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 Hollywood Professional Association (HPA) announced They Shall Not Grow Old as the recipient of an HPA Award honoring sophisticated restoration and the crafting of a deeply moving story.

The film was created using original, mostly unseen footage of World War I gathered from the IWM archive, and audio from BBC and IWM interviews of British soldiers who fought in the War. Comprising footage that is now 100 years old, They Shall Not Grow Old is an emotional and enlightening vision of the experiences of the soldiers who fought.

Turner Classic Movies' first black host will spearhead its Sunday silent film marathon. Jacqueline Stewart is a professor of cinema studies at the University of Chicago and former Board member of AMIA.

In October 1959, Rod Serling launched a new TV experience called “The Twilight Zone.” It was black and white, shot on the Metro-Goldwyn-Mayer studio lot, and ran for five seasons. The show became a classic of early television, and those episodes have been running in syndication and in “The Twilight Zone” marathons ever since.

He created it because he didn’t like the fact that sponsors controlled TV in the late 50s, and thus determined what appeared on shows. “The Twilight Zone” was a vehicle to tell stories he wanted to tell -- without upsetting the sponsors.

“The idea was if he could move into allegory, he could have robots and aliens say things that a senator or a sheriff couldn’t say. And that was kind of his way of being able to tell stories of substance, cloaked in the science fiction or fantasy trappings that would let messages (of race relations or politics or McCarthyism) be assimilated a little easier,” says Mark Quigley, film and TV archivist at UCLA [and AMIA Member].