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Claudy Op den Kamp is Lecturer in Film and faculty member at the Centre for Intellectual Property Policy and Management at Bournemouth University, UK, and Adjunct Research Fellow at Swinburne Law School, Australia. She holds a PhD from Plymouth University on the relationship between copyright ownership, access to archival film, and film historiography. She is a graduate of the University of Amsterdam (Film & Television Studies) and the University of East Anglia (Film Archiving). She has worked as Haghefilm Conservation’s Account Manager; as a Film Restoration Project Leader at the Nederlands Filmmuseum, and as a senior research assistant in the DIASTOR project at the Department of Film Studies at the University of Zurich.
Claudy’s research interests include film restoration, the role of copyright in access to archival film collections, and found footage filmmaking practices. She is working on a monograph entitled The Greatest Films Never Seen. The Film Archive and the Copyright Smokescreen, to appear with Amsterdam University Press in 2018, and a co-edited volume entitled A History of Intellectual Property in 50 Objects, to appear with Cambridge University Press in 2018. She is the deputy editor of Australian peer-reviewed journal Legal History.
- Op Den Kamp, C., 2017. The Paper Print Collection: How Copyright Formalities and Historical Accidents Led to Film History. UWA Law Review, 41 (2), 37-50.
- Op Den Kamp, C., Heller, F., Pfluger, D. and Flueckiger, B., 2016. ‘Digital Desmet’: Translating Early Applied Colors. The Moving Image, 16 (1).
- Op Den Kamp, C., 2016. The Art of Defiance. Found Footage, Legal Provenance and the ‘Aesthetics of Access’. Provenance, Journal of the Society of Georgia Archivists.
- Op Den Kamp, C., 2016. Recycled Images: From Orphan Works to Found Footage. Art Libraries Journal, 41 (1), 24-31.
- Op Den Kamp, C., 2016. Too Good to be Forgotten. The Copyright Dichotomy and the Public-Sector Audiovisual Archive. International Association of Sound and Audiovisual Archives (IASA) Journal, 46, 33-41.
- A History of Intellectual Property in 50 Objects. New York: Cambridge University Press.
- Op Den Kamp, C., 2018. The Greatest Films Never Seen. The Film Archive and the Copyright Smokescreen. Amsterdam: Amsterdam University Press.
- Op Den Kamp, C., Flueckiger, B. and Pfluger, D., 2018. A Material-Based Approach to the Digitization of Early Applied Colors. In: Fossati, G., Jackson, V. and Lameris, B., eds. The Colour Fantastic. Chromatic Worlds of Silent Cinema. Amsterdam: Amsterdam University Press.
- Op Den Kamp, C., 2015. Audiovisual Archives and the Public Domain: Exclusive Control, Digital Access and the Dynamics of History. In: Crisp, V. and Menotti, G., eds. Besides the Screen: Moving Images Through Distribution, Promotion and Curation. Palgrave Macmillan, 147-161.
- Op Den Kamp, C., 2014. Copyright and Film Historiography: The Case of the Orphan Film. In: David, M. and Halbert, D., eds. The SAGE Handbook of Intellectual Property. SAGE, 404-417.
- Op Den Kamp, C., Ruedel, U. and Curro, D., 2012. Towards a More Accurate Preservation of Color: Heritage, Research and the Film Restoration Laboratory. In: Brown, S., Street, S. and Watkins, L., eds. Color and the Moving Image. AFI Film Reader on Color.. Routledge, 219-229.
- Robin Wright (Swinburne University of Technology). Copyright, Originality and Transformative Creativity in the Digital Economy
- Melanie Brown (Bournemouth University). Films Without Borders; Copyright Licensing and Cultural Diversity in Europe
Profile of Teaching PG
- FMC: L7 Placement, MA Media & Communication
- FMC: L7 Professional Practice, MA Framework
Profile of Teaching UG
- FMC: L5 Film Business, BA (Hons) Film
- FMC: L4 Creative Collaboration, BA (Hons) Film
- FMC: L4 Understanding Experimental Film, BA (Hons) Film
- FMC: L6 The Dissertation, BA Framework
24 Nov 2017 more
Amateur Film. Some Legal and Ethical Considerations, Inedits, University of Strasbourg, FR, 24 November 2017
13 Jul 2017 more
Copyright and Curatorial Choices, Ethics of Copying, Bielefeld University, DE, 13 July 2017
13 Jul 2017 more
Copying from Other Cultures, Ethics of Copying, Bielefeld University, DE, 13 July 2017
16 Apr 2016 more
Restoring THE STORY OF THE KELLY GANG (AU 1906, Charles Tait), Chiltern-Rutherglen Continuing Education Group, Star Theatre, Chiltern, VIC, Australia, 16 April 2016
13 Mar 2015 more
The Film Archive as a Birthplace, Keeping Within the Lines: Legal and Creative Approaches to Copyright in Art and Design Archives, London Metropolitan Archives, UK, 13 March 2015
21 Mar 2013 more
Recycled Images: Found Footage Filmmaking Practices, XI MAGIS International Film Studies Spring School, Gorizia, IT, 21 March 2013
21 Mar 2013 more
Found Footage, Legal Provenance and the 'Aesthetics of Access', XI MAGIS International Film Studies Spring School, Gorizia, IT, 21 March 2013
