María Ángeles López-Hernández

La selección documental de fotografías de prensa

Our objective has been to find out the most appropriate selective criterions to apply to press photos. To achieve it, we have firstly collected and filtered the selective criterions recommended by many consulted authors, in order to propose a method based on seven selective criterions, which can be useful to the selectors of press photos. Secondly, we have tested our model of selection, using a corpus of 264 press photos removed from the Spanish newspapers El Pais and El Mundo , in order to explore its real applicability and the value, individual and collective, of each one of the applied selective criterions. The results point to a majority elimination of the analyzed press photos, due to factors like the little own production, the little originality, the little testimonial value or the lacking value for research.

Una propuesta metodológica de análisis documental de contenido para películas de no ficción en filmotecas

Film content analysis is a crucial archival task which has been forgotten in our country by film archives and the theorists in the field of moving image librarianship. While users can selectively retrieve moving images at the main Spanish TV archives, the satisfaction of this informative need is not possible at Spanish film archives, due in part to the lack of analytical proposals. To fill this void, we are sketching a film content analysis methodology, both globally and scene by scene, for non-fiction movies, as a result of collecting the different contributions by the Spanish theorists during the last decades. We are also applying the methodology to the documentary movie 200 Km. (Group Discusion 14, 2003) and valuing the usefulness and effectiveness of our method, according to the obtained results.

La Documentación Fílmica: marco contextual histórico

La consideracion que se ha tenido sobre los documentos filmicos ha evolucionado a lo largo de los casi ciento veinte anos de historia del cine, pasando estos de ser considerados mera mercancia que una vez usada podia desecharse a considerarse parte de un patrimonio documental, cultural e historico cuya preservacion tendra una importancia vital como memoria de la Humanidad para las futuras generaciones. En este dificultoso camino, que recorreremos en el presente articulo, algunas personas (cinefilos amantes del cine, coleccionistas, productores y otros profesionales del cine y de los archivos) reivindicaron ese valor documental, trabajando y proponiendo proyectos concretos hasta lograr que se creasen filmotecas publicas y la Federacion Internacional de Archivos Filmicos (FIAF) que aun hoy las coordina, asi como que los organismos publicos reconociesen oficialmente dicho valor a partir de 1980. Recordando sus reivindicaciones, preocupaciones y proyectos, queremos rendir un necesario homenaje con la presente investigacion a todas estas personas, en un momento oportuno de grandes recortes economicos a las filmotecas por parte de los gobiernos, para que aquellos esfuerzos no caigan en un peligroso olvido que nos haga volver a presenciar una nueva oleada de destruccion masiva del patrimonio cinematografico, similar a las sufridas a comienzos de los anos veinte, treinta y cincuenta del siglo XX.

Una perspectiva histórica del análisis documental de contenido fílmico

We are doing a descriptive timeline, from the origin of film until now, of the attention paid to the important task of content analysis, in the concrete case of films, by researchers, film archives and the main organizations which are responsible for the making of the international cataloguing and metadata standards for film archives: International Federation of Film Archives and European Committee of Standardization. We confirm and analyze the minor role of this task, its historical deficiencies, as well as their effect on the current possibilities of searching and retrieval of moving images by film archives´ users.