Mindswap: The Female Eunuch Index Cards

By Rachel Buchanan, Curator, Germaine Greer Archive

The first card is written in a black Texta that has faded, 47 years on, to a bruised purple. In the top left-hand corner the young academic has written LINCOLN Abraham. Underneath it, the quote: “As I would not be a slave, so I would not be a master.”

On the last card the word Culture is written in capitals in red pen in the top left-hand corner. Underneath is a typed reference, LESSING, DORIS, Children of Violence.

Lincoln, Abraham index card
Master and slave: The first of Germaine Greer’s 551 index cards for The Female Eunuch is a handwritten quote from Abraham Lincoln. Germaine Greer Archive, University of Melbourne Archives, 2014.0039.0071

In between Lincoln and Lessing, there are 551 double-sided index cards in three solid bundles. The creator of the cards, Germaine Greer, has labelled the first one “early research for The Female Eunuch from drawer 42” and the other two “More research for The Female Eunuch from drawer 42”.

The cards are arranged as they were received by the University of Melbourne Archives in 2014. The system is anti-system. The order is neither alphabetical nor chronological. It is not based on subject, quotes or genre either. The Female Eunuch is broken into five idiosyncratic sections – Body, Soul, Love, Hate and Revolution – and each section is divided into sub-sections or chapters (wicked womb, energy, baby, womanpower, loathing and disgust are some of the 29 suggestive titles). Many cards reference sections or chapter headings. Some match references in the Notes section or the boxed quotes inserted in bold in the text but others are harder to place. Bullshit Action, Sexuality, Witchery-Soul, Soul-Corporate Feeling, Abstinence, Unisex and Obsession do not appear on the contents page.

The words that best apply to the arrangement and content of cards are the ones that Greer used herself in a typed summary presented 47 years ago to Sonny Mehta, the commissioning editor for MacGibbon and Kee (an imprint of Granada Publishing). According to Greer’s Warwick University diary, the pair met at Golden Square, Soho on 17 March 1969 and again a few weeks later. Saw Sonny. Gave him synopsis. Talked til 5am, reads the entry for 29 March.

At one of these meetings, Greer gave Mehta a 3-page typed synopsis that proposed a collection of essays on what it was like to be a woman in 1969. The project would be organic, experimental, sensational and outrageous. The language would be accurate, sensual and direct.

The typescript with emendations and additions in Greer’s hand has been published on the University of Melbourne’s library digital collections repository along with other early fragments of the book, including typescripts, chapter drafts and handwritten notes.

Now the index cards have been digitised and published too. You can find them by going to the University of Melbourne Archives website and typing the series number 2014.0039 into the “search digitised items” search box.

Material culture students Chloe Pagaduan and Emma Adams worked part-time for several months to catalogue each card. They scoured the pages of The Female Eunuch and its Notes section hunting for matches with the material on the index cards. They also researched incomplete sources and the specialities of some key authors. Their well-thumbed paperback copies of The Eunuch are dotted with sticky notes and dog ears, a testament to their meticulous volunteer labour.

Wicked Womb, front side
Many index cards, such as ‘The Wicked Womb’ are inscribed on both sides. This one contains Germaine Greer’s notes on Sylvia Plath, Greek philosophers and the work of 17th century bishop and satirist Joseph Hall. Germaine Greer collection, University of Melbourne Archives 2014.0039.0086

The index cards plot Greer’s anarchic reading and ideas offer scholars new insights into the extraordinarily eclectic scholarly, popular and counterculture sources behind The Female Eunuch (1970), one of the twentieth century’s most influential books.

“The cards are material evidence of the painstaking research Greer did and they provide an insight into her unique creative process,” Pagaduan says. “They are invaluable and irreplaceable.”

Along with carbon copies of typescripts and handwritten summaries of early versions of book, the articles Greer wrote for the underground press and her lecture notes from Warwick University, the index cards are witnesses to the explosion of radical ideas – historical and modern – that fuelled this book.

The cards are part of the complex backstory to The Eunuch and they need to be read carefully.

In response to a query from UMA, Greer has suggested that further investigation is needed into the timing of the creation of the index file. The first draft of the Female Eunuch may have been written without index cards. Could some of the cards have been created, collaboratively, in response to queries from the fact-checkers for McGraw Hill, the Female Eunuch’s first American publishers? This question raises the intriguing possibility that the cards were not only a way for Greer to organise her research but also became a tool to support publication and republication, deal with copyright permissions and provide source material for further writing, publicity and debate.

