National Film and Sound Archive of Australia Enterprise Agreement

As one of our strategic priorities is to be the national leader in the collection, preservation and sharing of multimedia content and new media, we announced in September 2019 that we will begin the process of collecting and preserving Australian video games. We have also initiated an Australian first: the coding and preservation of audiovisual material on synthetic DNA. NFSA is constantly innovating and looking for solutions and technologies that could revolutionize the way we store our collection. At the end of 2019-2020, NFSA was the very successful recipient of an additional $5.5 million in funding over four years. This funding will allow us to digitize all of our compromised audio and video data on magnetic tapes in time for the 2025 deadline according to the highest international archiving standards. This will be an important goal for us in 2020-2021. Arc Cinema continues to host a variety of film festivals, including the Canberra International Film Festival, the Czech and Slovak Film Festival, and the Japanese Classic Film Festival. By extracting and analyzing our data and metadata, the team provides information about the collection and supports our strategic priorities. Our data integrity policies enable us to comply with international archiving standards; Ensure consistency, accuracy and transparency regarding our collection description tools; and ensuring that we can work with industry partners at the highest level. On the 30th. In June 2020, the Minister of Communications, Cyber Security and the Arts, MP Paul Fletcher, announced that we will receive $5.5 million over four years to support the digitization of endangered collectible material. This additional funding will allow us to modernize our existing operations to digitize at scale and digitize our compromised audio and video magnetic tapes to the highest international archiving standards in time for the 2025 deadline. We will significantly revise the 2020-2025 collections digitization plan in July 2020 to reflect this additional funding.

As Australia`s only national audiovisual archive, NFSA is uniquely positioned to lead the GLAM (galleries, libraries, archives and museums) sector in the collection, preservation, conservation and dissemination of audiovisual heritage. Babyteeth (Shannon Murphy, 2019), Miss Fisher and the Crypt of Tears (Tony Tilse, 2020) and The King (David Michã`d, 2019); Documentaries Koko: A Red Dog Story (Aaron McCann and Dominic Pearce, 2019) and Suzi Q (Liam Firmager, 2019); and the short film All These Creatures (Charles Williams, 2018). Infrastructure that allows us to archive files with an increased capacity of about 400%. We launch the Arc Out Loud interactive film screening series with a sold-out event for the Rocky Horror Picture Show (1975) on August 23. CEO Jan MÃ1/4ller will speak about digital transformation and digital trust at the International Federation of Television Archives conference in Dubrovnik, Croatia, on October 23. 50th Annual Conference of the International Association of Sound and Audiovisual Archives, Hilversum, Netherlands, September 30 – October 3, 2019 I would like to sincerely thank Minister Fletcher for his strong support. We are also grateful for the valuable support of our colleagues in the Office of the Arts of the Ministry of Infrastructure, Transportation, Regional Development and Communications. A big thank you also to our NFSA ambassadors, friends and supporters from the film, music and broadcasting sectors, as well as to the many people from industry, government and cultural institutions who work so generously with us. Working on this first selection allows us to determine which components and documentation we need to collect to archive the creative process of a game, from concept to finished product. It will also identify challenges related to software and hardware obsolescence, long-term storage and access, proprietary rights and platforms to support our ongoing retention strategy. Our collection includes a unique selection of Indigenous Australian films and sound recordings.

In managing the collection, we are committed to adhering to ICIP best practices in processing that are owned, acquired or otherwise used by the NFSA or on which we rely. Results (Objectives), 9 Priority Strategic Outcomes Strategic Priority 1: Digitization of the National Audiovisual Collection, 18-21 OUR COLLECTION CSNA is the administrator of the national audiovisual collection. The collection represents the cultural diversity and breadth of experience of all Australians. Recorded sound and moving image are perhaps the most vivid forms of expression known to mankind. These technologies capture a “living” record of people, places and events – a record of who we are and have been and who we want to be. We believe that the collection is the most important and attractive place for encounters with our memories, stories, creativity and imagination. Dr. Jon-Paul Dyson is originally from Rochester, New York, where he directs the International Center for the History of Electronic Games and organizes exhibitions at the Strong National Museum of Play.

Other speakers included Bill Peck, Chief Technology Officer at Twist Bioscience (USA), Dr. Alain Dufaux of the Swiss Federal Institute of Technology, and David Anderson (Managing Director) and Rebecca Matthews (Head of Content Management) of ABC. .