s principal goal is to ensure that each generation of moving image archivists can learn from the past and lead in the future.

Beyond the Classroom.

MIAS links theory with practice. The MIAS practicum program supports hands-on training opportunities at archives, libraries and laboratories in the Los Angeles area as well as at UCLA’s own Film and Television Archive. Its graduate seminars encompass the aesthetics and history of film and television, preservation and restoration philosophy, access and programming for the public, collection management, cataloging and documentation. The unique combination of UCLA faculty, award-winning preservationists, technical experts and archival specialists who are at the core of our program keeps MIAS at the very cutting edge of archival education.

AMIA 2015 Double Session on Education and Core Competencies


Part 1: Taking Stock – Archival Education in Transition

The full text (minus personal contact info for speakers) of our proposal submission on A/V archiving education programs for the 2015 AMIA conference follows. We hope this information will be of value to potential attendees of this session, and as an example of a successful conference session proposal for students and others who are submitting for future conferences.

Chair/Proposer: Snowden Becker, UCLA

Panelist #1: Jeffrey L. Stoiber, George Eastman House/L. Jeffrey Selznick School of Film Preservation

Panelist #2: Howard Besser, NYU

Panelist #3: Eric Rosenzweig, FAMU

Panelist #4: Madeline Bates, Creative Skillset/FOCAL International

Panelist #5: Marijke de Valck, UvA (via Skype)


New audiovisual archiving and preservation programs launching this year in London, Prague, and Potsdam, and significant changes taking place in some of the longest-running degree programs in this field, signal that it’s time to take stock of the state of professional education in audiovisual preservation and archiving. Representatives from new and established programs will provide comprehensive updates on their successes (and frustrations) to date, as well as their current status, philosophical approaches, and future plans.

Program Description:

As the field of audiovisual archiving and preservation matures, and as the tools and technologies we rely upon in our work evolve, the education programs providing gateways to this profession are also changing to keep pace. Some of these changes are structural, such as the expansion of the Selznick School’s one-year certificate program into an optional two-year MA degree; some involve new pedagogical approaches and business models, such as the new funded apprenticeships launched this year by Creative Skillset and FOCAL International. All programs, are engaging along with the rest of the field with the significant challenges posed by digital production, distribution, and access for audiovisual media, and incorporating digital tools and technologies into their curricula in different ways.

This panel will bring together representatives from both long-established and brand-new education programs seeking to meet employers’ needs, anticipate cultural and technological trends, and effectively transmit the growing base of knowledge generated by audiovisual preservation practitioners and archival scholars. A comparative overview of the represented programs’ key features will introduce and provide background for each speaker’s discussion of changes their programs have already undergone—or anticipate will take place in the near future—and provide a state-of-the-field snapshot for teachers, learners, employers, and a broad range of other stakeholders.

Note: While time will be allotted for Q&A, this panel is designed to lead into a companion session on core competencies for audiovisual archivists and future directions for the field. All speakers will convene at the end of the second session for an extended town-hall discussion period on education for A/V preservation and archiving.


While a growing percentage of people entering the field in the last two decades have specialized training in audiovisual archiving and preservation, there are still many colleagues who have little sense of what the various degree and certificate programs cover, what their relative strengths and differences are, and what goals they have for their graduates as new contributors to the profession. This session seeks, first and foremost, to acquaint the broadest possible cross-section of the membership with how each of the existing programs works to educate and prepare the next generation of moving image archiving and preservation professionals. Those new to the field and considering options for obtaining professional credentials will find the comprehensive overview of the different programs enlightening, but senior colleagues who teach about A/V archives and preservation in non-specialized degree programs, mentor emerging professionals, or seek to employ program graduates will find this discussion of particular interest as well.


Those attending this session should receive a clear understanding of new and established programs’ varied approaches to A/V preservation and archiving education, the represented programs’ salient features, and the goals and visions of those working to prepare the next generation of audiovisual archivists through formal training.