Were the cards created in stages, rather than in one continuous burst of pre-writing research? Certainly, the index cards in the first bundle – which are crammed with notes – are quite different documents from many in the last which comprise just an author’s name and book title.

The chronology for the creation of the cards still needs to be reconstructed in a scholarly way from other sources in the archive, such as correspondence with the book’s first English and American publishers and other bibliographical evidence, such as the call numbers scrawled on some cards. Which library or libraries do they match?

The Old View, index card
The old view – lower class cynic amoral: Germaine Greer got her PhD in 1968 from Cambridge University. Her thesis examined Shakespeare’s early comedies and this scholarship informed The Female Eunuch too. Germaine Greer archive, University of Melbourne Archives, 2014.0039.0173

What the cards clearly demonstrate is that Greer was reaching for an astonishing range of contemporary and historical sources and she was working very quickly in between many other commitments.

The Female Eunuch was published only 18 months after Greer first discussed it with Sonny Mehta. In that time, Greer was also a lecturer in English at Warwick University. She continued to write articles for OZ and other underground magazines and until May 1969 she spent two days a week in Manchester filming episodes of Granada TV’s Nice Time with Kenny Everett. She also wrote a proposal for a film called The Groupie.

The cards are not a product of scholarly contemplation. They carry the whiff of burnt rubber; they are evidence of speed, fervour, the reckless stunt. Energy still fizzes from them. As objects, they demand respect, inspire awe and invite contemplation of the labour (and paper) involved in pre-internet research methods, including flicking through drawers of card catalogues, browsing the shelves in libraries and handwriting or typing bibliographical information. There was no EndNote or Scrivener in 1969.

The cards’ dimensions (a standard 230mm by 127mm) are the only thing that is uniform about them. Some are yellow, some white, a few are blue or pale pink. Some are typed, most are handwritten. Some are written in blue ink then more words are inserted in red and then there are notes on the notes, spidering up the margin in green. Phrases are circled in violet. Smoke Gets in Your Eyes. Song. Nat King Cole. A few scraps from Sylvia Plath climb towards a card’s right tip. Tiny little jottings on diseases of the vulva and vagina are dotted across another.

Most written are in English but one contains notes in Latin. Others are in German, Italian, French or old English. There are proverbs. A woman without ability is normal, said the Chinese. There are statistics. Phone numbers for friends. And lists. Breasts. Bubs (reference to drinking). Charlies. Blubber. Butter bixes, bags. Berkeveys (Gypsy). Cat heads. Diddies. Globes. Dugs. Milk walk, shop, milky way. Dumplings. Udder. Meat Market. Poont. Titties. Bristols. Boobs. Other lists contain language that is more X-rated, poetic and enraged. The text on these free-association, rant cards can be read aloud as spoken word. The list of synonyms for cunt is particularly fruity.

Some cards are blank but for a title that has been struck out anyway. Humour exists in many of the cards, even in the empty ones. Card 163 is labelled Rebellion. There’s nothing on either side. Ditto for Marriage and Family.

Greer’s knack for succinct decimation is display in card 94, a reference to Kenneth Walker’s Sexual Behaviour Creative and Destructive (1996). Arrant nonsense all of it. Can’t be bothered. Card 168, on The Single Woman (1934) by R L Dickinson and Lura Beam, Greer writes: Awful, awful book … whole book a chamber of horrors! Card 84 fries E Neumann’s work as collective unconscious nonsense.

Although Greer’s research was not for a PhD thesis (she was awarded hers in 1968 and those index cards are also in the Greer Archive) these two acerbic Eunuch cards are examples of what Italian novelist and philosopher Umberto Eco calls the “disposal index card”. These ones remind a writer that they do not need a particular source.

Eco was something of an index card expert. In How to Write a Thesis (1977) he discusses 13 different types, including the disposal index cards, the polemical index card, the review one, the thematic one and the tantalising “mindswap” (the card created via an exchange of information with another student).

MIT Press published a new edition of Eco’s book in 2015 and the chapter on “the work plan and the index cards” evokes nostalgia for this simple, flexible and once ubiquitous method of ordering, reordering and synthesising your research and your thoughts.

