Interview with Andrea Kalas
Publicity still from the John Huston movie The Unforgiven (1960) featuring Audrey Hepburn and Burt Lancaster.
Our Interview column features Andrea Kalas, Director of Paramount Archives and President of the Association of Moving Image Archivists.
Questions by Alyssa Loera
How did you happen upon 'Moving Image Archivist' as a profession?
I first heard about the concept of film preservation when I heard about Robert Gitt, who is arguably the most important single pioneer in the field of film restoration, working on Orson Welles’ MacBeth. I was intrigued. At the time I was studying film history as an undergrad. When I got into UCLA for my masters, the film and television archive was already an interest to me because of history and Bob Gitt. I was so thrilled when I got a part time job working at the Archive as a graduate student.
Film and Television are such a young medium compared to some other art forms, yet vastly susceptible to deterioration. What are some of the prevalent challenges facing the preservation of these materials today, and what do you think will be important in the future?
Just as we really get a handle on film conservation and videotape conservation, which we have through both scientific study and proven best practices, moving images start to get created digitally and we must face these issues. But because it is a younger art form we are much better poised to take on these complex issues—we are used to challenging technical issues which change constantly—we are used to a format that is only around for a few years—it’s a great place for all sorts of conservationists to come to learn about digital.
How are Moving Image Archivists taking on the challenge of mixed media art?
We have members who are from many institutions, including museums and galleries who face the conservation challenges of pieces that include moving images. Their approaches may vary slightly from an archivist from a different kind of institution, but the underlying best practices are often very similar.
How do you personally keep up with changing technologies?
I read, I talk to my 12 year old niece, I make sure to hire great people who can teach me things, but mostly the professional organization the Association of Moving Image Archivists (AMIA) is the key place for the technology that is most important to our field emerges through conferences, committees, ongoing projects. It’s a group of very intelligent and generous people who share their wide-breadth of knowledge.
What can a large organization like AMIA offer smaller organizations? i.e. single person operations, poorly funded institutions.
AMIA is relatively small itself if compared to say the American Library Association or the Society of American Archivists—but our small size has never stopped us from recognizing our commitment to archivists from all stages of our careers and from all sorts of organizations. Our membership fee is low, we have a sliding scale for events participation, we offer travel grants to those with limited funds; scholarships to students entering our field.
AMIA offers various awards and scholarships, why are those kinds of resources necessary in the world of moving images? What is the intention behind these awards?
The absolute goal of the scholarships was to encourage programs in moving image archive educations. When they started, none existed—now there are 4 or 5 programs that are really healthy now. The awards are to bring public recognition to the contributions of our members.
Photo of Anna May Wong is from 1932, held by the Library of Congress.
"I personally want more people to know about the critical need for moving image archivists across a wide variety of organizations—from entertainment companies to social justice to police departments to universities to corporate archives—all sorts of moving images need archivists."
Why does this field need leadership?
The job I have as President of AMIA is to represent the moving image archivists who have elected to join a like-minded group for a reason—they may want to learn and grow; they may want to make sure they are using the latest best practices in their work; they may want to make sure they keep relationships fresh with those they collaborate with (archivists need each other, we often hold each other’s stuff). But they joined a community that needs representation, advocacy, outreach. I personally want more people to know about the critical need for moving image archivists across a wide variety of organizations—from entertainment companies to social justice to police departments to universities to corporate archives—all sorts of moving images need archivists. I want to raise the profile of our members so others see just how complex our skills are and how valuable we are to any organization. I’d like to see the members of our field get paid what they are worth—which is sadly often not the case now.
What are the main priorities of AMIA over the next five years?
We have recently adopted a statement and a strong dedication to diversity, inclusion and equity. We feel this is the essential foundation for our growth—because we want more members, more films saved, more people knowing about why moving image archiving is important, more attendees at our events, more people appreciating the amazingly rich culture and history of the moving image.
Does the organization have any upcoming pet projects?
Our members are amazing innovators—they have organized a couple of things I’m really trying to grow—Community Archive Workshop and Hack Day. The Community Archive Workshop helps communities around the world learn the basics of archiving for moving image materials that are seriously at risk due to disaster or just lack of resources. Hack Day is a massively helpful problem-solving environment coming out of our open source committee.
What does being president of this kind of organization entail?
Most of what I do is listen—listen to the members, listen to the board members, listen to the administrative staff, listen to people who don’t know enough about moving image archivists. Then I try to summarize what I’ve heard on topics that help all the people I’ve listened to.
How do you balance your day job with leading an organization of this caliber?
Not very well!! I’m late getting this questionnaire back to you! My mother always said: “you don’t have time, you make time.” AMIA is important to me.
What is your personal mission in both of these areas?
I think moving images are the most powerful form of art made with some of the most complicated science there is. If everyone knew more about them they’d be better people in every way.
Publicity still from the 1919 film Jane Goes A-Wooing starring Vivian Martin and Niles Welch.
Andrea Kalas is currently serving as President of the Association of Moving Image Archivists, a professional organization dedicated to preserving and making discoverable moving images on film, video, and file. She is also experienced in these areas having worked as Vice President of Archives at Paramount Pictures; Head of Preservation at the British Film Institute, Digital Studio Director for Discovery Communications, Archivist for Dreamworks SKG and preservationist and research database expert at UCLA Film and Television Archive.
Alyssa Loera is certified in Digital Content Management and holds an MLIS from University of North Texas with a focus on archives and digital imaging. During her undergraduate career at UCLA she minored in Film and Television studies. She currently works with UCLA Library’s Imaging Services unit where she helps coordinate digitization projects, mostly of special collections materials. Follow her on Twitter @_AVLoera_
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