The Association of Moving Image Archivists

Our diverse range of AMIA Committees and Task Forces collaborate with colleagues from around the world. We create forums for exchange, and develop programs and projects that move us all forward in a changing field.

AMIA was the first professional organization to offer scholarships specifically for students pursuing careers in moving image archives. Applications for scholarships and the IPI Internship program opened in January.

The AMIA Supplier Directory is an international resource guide for anyone working with audiovisual media. Find a supplier, or list your own services or products. We update the directory on a quarterly basis.

The AMIA 2018 Conference Committee invites proposal submissions for papers, sessions, and workshops for the 2018 Annual Conference in Portland, Oregon (Nov 28 – Dec1)

Among the snippets from Black Pirate are bits from The Far Cry, The Fire Brigade and Dance Madness, all from 1926. It also includes a film test for a movie called Mona Lisa in which actress-turned-Los Angeles Times gossip columnist Hedda Hopper stars as Leonardo da Vinci’s ever-inscrutable subject. It is the only surviving footage associated with that film.

Bill Gold, who revolutionized the art of the movie poster over a seven-decade career that began with Casablanca and included A Clockwork Orange, The Exorcist and dozens of Clint Eastwood films, has died. He was 97.

The Brooklyn native began at Warner Bros. in the early 1940s and had a hand in more than 2,000 posters during his iconic career, working on films for everyone from Alfred Hitchcock (1954's Dial M for Murder), Elia Kazan (1955's East of Eden) and Federico Fellini (1963's 8 1/2) to Sam Peckinpah (1969's The Wild Bunch), Robert Altman (1971's McCabe & Mrs. Miller) and Martin Scorsese (1990's GoodFellas).