Botanist Carl Linnaeus, best known for his system of classifying plants and animals, invented the index card in about 1760. By the end of the eighteenth century, scientists, librarians and administrators were all using them to record and store information. Library card catalogues, using the Dewey decimal system, arrived in 1870.

Index cards can be shuffled, filed, flipped or laid flat like a hand of patience (or memory). They can be re-ordered as often as a researcher likes, allowing ideas to find new companions in the stack. It is a radically open system of storing ideas.

Writing in the American art journal October (2005) Professor Denis Holler of New York University describes the index card as a filing system that is “indefinitely expandable, rhizomatic (at any point of time or space, one can always insert a new card)”. Unlike the pages of a book or notebook, an index card file can be permanently reordered. Semiotician Roland Barthes was a devotee as was surrealist Michel Leiris a generation earlier. Barthes’ archive contains 12,250 index cards.

Novelist Vladimir Nabokov wrote Lolita, Pale Fire and other novels in pencil, on index cards. He copied, expanded and rearranged the cards to make his books. “The pattern of the thing precedes the thing,” he told Herbert Gold of The Paris Review in 1967. “I fill in the gaps of the crossword at any spot I happen to choose. These bits I write on index cards until the novel is done.”

Nabokov’s last novel The Original of Laura existed only as a “handwritten melange of notes on 138 index cards”, according to Alexander Theroux (2013). Nabokov died in 1977 and his wife Vera in 1991. The writer told Vera to burn the cards but she locked them in a Swiss bank vault instead. In 2009, the writer’s son Dmitri allowed Knopf and Penguin to publish the unfinished novel, complete with duplicates of the cards that readers could tear out and reshuffle.

Breasts index card
Some of the index cards, such as this list of slang terms for breasts, are like spoken word poetry. Read it aloud and see. Germaine Greer archive, University of Melbourne Archives, 2014.0039.0349

Greer’s index cards encompass the scholarly, creative, library, scientific and administrative purposes that these objects have been put to plus a few new groovy late 1960s ones. Is there any other collection of secular index cards that uses the word Soul more often?

She has created them for many of her books; the entire index card collection occupies 11 heavy oblong boxes at the University of Melbourne Archives. The first lot was made around 1968 – the references for Greer’s reading for her doctorate on early Shakespearean comedy – and the most recent are the cards for Shakespeare’s Wife (2007). The index cards on women painters and artists comprises thousands of cards packed into five boxes; a monumental act of feminist bibliographic research in and of itself.

The Female Eunuch cards have a box to themselves (7) and they only occupy half of it. They are literary artefacts in their own right. Reading them is like eavesdropping on the late 1960s counterculture. The text on the cards is exciting, unsettling, anarchic, rude, radical and occasionally ludicrous. Jung, nineteenth century sexologists, contemporary dating manuals are all mixed up together. Card 30 cites AW Watts Man and Woman (1958) on the front, and then quotes Freud. On the back Greer has handwritten a passage from Lao-Tzu’s Tao de Ching.

Card 9 has a typed reference to FREUD Sigmund and notes on his Introductory Lectures in Psycho analysis (1922). The card’s title, in red felt tip, is Psychology – Love – see over. Beneath the typed title, Greer breaks into a loose cursive handwriting. Male + female dream symbols. Smooth house sticks umbrellas, poles, knives, daggers, lances, sabres, guns, pistols, revolvers, taps, watering cans, springs, pulley, lamps, pencils – sheath, nail files, hammer etc, balloons, aeroplanes, zeppelins flying = erection. Beneath a quote from Freud is another list. Wood, paper, churches, chapels, apples, peaches, fruit, sexual organs – landscape, shoes, slippers…

It’s one of the many wild cards in this feral pack.

Displays of friendship

Recent viewing of early German prints in the Prints and Drawings Department of the British Museum has enabled the identification of a print in the Marion and David Adams Collection which was gifted to the Library in 2011. The artist who can now be identified as Nuremberg designer Erhard Schön (1491 c. – 1542) is well-known for his satirical anticlerical allegories used by the Protestant reformers, and these were so controversial, that they were left unsigned.[1]

 

Erhard Schön, The Lament of True Friendship, (1530-35), woodcut, Gift of Marion and David Adams, 2011, Baillieu Library Print Collection, University of Melbourne.
Erhard Schön, The Lament of True Friendship, (1530-35), woodcut, Gift of Marion and David Adams, 2011, Baillieu Library Print Collection, University of Melbourne.

