Issue link: https://digital.copcomm.com/i/942009
37 Q1 2018 / CINEMONTAGE In 2014, Heim himself donated some classic film editing equipment he had collected over the years, including a Westrex 70mm hot splicer and a 1910-vintage Edison splicer — "the first piece of old equipment I ever bought," he points out. "All of these things are treasures; they are undervalued and becoming rare." The Archive also has a wall of vintage film books, mostly contributed by Heim and Jack Tucker, ACE. For the opening of the archive space, Joel Marshall of the Atomic Film Company editing supply house loaned the Guild an editing film bench with early 1930s rewinds that Anne V. Coates, ACE, was seen using in her cameo as an editor in Martin Scorsese's The Aviator (2004), set in that decade. Also, Rhythm and Hues visual effects editor/editorial manager Josh Margolies donated a KEM table and the film benches that Holley had used while working there. Coming soon to the physical archive are donations from Universal Studios of film trim boxes, cores and film leader. While the Guild Archive grew, Holley's work with the Academy on "Cut to the Chase" led to a larger collaborative undertaking involving the Legacy Collection. Haberkamp also oversees AMPAS' long- running Oral History Projects, and the Academy has begun to work with other industry organizations to do oral histories representing its 17 different craft branches. Late in 2012, the Academy hired Teague Schneiter (who had been visual history archivist for the Directors Guild of America) as senior manager of Oral History Projects to manage all of the Academy's oral history activities and to bring more structure and consistency to the proposed collaboration among film organizations. Initiating the Academy Visual History Program, Schneiter and Haberkamp began leading an effort to determine the preservation and access needs for a larger collection of filmmaker interviews. Haberkamp tells CineMontage, "There's nothing I do about editing at the Academy without calling Sharon," and Holley was asked to represent the Editors Guild Archive in helping establish a formal alliance of like-minded film organizations. With a planning grant from the National Endowment for the Humanities, the alliance for Moving Image Craft Documentation was chartered in 2015 to encourage the use of the oral history method. AMPAS' Schneiter says, "It's a wonderful group of people who share the goal of documenting industry history from the perspective of those who made the history." Schneiter was elected chair, with Holley one of three co-vice chairs with Jenni Matz of the Television Academy Foundation and Patrick Russ of the Film Music Foundation. Rosemarie Knopka of the Art Directors Guild was elected Secretary. Eight industry organizations are now members. In October 2016, the alliance officers attended the annual national meeting of the Oral History Association to present their plan for developing standards and practices for a digital workflow for the preservation of visual oral history documents — standards and practices applicable to oral history documentation in a wide range of businesses and professions. As technology continues changing, Holley feels that the Academy is best equipped to transfer the Guild's Legacy Collection to the new media so that the interviews can be safely and easily accessible. She looks forward to making the Guild Archive interactive and for members to have access to the interviews. "It's for our future members," she asserts. Over the past year, she has worked closely with former Academy oral history archivist Jade Takahashi to provide information about the Legacy Collection during the inventory process. The collection is now catalogued, digitally preserved and stored in the climate-controlled Academy Film Archive vaults. Takahashi notes that, of the collections of interviews shared with AMPAS thus far, "The Guild's collection is among the best organized." In December 2017, the MICD alliance held its quarterly meeting at the Guild offices and afterwards visited the new Guild Archive exhibit. A founding alliance member while director of the Writers Guild Foundation Library and Archive, Joanne Lammers — now head of Core Collection Reference Files at the Academy's Margaret Herrick Library — admits, "I teared up when I saw the exhibit." She continues: "This archive reflects a collaborative art and CONTINUED ON PAGE 65