Notes - Week 8

This week I have finished the content analysis for the following playlists of the 'ACMI Collection YouTube Channel:'

- Indigenous Men's Voices
- Lebanese Community Stories
- Vietnamese Men's Voices
- When Deaf Minds Travel
- WOW: Weird or Wonderful

I have also finished the previously unassigned videos on the spreadsheet 'ACMI Collection YouTube Channel,' and the master list.

YouTube Analysis Update #3

As I have begun on the exhibition promotional/expositional video content from the YouTube channel, I have run into the challenge of what countries to assign to the videos. Anything specific to a country of culture will obviously have that country/culture included. Things that are more globally targetted/produced will be tagged with 'Global', as has been done previously. However, as these are promos from exhibitions conducted in Australia at the ACMI site, I have decided that all will be tagged with Australia as a relevant country, as I don't think they should be separated from the context they were created in/conducted in. I'd appreciate any feedback.

Hugh

YouTube Analysis Update #2

Today I completed 89 YouTube vids from my assigned list, meaning that tomorrow I will easily be able to finish the ACMI collection channel vids, and can make a start on the ACMI general YouTube channel vids. I've been working on a great deal of home-movie footage that is silent, with a great deal having English titles/intertitles which, as I previously stated, I have been listing as English-language films. Film's with no visual or audible language are thus-far tagged with 'None'.

Films referencing multiple countries/cultures or in multiple languages are listed as Country 1/Country 2 or Language 1/Language 2. This may need some adjustments down the line.

YouTube Analysis

One note that has come out of the content analysis of the YouTube collection is that many videos, especially ones that are compilations of collection visuals, have no spoken language, but nonetheless have written language attached (in English). For these, I have been listing them as 'English' in the language section. The visuals of the footage I have seen so far in these compilations are all very Anglo/Euro-centric and (seemingly) have come from English-speaking countries of production (USA, UK, Aus etc.)

Missing (Country?)

Hi all,

As I'm writing a story on the 'China' results, it struck me to search 'Hong Kong', as it is a huge film-making industry, and it is sometimes subsumed under the title of 'China', and sometimes not. ACMI resources list Hong Kong as its own entity, as a place of production separate from China. It also has its own list of film attached to it thematically. I feel as though I should add Hong Kong to the list of 'Countries' in the spreadsheet. Thoughts? I feel as though categorising Hong Kong under China is potentially problematic, and it doesn't reflect ACMI's own categorisation.

Example of Story (For Review)

Of Iraq's 39 collection entries, the most frequently occuring year of production was 2001, close to but predating the US coallition invasion of Iraq by two years. Many of these films seem to reflect escalating Western awareness of instability in Iraq. Of the 7 2001-made 'Iraq' films in the collection, some significant entries are US-made documentary films about the Gulf War of the 90s and the disarming of Iraq, a UK-made documentary film about the Middle East's attitudes to the US in a post-9/11 climate, and a small number of Iranian-made films that are fictional narratives dealing with Iranian/Iraqi relations.

Country of creation correction

Small edit made to the country of production information that was given. 'India' had 490 films come up in general search, and 0 listed in the country of production data that was passed on, which surprised me. Upon looking up 'India' in country of production search, I came up with 154 results, which sounded more correct. I've made the correction on the spreadsheet, and am scanning for similar errors that may have occurred.

Early Cultural Content Mapping

I’ve been focusing on the initial task of using ACMI’s collection search engine in order to collate the number of films in the collection that relate in some way to each of the nations I’ve taken on (alphabetically, Afghanistan > Latvia). When I began this by searching by title, Afghanistan came up with 7 results. I then tried another type of search that is more generalised, and picks up on the search object ‘Afghanistan’ in titles, descriptions, synopses etc. This came up with 51 results, meaning that 44 titles that were not explicitly referring to Afghanistan, but dealt with the nation/culture thematically were being missed by the limited title search. From now on I’ll be using this method, unless problems arise.

Research Proposal Draft

I am particularly interested in contemporary fine art practices and the ways in which these are reflected in the ACMI collection. There are aspects of live performance that intersect with the ACMI collection that are particularly interesting to me. For example, Ex Nilalang, which "is a cumulative performance video project by Justin Shoulder and Bhenji Ra", which was designed to straddle performance and recorded video art spheres. Then, there are works such as Marina Abramovic's The Space in Between, which is accessible through the ACMI youtube channel, and was conceptualised as a live performance piece but is now being accessed through a video recording in a video-centric gallery.