The British Film Institute (BFI), which maintains the national collections of film and television, is developing plans to make this material accessible for educational use by deploying digital and network technologies. This project, the Imagination Network, as it is developed for higher education, brings to the fore both issues about the use of film and television in different subject areas and the current discussions in the European Union about changes to the intellectual property rights regime to take account of digital reproduction
The digital optimism of the past decade has been reflected in many policy documents related to ...
Film education in the digital age should be based on three closely-related and complementary fundame...
It is little more than thirty years since the introduction in 1987 of the European Com- munity’s mos...
This paper traces key features of the BFI’s evolving strategies for film education in UK schools dur...
In this report, I describe the development of British screen advertising as represented in the BFI N...
An analysis of the events leading up to the partnership deal between the British Film Institute and ...
The British Film Institute (BFI) is one of the UK's oldest and most important government-supported c...
none1noThe debate about arts and innovation revolves around the contribution that creativity can pot...
Contemporary culture is increasingly digital. However, this prevalence of digital culture poses a si...
Society is increasingly digitalised and connected, with computers and algorithms mediating much of p...
It has become almost axiomatic to state that the transition to digital technologies represents a mom...
Digital preservation is posing major challenges to audiovisual institutions. However, debates surrou...
This paper addresses the lack of published work on the preservation of digital materials within Euro...
It is little more than thirty years since the introduction in 1987 of the European Community’s most ...
It is little more than thirty years since the introduction in 1987 of the European Com- munity’s mos...
The digital optimism of the past decade has been reflected in many policy documents related to ...
Film education in the digital age should be based on three closely-related and complementary fundame...
It is little more than thirty years since the introduction in 1987 of the European Com- munity’s mos...
This paper traces key features of the BFI’s evolving strategies for film education in UK schools dur...
In this report, I describe the development of British screen advertising as represented in the BFI N...
An analysis of the events leading up to the partnership deal between the British Film Institute and ...
The British Film Institute (BFI) is one of the UK's oldest and most important government-supported c...
none1noThe debate about arts and innovation revolves around the contribution that creativity can pot...
Contemporary culture is increasingly digital. However, this prevalence of digital culture poses a si...
Society is increasingly digitalised and connected, with computers and algorithms mediating much of p...
It has become almost axiomatic to state that the transition to digital technologies represents a mom...
Digital preservation is posing major challenges to audiovisual institutions. However, debates surrou...
This paper addresses the lack of published work on the preservation of digital materials within Euro...
It is little more than thirty years since the introduction in 1987 of the European Community’s most ...
It is little more than thirty years since the introduction in 1987 of the European Com- munity’s mos...
The digital optimism of the past decade has been reflected in many policy documents related to ...
Film education in the digital age should be based on three closely-related and complementary fundame...
It is little more than thirty years since the introduction in 1987 of the European Com- munity’s mos...