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Library Journal and other review journals raved about the first edition of this now-standard guide. This new edition has been completely updated and expanded to include crucial new information on digital records, encoded archival description (EAD), copyright issues, post-9/11 security concerns, and international perspectives on these issues—content that makes this manual essential for archivists of all backgrounds. Setting up archives, appraisal and accessioning, acquisition strategies and policies, arrangement description, reference and access, preservation, and electronic records are just some of the topics covered in both theory and practice in this clear, comprehensive, and practical guide..
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In the modern era, the archive—official or personal—has become the most significant means by which historical knowledge and memory are collected, stored, and recovered The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive—no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself.

This volume surveys the full diversity of our transformed theoretical and critical notions of the archive—as idea and as physical presence—from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.

Copublished with Whitechapel Art Gallery, London.
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Along the Archival Grain examines the nature of colonial governance as seen through its archival habits and conventions, and in doing so offers a series of nuanced meditations on the nature of archives and the spirit with which students of empire should approach them. Focusing on the archives of the nineteenth-century Netherlands Indies, Ann Laura Stoler reveals not the panoptic gaze of an omniscient colonial state but rather the uncertain knowledge of those who governed, the disquieting unease that resulted when credibility was in question and evidence was suspect, and the anxious flux of colonial common sense when rumors proved more reliable than facts. Here the archives are not just a record of rule but an active force with violent effect.

Navigating familiar and extraordinary paths through the lettered lives of those who ruled, Stoler seizes on moments when ready narratives failed and prevailing categories no longer seemed to work. At the heart of this book are agents and architects of empire haunted by epistemic anxiety about how to assess political disse't and distinguish racial categories and social kinds. She asks not what colonial agents knew, but what happened when what they thought they knew they found they did not. Attending to hesitant, uncensored, and confused assessments and asides, Stoler offers a unique methodological and analytic opening to the affective registers of imperial governance and the political content of archival forms.

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With just a few select books to date, the British publisher (and design company) Fuel has already made a splash with its beautifully produced books on such ephemeral or popular arts as tattooing (Russian Criminal Tattoo Encyclopedia Volumes I and II), soccer programs (Match Day) and improvised domestic implements (Home-Made). Fuel's latest publication extends this visual anthropology to the Internet, specifically the blog BibliOdyssey. Across the world, libraries and institutions are only recently starting to make their collections available online, and the bulk of this amazing material goes unnoted by the casual surfer. BibliOdyssey's mission over the past two years has been to diligently trawl the dustier corners of the Internet and retrieve these materials for our attention. Thanks to the daily efforts of this singular blog, a myriad of long-forgotten imagery has now re-surfaced, from eighteenth-century anatomical and architectural drawing to occult and alchemical engravings and proto-Surrealist depictions of the horrors of industrialization (for example, the half-plant, half-people illustrations of J.J. Grandville). Each of the images is accompanied by commentary from "PK," author and curator of the BibliOdyssey blog. The book also provides details for each image and links to the source website. With a foreword by artist Dinos Chapman, BibliOdyssey is a true cabinet of curiosities and a journey in discovery and delight..
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Archival Storytelling is an essential, pragmatic guide to one of the most challenging issues facing filmmakers today: the use of images and music that belong to someone else. Where do producers go for affordable stills and footage? How do filmmakers evaluate the historical value of archival materials? What do vérité producers need to know when documenting a world filled with rights-protected images and sounds? How do filmmakers protect their own creative efforts from infringement?

Filled with advice and insight from filmmakers, archivists, film researchers, music supervisors, intellectual property experts, insurance executives and others, Archival Storytelling defines key terms-copyright, fair use, public domain, orphan works and more-and challenges filmmakers to become not only archival users but also archival and copyright activists, ensuring their ongoing ability as creators to draw on the cultural materials that surround them.

Features conversations with industry leaders including Patricia Aufderheide, Hubert Best, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and many others.

* Nearly all filmmakers, at some point in their careers, will want to use third-party materials, or will be asked to license their own work to someone else. This book will show you how to do it (and stay on-time and within budget)
* This book, by clarifying and defining such terms as fair use, copyright, intellectual property, and Creative Commons, can better prepare media makers to not only protect their own creative rights but to understand and respect those of others.
* Additional resources are available on the authors' website: http://www.archivalstorytelling.com.
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Focusing on what they call lying about spying the authors reveal how revisionist scholars have ignored or distorted documents from Russian archives that point to espionage links between Moscow and the CPUSA..
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Drawing on a wide range of writings from archivists, historians, librarians, and preservationists, Cox summarizes the past decade of discussion concerning practical methodologies of documenting localities..
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