Claudy Op Den Kamp

Dr Claudy Op Den Kamp

  • Principal Academic in Film
  • Weymouth House W215, Talbot Campus, Fern Barrow, Poole, BH12 5BB
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Biography

Claudy Op den Kamp is Principal Academic in Film, and Deputy Director of the Centre for Intellectual Property Policy & Management. During the 2022 Spring semester, she was a Kluge Fellow at the Library of Congress in Washington, DC. In 2023, she was a Fellow at the Lemelson Center for the Study of Invention and Innovation, Smithsonian Institution National Museum of American History. In 2024, she was a British Research Council Fellow at the Library of Congress.

She holds a PhD (Art & Media) from the University of Plymouth 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 was a Postdoctoral Fellow in Intellectual Property at Swinburne Law School in Melbourne, AU, and has worked as Haghefilm Conservation’s Account Manager (NL). She has also worked as a Film Restoration Project Leader at the Nederlands Filmmuseum, and as a senior research assistant in the DIASTOR research project...

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Research

Claudy’s research interests include (the role of copyright in) film restoration, access to archival film collections, and found footage filmmaking practices. She advocates for the benefits of copyright exceptions for filmmakers and has lectured and consulted on the topic for (inter)national charities and companies. She is the author of ‘The Greatest Films Never Seen. The Film Archive and the Copyright Smokescreen’ (Amsterdam University Press, 2018). She is co-editor of ‘A History of Intellectual Property in 50 Objects’ (Cambridge University Press, 2019), which she also designed, and image rights cleared. She is the writer and director of audio-visual essays ‘The Shadow Line’ (2022), ‘Opening Pandora’s Box’ (2023) and ‘Evidence of Things Not Present’ (2024).

Journal Articles

Books

  • 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.

Chapters

  • Op Den Kamp, C., 2023. Categorisation Limits - An Interview with Gustav Deutsch. In: Erdoğan, N. and Kaayalp, E., eds. Exploring Past Images in a Digital Age. Reinventing the Archive. 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

Films

PhD Students

  • Melanie Brown (Bournemouth University), 2021. Out of Commerce, Out of Mind: Widening Public Access to Out of Commerce Copyright Works in Film Archives through the DSM Directive, (Completed)
  • Robin Wright (Swinburne University of Technology). Copyright, Originality and Transformative Creativity in the Digital Economy

Profile of Teaching PG

  • L7 Intellectual Property and the Creative Industries, LLM Intellectual Property

Profile of Teaching UG

  • L6 Independent Research Project, BA (Hons) Film (Unit Leader)
  • L6 Graduate Film Project, BA (Hons) Film (Unit Leader)
  • L6 Concept and Production Skills Development, BA (Hons) Television Production
  • L5 Media Perspectives, BA Media Production Framework
  • L5 Film Business, BA (Hons) Film (Unit Leader)
  • L4 Understanding Experimental Film, BA (Hons) Film (Unit Leader)
  • L4 The Film Industries, BA (Hons) Film

Invited Lectures

  • 12 Jul 2024 more
  • 25 May 2024 more
  • 07 May 2024 more
  • 22 Feb 2024 more
  • 04 Dec 2023 more
  • 18 May 2023 more
  • 16 May 2023 more
  • 19 Apr 2023 more
  • 14 Mar 2023 more
  • 03 Mar 2023 more
  • 26 Oct 2022 more
  • 08 Sep 2022 more
  • 15 May 2022 more
  • 04 Feb 2022 more
  • 14 Dec 2021 more
  • 03 Nov 2021 more
  • 08 Oct 2021 more
  • 24 Sep 2021 more
  • 07 Sep 2021 more
  • 14 Jul 2021 more
  • 10 Jun 2021 more
  • 25 Mar 2021 more
  • 24 Mar 2021 more
  • 22 Oct 2020 more
  • 18 Sep 2020 more
  • 12 Mar 2020 more
  • 11 Mar 2020 more
  • 20 Feb 2020 more
  • 23 Nov 2019 more
  • 22 Nov 2019 more
  • 29 Nov 2018 more
  • 27 Nov 2018 more
  • 22 Nov 2018 more
  • 24 Oct 2018 more
  • 29 Sep 2018 more
  • 29 Sep 2018 more
  • 26 Sep 2018 more
  • 05 Sep 2018 more
  • 04 Jul 2018 more
  • 23 May 2018 more
  • 24 Nov 2017 more
  • 13 Jul 2017 more
  • 13 Jul 2017 more
  • 16 Apr 2016 more
  • 13 Mar 2015 more
  • 21 Mar 2013 more
  • 21 Mar 2013 more

Grants

  • EnDOW Community - Diligent Search (AHRC follow-on funding, 18 Nov 2020). Awarded
  • Turning Your Film Into Mine. Filmmaking and the Quotation Exception. (Bournemouth University ECR ACORN Fund, 01 Jan 2020). Completed
  • Jean Monnet Centre of Excellence / European Intellectual Property and Information Rights (European Commission / Erasmus+ Programme, 01 Oct 2018). Awarded
  • Films without Borders. Copyright Licensing and Cultural Diversity in Europe. (Bournemouth University, Faculty of Media & Communication, 01 Sep 2017). Awarded

