Access to film heritage in the digital era – Challenges and opportunities

This paper highlights the pitfalls and potentials of digitization of film heritage in the archival domain. The largest issue encountered by the global archive community would be the recent transition from analog to digital technology in the capture, post-production, and distribution of cinematographic works. Due to the emergence of new platforms for access and the fact that digital copies are not susceptible to the same wear and tear as analogue film elements, digitization of historical films has the potential of enabling access on a larger scale. The conflict between the necessity to preserve originals and the need to offer access has been somewhat lessened by digitization. By acting as stand-ins for quick access or as backup copies in case original materials are lost or damaged, digital versions serve preservation functions. Also, negatives that are losing their information value can be preserved by digitization in order to extend access to them and preserve their content. The value of digitization as a preservation tactic has been hotly contested. Despite the benefits of digitization, there are significant technological, legal, financial, and curatorial obstacles or pitfalls that must be addressed in order to realize the potentials.

The debate about arts and innovation revolves around the contribution that creativity can potentially make to strengthen the cultural economy and the economy tout court. In recent times, European Film Heritage Institutions (FHIs) have been affected by such ideas in relation to the digitisation of their holdings. This chapter explores the potential contribution that the digitisation of film heritage (FH) can bring about in order to enhance innovation and competitiveness within the film industry. It explains the debates surrounding technological innovation and the arts. The Internet, which is often portrayed as a key innovation driver, is still economically marginal for FHIs and classic film distributors. Two factors impede the development of rich online catalogues, which could trigger an increase in demand for access and reuse: strict copyright legislation, the economic restrictions of FHIs (with exceptions), and weak demand for pay-per-view. Some film distributors were already involved in the theatrical redistribution of classic films before the 'digital era'.

Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.

Introduction: The use of panoramic x-ray radiographs with analogue film negatives is still widely used. Contrast differences in the radiograph are determined by the level of light transmitted from the viewer to the film negative and visual perception of the radiologist, which can cause differences and errors of interpretation. This study was aimed to compare the quality of scanners produced by the transmission and reflection modes objectively with direct digital imaging standard. Methods: This study used a descriptive comparative design with purposive sampling method. Radiographic analysis was conducted towards 30 analogue radiographs of Radiology laboratory of Universitas Padjadjaran Dental Hospital. Digitisation was performed using a scanner with setting modes (reflection and transmission, 8-bit intensity resolution and spatial resolution of 800 dpi). Digitising the negative radiographs of analogue films into digital radiographs will get a range of percentage pixels. Histogram of radiographs with a percentage of pixels in the grey level range 0 - 64 exceeds 50%, including "under-exposed", in the grey level range 192 - 255 exceeding 50%, including "over-exposed". The evaluation was carried out to observe the radiograph exposure homogeneity by dividing the radiograph into 4 parts. Each part was calculated as the mean pixel value; then the standard deviation was searched for the four mean values (STDMI - standard deviation mean intensity) determined the homogeneity. Results: Digitising type of radiograph reflection was included under-exposed because the percentage of pixels in the grey level range 0 - 64 was 86.94%. STDMI consecutive reflection = 8.03, transmission = 18.05, direct digital imaging = 20.86. Conclusion: Digitisation with scanner transmission mode is the best result objectively because it approaches the quality value of direct digital imaging standard.Keywords: Objective quality, homogeneity, reflection, transmission

Observer performance tests were conducted to compare the effects on diagnostic accuracy of digital hard copy and video display formats versus conventional radiographic film. Digital images were obtained by digitizing conventional chest radiographs to a 2048 x 2048 matrix with a laser film scanner. Three digital display formats were used: laser-printed digital film, a 2048-line video monitor without user interaction, and a 2048-line video monitor with user interaction. Thirty-one posteroanterior chest radiographs, determined by consensus of four thoracic radiologists to contain septal lines (n = 11), parenchymal nodules (n = 7), nodules and septal lines (n = 7), or neither abnormality (n = 6), were used for the study. Images were interpreted by four radiologists in four separate viewing sessions. Diagnostic accuracy was determined by receiver-operating characteristic analysis for each observer with each viewing technique. No statistical differences in diagnostic accuracy, determined by the area under the receiver-operating-characteristic curve, were found between the analog film, the digital film, and the two video digital display formats. This preliminary study suggests that 2048-line digital displays may be an acceptable alternative to the traditional lightbox viewing method for the perception of these two abnormalities commonly seen on chest radiographs.