The Lament of True Friendship in the Baillieu Library Print Collection is an image from a Protestant Reformation poster allegorising the animosity between Catholics and Protestants. The interpretation of the unusual imagery of a woman speeding away in a boat drawn by chained swans while a hunter – with an imposingly large gun – looks on, had previously left everyone guessing. The woman in the boat is actually a personification of Friendship, exiting a setting where once Christians had been harmonious. The broadside is missing the poem beneath the image by the prolific writer Hans Sachs (1494 – 1576) who became an adherent to the teachings of Martin Luther.

Utagawa Kunisada I, Right panel from triptych "The second month," (1829-42), colour woodblock, Gift of Marion and David Adams, 2015, Baillieu Library Print Collection, University of Melbourne
Utagawa Kunisada I, Right panel from triptych “The second month,” (1829-42), colour woodblock, Gift of Marion and David Adams, 2015, Baillieu Library Print Collection, University of Melbourne.

In 2015 further works were generously donated to the Marion and David Adams Collection. The couple were both great friends to the University. The late Professor Marion Adams, a specialist in the field of German literature, was dean of arts from 1988 to 1993. Her husband, David Adams, graduated from the university as an engineer and later pursued his interest in ancient civilisations through an arts degree.

 

This recent donation includes several Japanese ukiyo-e woodblock prints, such as a section from the triptych, Events through the Year of Young Murasaki, a story from the famous The Tale of Genji. The artist, Utagawa Kunisada (1786-1864), published 76 bound booklets of his own reinvention of the 11th century tale which he titled A Rustic Genji (1829-42) which repopularised the story for an 18th century audience.

David Adams also assisted the Library to purchase a landscape drawing by the French artist Ignace Duvivier (1758-1832). The Marion and David Adams Collection offers many rich views into relationships across time and the globe, and presents further opportunities for research.

Ignace Duvivier, Castel Nuovo, pencil, watercolour, Purchased with the assistance of David Adams, 2015, Baillieu Library Print Collection, University of Melbourne.
Ignace Duvivier, Castel Nuovo, pencil, watercolour, Purchased with the assistance of David Adams, 2015, Baillieu Library Print Collection, University of Melbourne.

 

Kerrianne Stone (Curator, Prints)

 

[1] See the poster in the British Museum, Erhard Schön, Clagred der waren Freundschafft, woodcut, letterpress, hand coloured, 1530-1535, Bequeathed by Campbell Dodgson, 1949, reg. no. 1949,0411.4061, the British Museum.

[2] See Genji’s world in Japanese woodblock prints by Andreas Marks with contributions by Bruce A. Coats … [et al.]., Leiden, 2012.

Australian Flora – Eucalypts in focus

On the 26th of January each year, new Australian citizens are given native saplings during Citizenship ceremonies around the country. Many of these saplings will be from the Eucalyptus genus.

With over 700 species mostly native to Australia, Eucalyptus is a diverse genus of flowering trees and shrubs in the myrtle family, Myrtaceae. ‘Eucalyptus’ is a combination of Greek words meaning ‘well covered’, in reference to the cap which initially covers the flower. The name was first published in 1788, the year of English colonisation, although eucalypts had been used for centuries by Indigenous Australians in the making of tools, weapons, musical instruments, canoes, and for medicinal purposes.

In 2009 UMA received a donation of 138 glass plate negatives of eucalyptus specimens which were used, in colourised form, in Wilfrid Grimwade’s 1920 publication An Anthography of the Eucalypts.

Eucalyptus Dives, 1919, University of Melbourne Archives, Sir Wilfrid Russell Grimwade Collection, 2009.0030, GPNC216
Eucalyptus Dives, 1919, University of Melbourne Archives, Sir Wilfrid Russell Grimwade Collection, 2009.0030, GPNC216

Graduating in Science from the University of Melbourne in 1901, Wilfrid Russell Grimwade entered the family chemical firm Felton Grimwade & Co. as director of the new research laboratory.  An innovator, he pioneered large scale oxygen production in Australia and experimented with the extraction of oils and compounds from indigenous plants.