External Responsibilities

  • MetFilm School, MA Film and Television; MA Producing; MA Screenwriting; MA Documentary and Factional, External Examiner (2020-2023)
  • Falmouth University, BA Film, External Examiner (2019-2023)
  • Swinburne Law School, AU, Adjunct Research Fellow (2016-2019)
  • Transtechnology Research, University of Plymouth, Contributing Researcher (2015-)
  • University of Bedfordshire, Re-Validation External Board Member (-2018)

Internal Responsibilities

  • Programme Leader, BA (Hons) Film, 2019-2022
  • Level 5 / Year 2 Coordinator, BA (Hons) Film, 2017-2019
  • Level 4 / Year 1 Coordinator, BA (Hons) Film, 2016-2017

Public Engagement & Outreach Activities

  • Brochure Design and Editing, Panel Chairing for CTI DIASTOR Conference 'Film im Digitalen Zeitalter’, June 2014 (05 Jun 2014-06 Jun 2014)
  • Overall Producer for Humanities in the European Research Area (HERA) Knowledge Transfer (KT) Event 'Reclamekermis: Advertising the Sublime’, April 2013 (19 Apr 2013-20 Apr 2013)
  • Overall Producer for Humanities in the European Research Area (HERA) Technology, Exchange and Flow (TEF) Expert Seminar 'Screening the Sublime’, January 2012 (21 Jan 2012)

Conference Presentations

  • Smithsonian Colloquium, Evidence of Things Not Present, 04 Jun 2024, National Museum of American History, Washington, DC, US
  • EYE International Conference, Occlusions – Performative Re-use, 26 May 2024, Amsterdam, NL
  • Early Cinema Through the Prism of the Avant-Garde, History in Motion – Copyright, Archival Access, and the Historical Narrative, 18 Oct 2023, Paris, FR
  • ArTechLaw Summit #3, Opening PANDORA’S BOX – Copies and Originals in the Context of Film Restoration, 14 Sep 2023, Copenhagen, DE
  • Visible Evidence XXIX/FilmForum XXX, The Shadow Line (Screening), 06 Sep 2023, Udine, IT
  • Northeast Historic Film Summer Symposium, The Shadow Line (Screening), 27 Jul 2023, Bucksport, ME, US
  • Work-in-progress presentation, The John W Kluge Center, Library of Congress, The Shadow Line, 17 Aug 2022, Washington, DC
  • ASLCH annual conference, Unsettling Protocol. Cultural Practices in a Time of Transition, 16 Jun 2022, Emory Law School
  • Domitor conference, Wonder and Wander. Ainsworth Rand Spofford and the Formation of the Paper Print Collection, 09 Jun 2022, Library of Congress, NAVCC Culpeper [Zoom]
  • BILETA annual conference, “Collagementary” as a Creative (and IP) Learning Tool, 12 Apr 2022, Exeter Law School
  • EnDOW Community Project Launch, Because They’re Worth It, 18 Nov 2020, [Zoom]
  • Archives for Education Symposium - Opening Up the Archives for Young Filmmakers, 'Collagementary' as a Creative (and IP) Learning Tool, 11 Sep 2020, [Zoom]
  • Association for the Study of Law, Culture and the Humanities Annual Conference, Turning Your Film Into Mine. (Found Footage) Filmmaking and the Quotation Exception, 07 Mar 2020, North Haven, CT, US
  • CIPPM Research Seminar, Turning Your Film Into Mine. Cultural Practices in Filmmaking and the Exception for Quotation, 11 Feb 2020, Bournemouth, UK
  • IAMHIST Masterclass, Turning Your Film Into Mine. The Re-Use of Archival Footage and the Exception for Quotation, 09 Jan 2020, Cork, IR
  • 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, CA, US
  • Washington Global Congress on Intellectual Property and the Public Interest, Raiding the Icebox, 25 Sep 2018, Washington, DC, US
  • 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 Filmmuseum, Amsterdam, NL
  • IP in transitions: (Re)imagining intellectual property, An Oral History of Fair Dealing and Found Footage Filmmaking, 16 Apr 2018, University of Exeter, UK
  • 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
  • Film Marketing, Promotion, and Distribution, Education. Saudi Film Commission, BFI
  • Creative Re-Use of Existing IP, Education. BFI X English Cricket Board, BFI

Qualifications

  • 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)

Honours

  • British Research Council Fellowship (Library of Congress, The John W. Kluge Center / UK Arts & Humanities Research Council, 2024)
  • Lemelson Center for the Study of Invention and Innovation Fellowship (Smithsonian Institution, National Museum of American History, 2023)
  • Research Stipend (Bill Douglas Cinema Museum, 2023)
  • Kluge Fellowship (Library of Congress, The John W. Kluge Center, 2022)
  • Professional Development Grant (Visual Resources Association Foundation, 2019)
  • 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)

Memberships

  • National Association for Higher Education in the Moving Image (Nahemi), Member (2016-),
  • British Association of Film, Television and Screen Studies (BAFTSS), Member (2015-),
  • Media, Communication and Cultural Studies Association (MeCCSA), Member (2015-),
  • Melbourne Screen Studies Group, Member (2015-),
  • European Network for Cinema and Media Studies (NECS), Member (2014-),
  • UK Higher Education Academy, Associate Fellow (2012-),
  • Association of Moving Image Archivists (AMIA), Member (2002-),

External Media and Press

Broadcast Interview