Receiver operating characteristic is used to compare the image quality of films obtained digitally using computed radiography (CR) and conventionally using analog film following fluoroscopic examination. Similar radiological views were obtained by both modalities. Twenty -four cases, some with a solitary noncalcified nodule and /or pneumothorax, were collected. Ten radiologists have been tested viewing analog and CR digital films separately. Final results indicate that there is no statistically significantdifference in the ability to detect either a pneumothorax or a solitary noncalcified nodulewhen comparing CR digital film with conventional analog film. However, there is a trendthat indicated the area under the ROC curves for detection of either a pneumothorax or solitary noncalcified nodule were greater for the analog film than for the digital film. Introduction With the advent of computed radiographic system, there is a need to determinethe diagnostic quality of digital images as compared to traditional analog film.

The contemporary media landscape is marked by a tendency to accept the market-driven practices of planned obsolescence, where questions of sufficiency and excess permeate the realms of media industry practices. While this is entering the broader discussion on media sustainability, inadequate attention has been given to these phenomena in the film heritage field.As content libraries expand, the need for larger and more efficient data centres challenges the limits of storage, archiving, and accessibility. Many countries throughout Europe have witnessed the construction of cutting-edge film storage vaults and preservation centres, but the rising volume of digital content and the induced built-in redundancy of digital formats gradually replacing carrier-based collections have necessitated a heightened focus on digitization, such as digital preservation standards and access for both analog and digital-born film materials.Our proposal aims to take a critical approach to the digital preservation infrastructure of film heritage. Is digital preservation a reliable answer, ‘enough’ sustainable in environmental and moral terms, closely linked to economic growth and resource exploitation principles? How can a democratic, inclusive approach to moving image preservation be reconciled with the current audio-visual production hypertrophy? Will economic dynamics face the risk of exposing the most fragile assets and heritage to disappearance?

Technological change leads to a value shift in human society. Various cultural experiences through the digital paradigm influence the expression of fashion. This article considers fashion film as a new form for presenting fashion and explores the distinctiveness of expression in digital fashion film. For the methodology, a literature review was conducted to examine the concepts and features of digital fashion film and metareality. Empirical research was also performed by drawing from Nick Knight's digital films, Sans Couture, #asif, and Elegant Universe and by specifically analyzing the classification of the themes, visuals, and auditory expression. The results are as follows. The proliferation of fashion film has accelerated in the internet environment. New media in the digital era allows images to become more realistic and variable through immaterial conversion. Metareality is the notion of a reality beyond existence. A metarealistic image maintains the metaphysical nature of an object and transcends empirical appearance. It possesses immaterial, transboundary, and multidimensional features, and the image is realized by digital technology. The expression analysis identifies the metareality expressed in contemporary fashion film appearing as atypical forms, irrational combinations, and the playfulness of motion. It shows a positive attitude, transcending the immaterial limit of reality toward fashion. This study indicates how fashion as products challenges the metaphysical transformation in the digital era. The exploration of metareality in digital fashion film promotes a wider perspective and understanding of the concept of fashion.