Working in a range of business ventures Grimwade also travelled the country extensively, also working on the development of a significant garden at his property ‘Miegunyah’. Publishing An Anthography of the Eucalypts, a survey illustrated with his own photographs, was the continuance of a life-long passion for plants, and signalled his commitment to the conservation of forests in Australia.  Roles as office-bearer of the Australian Forest League and contributor to its journal Gum Nut, as well as support of the Australian Forestry School and the forest products division of the Council for Scientific and Industrial Research, cemented Grimwade as a key figure in the conservation movement in Australia.

To celebrate the landscape this Australia Day, UMA spotlights a sample of Grimwade’s glass plate negatives. A larger selection of the colour tinted images used in  An Anthography of the Eucalypts can be viewed via the Digitised Items Catalogue (http://gallery.its.unimelb.edu.au/umblumaic/imu.php?request=search) using the search term “euc”.

Two of the colour tinted images from this collection are featured in the recently published book Miegunyah, the Bequests of Russell and Mab Grimwade by John Poynter and Benjamin Thomas, Miegunyah Press, 2015.  The publication encompasses numerous images and sources from the Sir Wilfred Russell Grimwade Collection at UMA along with many more of the University’s Cultural Collections bequeathed by the Grimwades’.

 

Mrs Pankhurst, her daughter and the Prime Minister: the suffragettes and the Great War

The recently released movie Suffragette has introduced a new audience to the extraordinary history of the movement for women’s suffrage in the United Kingdom, in particular its militant wing represented by Emmeline Pankhurst’s Women’s Social and Political Union (WSPU). The movie ends before the declaration of the First World War, but the war was to split the movement and its famous protagonists, in particular the Pankhurst family.

The depth of this rift is revealed in a recently discovered telegram from Emmeline Pankhurst to Australia’s Prime Minister Billy Hughes, dated 8 March 1917. In this telegram, Emmeline Pankhurst denounces her famous daughter Adela for her opposition to the war and her activities in the anti-conscription campaigns in Australia. 

Emmeline Pankhurst to Billy Hughes
Telegram from Emmeline Pankhurst to Billy Hughes, 8 March 1917. Percival Deane collection 1976.0074 file 1/4/6, University of Melbourne Archives

Continue reading “Mrs Pankhurst, her daughter and the Prime Minister: the suffragettes and the Great War” →

Audiovisual collections at University of Melbourne Archives

Emma Hyde

Steenbeck
16mm Steenbeck Machine (ST1901).

Emma Hyde began working at the University of Melbourne Archives (UMA) in 2012 as the Audiovisual Archivist in a project supported by the Miegunyah Fund to appraise UMA’s vast and uncatalogued audiovisual material. As the project is nearing completion, Emma is also heading off on maternity leave and we want to take the opportunity to wish her the best of luck and thank her for her work. Her knowledge of audiovisual archiving, her enthusiasm for the collection and fortitude in the face of a seemingly ever-expanding project scope has been of enormous benefit to UMA and her colleagues.

 

 

University of Melbourne Archives audiovisual collection is a rich resource spanning over 50 years of collecting and represents many of UMA’s core collecting strengths. The collection, amounting to over 11,000 physical items, contains both professional and amateur content, produced on over 30 AV formats (film, magnetic, acoustic and optical media). UMA’s holdings are testament to rapidly changing audiovisual technologies across the 19th, 20th and 21st centuries. Highlights of the collection include the 35mm film fragments ‘Horseshoeing’ (1893) & ‘Eugen Sandow’ (1894) belonging to Thomas Edison’s assistant, W. K. Laurie Dickson, which is almost certainly the earliest examples of moving image technology known to exist in Australia. Other treasures are an early zinc-coated ‘Echo Disc’ voice recording of Alfred P. Derham (c.1916), home movie footage from Jimmy Watson and Sir Laurence Hartnett (1920s–40s); 16mm release prints and outtakes from the Repco Ltd & CRA Ltd (Rio Tinto) collections (1950s–80s); and U-matic video recordings of staff training from Fletcher Jones & Staff Pty Ltd. (1970–80s). UMA also holds many items from the University’s own film & video production unit, first known as the Audiovisual Aids Department in the late 1940s to its current incarnation as the Video & Media Production Unit with Learning Environments.

