Judith Aston and Paul Matthews

Summary

Judith Aston and Paul Matthews Oral Literature in the Digital Age… (2013)

From her earlier experience of acting as a consultant to the “Disappearing World” film on the Uduk (Macdonald 1993) , James has written that “a film can record the facial and body expression of listeners as well as speakers; and the memory of ‘fear’ can be invoked even when it is not actually named by anybody” (James 1997) . However, her frustration with filmmaking is that clips such as this become embedded within the structure of a sequentially edited narrative, thus limiting the possibility for in-depth analysis of individual recordings.
Source: Wikisource

Judith Aston and Paul Matthews Oral Literature in the Digital Age… (2013)

Unlike a book or a film, in which the structure is fixed and pre-determined, computer-based systems can be multilayered and more open-ended, enabling different pathways to be created and multiple perspectives to be explored. The key point here is for the contextual materials to be incorporated into the archive as separate data (whether it be text, audio or video) , which can be placed alongside the fieldwork recordings as required without being edited in with the recordings themselves.
Source: Wikisource

Judith Aston and Paul Matthews Oral Literature in the Digital Age… (2013)

The reason why we are making a distinction between the archive as a whole and the online presentation of an organised selection of Jamesfieldwork recordings is closely linked to ethics. Whilst on the one hand we want to provide access to the materials to as wide an audience as possible, there are constraints that go against this imperative. Although James has found that there is a strong desire amongst Uduk diaspora communities to gain access to her recordings, often this is something that they want to do in private, as the materials are politically sensitive.
Source: Wikisource

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