A digital twin is made up of a system or physical item, a virtual model (or digital copy) of that system, and the information and connection that connects them, allowing for real-time data analysis and sharing. Through extensive systematic literature review, a suitable qualitative research questions constructed. The research questions have been addressed through the secondary data survey. A system or physical item, a virtual model (or digital copy) of that system, and the information and connection that connects them, allowing for real-time data analysis and sharing. To create a digital representation of real-world objects and systems, the development of digital twins employs a range of technologies, including cloud computing, artificial intelligence (AI), extended reality (XR), and the Internet of Things (IoT). In addition to difficulties with data quality, availability, and integration, digital twin research faces deficiencies in fundamental mathematics, statistics, and computation. Additionally, more advanced modeling and artificial intelligence techniques are required for dynamic updating and prediction. These topics, such as uncertainty quantification, data-driven and mechanistic model coupling, and interoperability among digital twin models, should be the focus of future study. In this digital era, entrepreneurs are very much interested to know how the asset will behave over an operational period. To understand this concept the entrepreneurs are initially preparing digital models and understanding the operational performance of the digital model. There after entrepreneurs constructing the real time asset and data is allowed to flow either one or bi directional to addressed the challenges if arises, if any. Digital twin simplifies in addressing the issue/problem of real time asset. From the study it is concluded that the digital twin is suitable for asset/s which are critical in running/operating condition under different dynamics and these dynamics, which are beyond human control as well as digital twin is suitable in attending performance failures, easily instead of attending every component through longer inspection time. But, the same/asset failure shall be studied from a digital twin and the same/asset failure performance failure and can be fixed smoothly, easily, less effort and over shorter duration/s. It may result in asset breakdown over shorter duration period.

The vast majority of original negatives of Swedish silent and early sound films are lost, meaning that what remains of the early Swedish fiction film heritage has survived primarily in the form of relatively worn nitrate prints. The article discusses differences in past and present duplication policies in terms of aspect ratio alterations and the preservation of from 1929. The industry shift towards digital capture and digital projection will affect not only the possibility of preserving and restoring films in original formats, but also how the film heritage will be accessed in the future.

PurposeRegarding human resource and labour relations management, academia focuses mainly on cities; however, rural areas are an integral part of China's economic structure. This study focuses on the movie projection industry in China's rural areas and explores how human resource practices (HRPs) are transformed and the labour process is reconstructed in digital transformation.Design/methodology/approachWe adopt a case study of a rural movie projection company. The company's HRPs reconstructed the labour process of movie projection, and they have been promoted as national standards. Data were collected from in-depth interviews, files and observations.FindingsRural movie projection companies combine high-performance and paternalistic HRPs in the media industry's digital transformation. HRPs and digital technology jointly reconstruct the labour process. First, the HRPs direct labour process practices towards standardisation. Second, the digital supervision platform guides the control style from simple to technical, placing projectionists under pressure while increasing management efficiency. Third, rural movies made using digital technology have disenchanted rural residents. Accordingly, the conventional relationships between the “country and its citizens,” “individuals themselves,” and “models and individuals” have been removed, and a new relationship between “individuals themselves” is formed thanks to the novel HRPs.Originality/valueThis research plays a crucial role in exposing researchers to the labour process of rural movie projection, which is significant in China but often ignored by Western academia and advances the Chinese contextualisation of research on labour relations.

Micro, Small, and Medium Enterprises (MSMEs) play a vital role in national economic growth through job creation and GDP contribution. However, in today’s digital disruption era, they face challenges in operational efficiency, limited financing, and weak human resource management. This study explores the strategic role of management accounting in supporting MSME sustainability, focusing on cost control, capital structure, and HR development. Using a systematic literature review (SLR) of international journals and academic sources from the past decade, the study finds that digital-based management accounting such as big data, digital accounting systems, and activity-based costingimproves cost efficiency, decision-making quality, and HR capabilities. The research concludes that digital transformation in management accounting is a strategic necessity for MSME resilience and long-term sustainability.

The rapid rise of digital platforms, particularly TikTok, has significantly influenced consumer behavior. It causes the emergence of FOMO (Fear of Missing Out) as a key driver of impulsive purchasing. This study aims to investigate the effects of FoMO on student consumption behavior in this digital economy, focusing on students at Muhammadiyah University of Yogyakarta (UMY). Using a qualitative approach with a cross-sectional design, data were collected through semi-structured interviews with three UMY students who actively shop on TikTok. The findings reveal that FoMO leads to impulsive buying, driven by emotional triggers such as trends, live-streaming promotions, discounts, and free shipping. Furthermore, some students already have budgeting awareness related to FoMO purchases, while others still face financial management challenges. Additionally, feelings of guilt were identified as a secondary effect, often stemming from dissatisfaction with impulsive purchases. The study highlights the role of TikTok in amplifying FoMO-driven consumption and underscores the need for awareness to do budgeting. These findings offer insights among students to foster their mindfulness of consumption habits in this digital era.