 

A major strength of UMA’s audiovisual collection is audio material, with close to 7,000 items produced on cassette tape, 1/4” Reel to Reel and a smaller number of acoustic disc recordings. Many of these items are unique and represent university life and activities, such as a series of interviews with prominent university staff from the History of the University Unit and the University Assembly recordings of elected staff and students at meetings and workshops spanning 15 years of campus life. Other notable areas of the collection represent feminist and peace movement activities (Alma Morton, Sam Goldbloom and Peace Movement Workshop collections) and many oral history collections which record the experiences of individuals, their social and working lives (Papua New Guinea Patrol Officers interviews, Thirty Seven Women oral history project; and employees of the Shell Company of Australia, Repco LTD and Rio Tinto subsidiaries). The collection continues to grow, with recent acquisitions in the Germaine Greer collection (which includes audiovisual material: audio travel diaries and home movie footage produced by Greer; and recordings of Greer’s TV & radio appearances) and a set of audio tapes produced by journalist Paul Ormonde for his research into the life of Labor politician Jim Cairns.

 

Recording

Zinc ‘Echo Disc’ Voice Recording, showing evidence of zinc corrosion, probably early 1920s
Alfred Plumley Derham collection, 1963.0024

Project work on the audiovisual collections- from auditing to digital access

The above findings were aided with the generous support of the Miegunyah Fund to assist with a long overdue assessment and appraisal of UMA’s audiovisual collection by an Audiovisual Archivist. Project work on the audiovisual material began in 2012 with an audit to assess the size, condition and research significance of the collection. The major objectives of the project were identified as: determining audiovisual materials most at risk, either from fragility or the risk of obsolescence from playback equipment; and conducting preservation work on items or improving storage. During the early stages of the audit it became evident the size and scale of collection and the range of formats held at UMA was greater than first thought. Lack of documentation for AV items and the limited availability of serviced in-house playback equipment to evaluate significance of items made assessments in many cases inconclusive, with further research needed. Initial estimates of between 1500 to 6000 AV items quickly rose to over 11,000, as AV items were discovered in the repository, along with the acquisition of more AV collections during the audit.

 

An extensive AV database was developed to capture metadata documenting location, provenance, titles/descriptions, technical details and condition reporting of AV at item level. A standard terminology (based on National Film & Sound Archive and National Archives of Australia descriptions) was developed for the identification and technical descriptions of the material. The AV database expanded to become an essential tool for scoping a preservation and digitisation schedule for the collection.

 

UMA’s audit revealed a comprehensive picture of its audiovisual collection and findings identified where high priority AV collections exist in terms of research value, uniqueness and fragility/obsolescence. On a broader level this project work highlighted the immediate need to secure appropriate environmental controls to ensure the long term preservation of physical AV material. Running in tandem with analogue preservation is UMA’s development of digitisation projects to salvage valuable content from formats at risk of obsolescence and through digital preservation provide access to researchers in the future. The information collected during the AV audit has given UMA a good working foundation to build digital preservation strategies for its AV collection and taking small, if not significant steps, to ensure future access to unique material. The current focus of the project has now shifted from auditing the collection to writing guidelines and processes for AV appraisal, handling, long term preservation requirements and digital preservation workflows. Over the past year project work has involved working with external vendors on a series of small pilot projects to digitise AV collections and help promote interest in UMA’s AV collection. UMA’s small collection of 9.5mm films of Jimmy Watson’s home movies were digitised by Deluxe Film labs in South Melbourne and a larger project to digitise over 70 U-matic video tape recordings from the Fletcher Jones collection was carried out by DAMSmart in Canberra using their SAMMA Solo video migration system. The AV project is a timely response to the many challenges facing the future of audiovisual preservation and access in the digital age.

 

Fllm
‘Burton Holmes Snap Shots of Travel: The Grand Canyon of Arizona No.10’- A Burton Holmes Travel Picture (16mm Print, Tinted, Silent, c.1927)
William Glanville Lau Cook collection, 1984.0077

Over the last number of years it has become increasingly apparent that audiovisual material is as equally significant, complementary and integral to UMA as its wider paper collections. UMA is in the process of cementing audiovisual archiving principles and terminology into the everyday work of the archive, by integrating metadata in UMA’s collection management system and incorporating AV digitisation workflows within the university’s wider Digital Preservation Strategy.  With continued work on the AV project UMA is securing the long term preservation of its physical AV collection and conducting essential digital preservation work, ensuring these fascinating audiovisual recordings are made accessible to researchers in the years ahead.

Number of posts found: 383

Post type

Previous posts