- Films without Borders. Copyright Licensing and Cultural Diversity in Europe. (Bournemouth University, Faculty of Media & Communication, 01 Sep 2017). Awarded
- Swinburne Law School, AU, Adjunct Research Fellow (2016-), http://www.swinburne.edu.au/business-law/schools-departments/swinburne-law-school/
- Swinburne Law School, AU, Deputy Editor, Legal History (2016-), http://www.legalhistory.org.au/
- Transtechnology Research, University of Plymouth, Contributing Researcher (2015-), http://www.trans-techresearch.net/research/contributing-researchers/claudy-op-den-kamp/
- Level 5 / Year 2 Coordinator, BA (Hons) Film
Public Engagement & Outreach Activities
- Co-curation, Panel Chairing for 'Copyright & Creative Re-Use' Conference, CREATe / BFI Education, December 2017, http://www.create.ac.uk/blog/2018/02/19/new-web-resource-copyright-creative-reuse/
- Brochure Design and Editing, Panel Chairing for CTI DIASTOR Conference 'Film im Digitalen Zeitalter’, June 2014
- Overall Producer for Humanities in the European Research Area (HERA) Knowledge Transfer (KT) Event 'Reclamekermis: Advertising the Sublime’, April 2013
- Overall Producer for Humanities in the European Research Area (HERA) Technology, Exchange and Flow (TEF) Expert Seminar 'Screening the Sublime’, January 2012
- NEPCA, Nothing Sacred. The Public Domain Film and its Public Accessibility., 27 Oct 2017, Amherst, MA, US
- Northeast Historic Film Archive Summer Symposium, Open Sesame. Copyright and the ‘Aesthetics of Access’, 20 Jul 2017, Bucksport, ME, US
- Besides the Screen, Thomas Edison's Kinetoscope and the Campaign to Control the Film Industry, 20 Jul 2016, Coventry University, UK
- ISHTIP, Film Archives as ‘Sites of Resistance’: Exploiting the Public Domain, 06 Jul 2016, University of Glasgow, UK
- Australasian IPIE Conference, The Paper Print Collection: How Copyright Formalities and Historical Accidents Led to Film History, 02 Feb 2016, The University of Western Australia, Fremantle, AU
- CMCL / IP & Media Law Conference, The Paper Print Collection: From Historical Accident to Film History, 23 Nov 2015, The University of Melbourne, AU
- NECS - European Network for Cinema and Media Studies, Annual Conference, The Film Archive as a Birthplace. Found Footage, Legal Provenance and the ‘Aesthetics of Access’University of Łódź, PL, 18 Jun 2015, University of Łódź, PL
- The Colour Fantastic: Chromatic Worlds of Silent Cinema, Testing ‘Digital Desmet’, 29 Mar 2015, EYE Film Institute Netherlands, NL
- Jahrestagung der Gesellschaft für Medienwissenschaft (GfM) Medien|Recht, The Greatest Films Never Seen: The Audiovisual Archive, Copyright Ownership and the Historical Narrative, 02 Oct 2014, Philipps-Universität Marburg, DE
- FIAF Summer School, Il Cinema Ritrovato, The Process of Restoring a Dufaycolor Film Title as a Model for the DIASTOR Research Project, 28 Jun 2014, Bologna, IT
- DIASTOR Workshop, CTI DIASTOR Research Project Case Studies: An Overview, 05 Jun 2014, Zurich, CH
- ARRI Archive Workshop, CTI DIASTOR Research Project Case Study PARURES, 03 Jun 2014, Munich, DE
- SAGE IP Symposium, The Greatest Films Never Seen: Audiovisual Archives and the Orphan Works Problem, 29 Jun 2013, Durham University, Institute for Advanced Study, UK
- XX International Film Studies Conference, Audiovisual Archives and the Orphan Works Problem / DE OVERVAL, 10 years later, 12 Mar 2013, Udine, IT
- Play & Prosume, schleichender Kommerz und schnelle Avantgarde, 'Midway to the Sublime Island' - Collecting, Advertising and the Public: In Search of the Sublime, 05 Mar 2013, Vienna, AT
- Tracking IP Across the Creative Technologies (TRI-PACT), Consultant (Film). University of Brighton
- PGCert in Intellectual Property (Bournemouth University, 2017)
- PhD in Art & Media (University of Plymouth, 2015)
- PGCert in Academic Practice (University of Plymouth, 2012)
- MA in Film Studies, with Film Archive Option (University of East Anglia, 2003)
- BA / MA in Film & Television Studies (University of Amsterdam, 2000)
- Postdoctoral Research Fellowship (Swinburne Law School, AU, 2015)
- Postgraduate Research Studentship (University of Plymouth, 2009)
- Mary Pickford Scholarship (Association of Moving Image Archivists (AMIA) / Mary Pickford Foundation, 2002)
- Exchange Student Scholarship / The College of Santa Fe, US (Philip Morris NL, 1996)
- Travel Grant / The College of Santa Fe, US (Fundatie Vrijvrouwe van Renswoude, 1996)
- Association of Moving Image Archivists (AMIA), Member (2002-),
- British Association of Film, Television and Screen Studies (BAFTSS), Member (2015-),
- European Network for Cinema and Media Studies (NECS), Member (2014-),
- Media, Communication and Cultural Studies Association (MeCCSA), Member (2015-),
- Melbourne Screen Studies Group, Member (2015-),
- UK Higher Education Academy, Associate Fellow (2012-), https://www.heacademy.ac.uk/
- The Friday Morning Show, Radio-interview about Haghefilm Conservation’s restoration of Australia's 'first' feature film THE STORY OF THE KELLY GANG (AU 1906, Charles Tait)