The objective of our study was to compare the detectability and distinguishability of simulated soft-tissue opacities of 50 variants of an anthropomorphic breast phantom in mammograms acquired with a digital direct flat-panel detector versus an analog system; we also compared the image settings "analog film," "digital film," and "digital monitor." The studies were performed on digital (Lorad Selenia) and analog (Mammomat 3) mammography systems. Four hundred fifty silicone cubes devised with different randomly distributed columns, holes, or both columns and holes (diameter, 3-7 mm; height, 0.5-4.0 mm) were used as test bodies. One experimental series was performed with a silicone scatter body and one with a silicone and an anthropomorphic ground-meat scatter body. All x-rays were obtained at identical settings and exposures. Four radiologists rated the films and monitor-displayed images independently of each other in randomized order on a standardized electronic questionnaire. The digital monitor technique generally scored better than digital film viewing and analog readings. The McNemar test for multiple paired comparisons mostly yielded a p value of < 0.0005. The smallest volume category counted as the most valid test scenario for all raters, where the percentage of correct positive findings ranged between 30% and 58% (analog technique), 43% and 68% (digital film viewing), and 55% and 66% (monitor viewing). The corresponding accuracy rates were 77-93%, 75-95%, and 81-85%, respectively, with kappa values of 0.2-0.5 (analog) and 0.3-0.6 (digital) for comparing the gold standard with raters' evaluations. Digital flat-panel mammography is superior to the analog screen-film method for the detection of simulated opacities.

This article explores the legal legitimacy and challenges in the implementation of electronic land certificates (e-certificates) within Indonesia’s national land administration system, while examining the concept of immutability the inability to alter data in the context of land law. It discusses the legal foundations, implementation processes, evidentiary strength, as well as technical and regulatory challenges, highlighting the potential of e-certificates as instruments that enhance legal certainty and security in the digital era of land administration. The digital transformation of Indonesia’s national land system introduces a significant innovation in the form of electronic land ownership certificates (e-certificates), aimed at improving efficiency, accountability, and legal certainty in land administration. This article critically examines the legal legitimacy, normative basis, and practical implications of implementing e-certificates within the framework of national land law, with a primary focus on the application of the principle of immutability, whereby data cannot be changed or manipulated without a legitimate audit trail. Using a normative juridical approach and empirical analysis based on primary data, this article identifies several implementation challenges including vulnerabilities in information systems, infrastructure gaps, suboptimal legal evidentiary mechanisms in court, and social resistance to the digitization of land ownership documents. The success of e-certificate implementation is highly dependent on data interoperability, resilient system design, and regulatory clarity regarding digital legal evidence. Digital transformation has become a national strategic agenda for bureaucratic modernization and improving public service quality, as outlined in Peraturan Presiden Nomor 95 Tahun 2018 on the Electronic-Based Government System (SPBE). One of the sectors undergoing accelerated digitalization is land administration, through the implementation of electronic certificates by the Ministry of Agrarian Affairs and Spatial Planning/National Land Agency (ATR/BPN), Peraturan Menteri ATR/BPN Nomor 3 Tahun 2023 concerning Electronic Documents. This initiative aims to create efficient, transparent, and integrated land registration services. However, the use of e-certificates as legal evidence of land rights presents both normative and practical challenges within the national legal system particularly regarding evidentiary strength, document legality, and data integrity and authentication safeguards. The effectiveness of e-certificate implementation depends on a legal system that is adaptive to technology, supported by a digital architecture that incorporates the principle of immutability through cryptographic technology, audit trails, and potential blockchain utilization. Thus, the certificate becomes not only an administrative tool but also a new foundation for the protection of agrarian rights in the digital era. These findings are relevant for policymakers, academics, and land practitioners in designing a modern, inclusive, and legally protective national land system.