Claudy Op Den Kamp

Dr Claudy Op Den Kamp

  • +44 (0)1202 965134
  • copdenkamp at bournemouth dot ac dot uk
  • Senior Lecturer (Academic) in Film
  • Weymouth House W404, Talbot Campus, Fern Barrow, Poole, BH12 5BB
Back to top


Claudy Op den Kamp is Senior 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. Her recent monograph, "The Greatest Films Never Seen. The Film Archive and the Copyright Smokescreen," was published with Amsterdam University Press (2018). She is working on a co-edited volume, "A History of Intellectual Property in 50 Objects," to appear with Cambridge University Press in 2019. She is the deputy editor of Australian peer-reviewed journal Legal History.

Journal Articles


  • 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, 237-259.
  • 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.

Internet Publications

PhD Students

  • Melanie Brown (Bournemouth University). Films Without Borders; Copyright Licensing and Cultural Diversity in Europe
  • Robin Wright (Swinburne University of Technology). Copyright, Originality and Transformative Creativity in the Digital Economy

Profile of Teaching PG

  • FMC: L7 Professional Practice, MA Framework
  • FMC: L7 PGCert Intellectual Property

Profile of Teaching UG

  • FMC: L4 Understanding Experimental Film, BA (Hons) Film
  • FMC: L5 Film Business, BA (Hons) Film
  • FMC: L5 Media Perspectives / Filmmaking and Fair Dealing Exceptions, BA Framework
  • FMC: L6 Independent Research Project, BA (Hons) Film
  • FMC: L6 Graduate Project, BA (Hons) Film

Invited Lectures

  • 21 Mar 2013 more
  • 21 Mar 2013 more
  • 13 Mar 2015 more
  • 16 Apr 2016 more
  • 13 Jul 2017 more
  • 13 Jul 2017 more
  • 24 Nov 2017 more
  • 23 May 2018 more
  • 04 Jul 2018 more
  • 05 Sep 2018 more
  • 26 Sep 2018 more
  • 29 Sep 2018 more
  • 29 Sep 2018 more
  • 24 Oct 2018 more
  • 22 Nov 2018 more
  • 27 Nov 2018 more
  • 29 Nov 2018 more


  • Films without Borders. Copyright Licensing and Cultural Diversity in Europe. (Bournemouth University, Faculty of Media & Communication, 01 Sep 2017). Awarded

External Responsibilities

Internal Responsibilities

  • Level 5 / Year 2 Coordinator, BA (Hons) Film

Public Engagement & Outreach Activities

  • Curation, Chairing of ‘Pre-event roundtable ‘Histories of Intellectual Property in Numerous Objects—Interdisciplinary Insights’, ISHTIP conference, Rome, IT, 3 July
  • Co-curation, Panel Chairing for 'Copyright & Creative Re-Use' Conference, CREATe / BFI Education, December 2017,
  • 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

Conference Presentations

  • Visual Resources Association Annual Conference, Of Orphans and Risks, Part of Panel: Special Topics in Intellectual Property Rights: Motion Pictures, Archival Footage, and Film in Pedagogy, 26 Mar 2019, Los Angeles
  • Washington Global Congress on Intellectual Property and the Public Interest, Raiding the Icebox, 25 Sep 2018, Washington, DC
  • ISHTIP conference - Pre-event roundtable, Histories of Intellectual Property in Numerous Objects—Interdisciplinary Insights, Paper Print, 03 Jul 2018, Rome, IT
  • EYE International Conference - Activating the Archive, Resisting Copyright and Its Archival Implications, 26 May 2018, EYE Film Institute
  • IP in transitions: (Re)imagining intellectual property, An Oral History of Fair Dealing and Found Footage Filmmaking, 16 Apr 2018, University of Exeter
  • 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

Consultancy Activities

  • Tracking IP Across the Creative Technologies (TRI-PACT), Consultant (Film). University of Brighton


  • BA / MA in Film & Television Studies (University of Amsterdam, 2000)
  • MA in Film Studies, with Film Archive Option (University of East Anglia, 2003)
  • PGCert in Academic Practice (University of Plymouth, 2012)
  • PhD in Art & Media (University of Plymouth, 2015)
  • PGCert in Intellectual Property (Bournemouth University, 2017)


  • Travel Grant / The College of Santa Fe, US (Fundatie Vrijvrouwe van Renswoude, 1996)
  • Exchange Student Scholarship / The College of Santa Fe, US (Philip Morris NL, 1996)
  • Mary Pickford Scholarship (Association of Moving Image Archivists (AMIA) / Mary Pickford Foundation, 2002)
  • Postgraduate Research Studentship (University of Plymouth, 2009)
  • Postdoctoral Research Fellowship (Swinburne Law School, AU, 2015)
  • Professional Development Grant (Visual Resources Association Foundation, 2019)


  • 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-),

Broadcast Interview

The data on this page was last updated at 08:18 on June 26, 2019.