Main contributors
Sarah Vandegeerde is a film archivist and a founding member of The Peeping Archivist. She started working as an Operation Specialist at the BFI National Archive in 2017 after completing a MA in Preservation and Presentation of the Moving Image from the University of Amsterdam. Her other interests include copyright and institutional politics.
Marina Butt is a founding member of The Peeping Archivist. In 2019, she joined the Danish Film Institute as a Digital Restoration and Mastering Technician. She holds an MA in Film Studies from The University of Sussex and an MA in the Preservation and Presentation of the Moving Image from The University of Amsterdam. She has worked on film archiving and restoration projects at the EYE Filmmuseum (NL), the USC Hugh M. Hefner Moving Image Archive (USA) and L’Immagine Ritrovata (IT). Special interests include silent cinema and early film apparatus, small gauge collections and digitisation workflows.
Britt Patterson is a senior contributor of the Peeping Archivist and a 2016 alumna of the P&P MA program at the University of Amsterdam. She has two years of collective experience with the Collections Management and Digital Access departments at EYE (NL) and in digital restoration at L’Immagine Ritrovata (IT). Currently she is collaborating part-time on various cataloguing and scanning projects with the Home Movies Archive in Bologna. Her primary research interests include found footage film and early film colour. She also has a BA in Visual Anthropology and a pre-professional certificate in Museum Management.
Guest contributors
Kristina Tarasova is a moving image archivist working in the Curatorial department at the BFI. She edits the film website Reeling The Real, and her current interests include video essays, fair use, and machinima.
Twitter: @KrisTarasova
Tania L. Espinal is a Restorer/Conservator of films and visual documents. She currently works on the inspection and digitisation of small-gauge formats at the Cineteca Nacional, Mexico. She is also an organiser of Home Movie Day Mexico.
Aleksas Gilaitis is a freelance film archivist and curator. His expertise lies in the long-term conservation and management of nitrate film collections. In recent years he has worked at the EYE Filmmuseum in Amsterdam; the Ltd “Lithuanian Cinema” in Vilnius and the Jugoslovenska Kinoteka in Belgrade. He is also the founder and head curator of the archival film festival “First Wave” in Vilnius.
Bill Kinder is a filmmaker who writes about film. His perspective is as broad as his experience, which spans documentary, animation, and live action; analog video, digital cinema, and celluloid from Super8 to IMAX. Based in Berkeley, California. More at www.boxpix.co
Diego Cavallotti (1983) is a post-doc researcher and professor of Audio-visual Media Semiotics and Restoration and Digital Archiving for Films and Videos at University of Udine. He is a member of the steering committee of Gorizia MAGIS Spring School and co-founder of the Media Archaeology Section. Since 2017 he is one of the coordinators of Udine-Gorizia International Film Studies Conference and the director of the film section at La Camera Ottica – Film and Video Restoration.
Contributors write for The Peeping Archivist in their personal capacity. The views they express are their own and do not reflect those of the institution(s) they may be associated with.