Biography

Research

Journal Articles

• 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.
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• Op Den Kamp, C., Heller, F., Pfluger, D. and Flueckiger, B., 2016. ‘Digital Desmet’: Translating Early Applied Colors. The Moving Image, 16 (1).
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• 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.
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• Op Den Kamp, C., 2016. Recycled Images: From Orphan Works to Found Footage. Art Libraries Journal, 41 (1), 24-31.
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• 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.
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Books

• A History of Intellectual Property in 50 Objects. New York: Cambridge University Press.
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• Op Den Kamp, C., 2018. The Greatest Films Never Seen. The Film Archive and the Copyright Smokescreen. Amsterdam: Amsterdam University Press.
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Chapters

• 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.
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• 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.
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• 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.
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• 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.
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Internet Publications

• Op Den Kamp, C., 2017. Case File 24: The Retrieved Image (supplementary educational material with 'The Game is On!' Episode 3). Available from: http://www.copyrightuser.org/educate/the-game-is-on/episode-3-case-file-24/.
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• Op Den Kamp, C., 2017. Case File 25: The Accidental Image (supplementary educational material with 'The Game is On!' Episode 3). Available from: http://www.copyrightuser.org/educate/the-game-is-on/episode-3-case-file-25/.
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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
  

  Found Footage, Legal Provenance and the 'Aesthetics of Access', XI MAGIS International Film Studies Spring School, Gorizia, IT, 21 March 2013
• 21 Mar 2013 more
  

  Recycled Images: Found Footage Filmmaking Practices, XI MAGIS International Film Studies Spring School, Gorizia, IT, 21 March 2013
• 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
• 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 Jul 2017 more
  

  Copying from Other Cultures, Ethics of Copying, Bielefeld University, DE, 13 July 2017
• 13 Jul 2017 more
  

  Copyright and Curatorial Choices, Ethics of Copying, Bielefeld University, DE, 13 July 2017
• 24 Nov 2017 more
  

  Amateur Film. Some Legal and Ethical Considerations, Inedits, University of Strasbourg, FR, 24 November 2017
• 23 May 2018 more
  

  Open Sesame - Access to Film Archival Collections and Copyright, Centre national de l'audiovisuel, LUX, 23 May 2018
• 04 Jul 2018 more
  

  Invited commentary on Marianne Dahlen’s paper, ‘A Question of Heritage. Salvatore Ferragamo and the Invention of the Wedge Heel’, ISHTIP conference, Rome, IT, 4 July
• 05 Sep 2018 more
  

  Invited lecture, ‘A History of Intellectual Property in 50 Objects’, Public Lecture Day, Bournemouth University, 5 September
• 26 Sep 2018 more
  

  Invited panel member, ‘Demonstrating Fair Use’, Washington Global Congress on Intellectual Property and the Public Interest, 26 September
• 29 Sep 2018 more
  

  Invited book presentation, ‘The Greatest Films Never Seen’, Washington Global Congress on Intellectual Property and the Public Interest, 29 September
• 29 Sep 2018 more
  

  Invited screening, ‘Charlie Lyne and Pastiche Filmmaking’, Washington Global Congress on Intellectual Property and the Public Interest, 29 September
• 24 Oct 2018 more
  

  Invited CREATe Public Lecture, ‘A History of Intellectual Property in 50 Objects’, CREATe, University of Glasgow, 24 October
• 22 Nov 2018 more
  

  Invited talk, ‘The Greatest Films Never Seen’, Forgetting the Archive: Exploring Past Images in the Digital Age conference, Istanbul Sehir University, 22 November
• 27 Nov 2018 more
  

  Invited seminar, ‘The Greatest Films Never Seen’, Notre Dame University International Film Festival, Beirut, Lebanon, 27 November
• 29 Nov 2018 more
  

  Invited talk, ‘Open Sesame: Copyright Considerations in the Digitisation of and the Access to Archival Collections’, Goethe Institute Beirut, 29 November

Grants

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

External Responsibilities

• Swinburne Law School, AU, Deputy Editor, Legal History (2016-), http://www.legalhistory.org.au/
• Swinburne Law School, AU, Adjunct Research Fellow (2016-), http://www.swinburne.edu.au/business-law/schools-departments/swinburne-law-school/
• Transtechnology Research, University of Plymouth, Contributing Researcher (2015-), http://www.trans-techresearch.net/research/contributing-researchers/claudy-op-den-kamp/
• University of Bedfordshire, Re-Validation External Board Member (-2018)

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, 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

Conference Presentations

• 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

Qualifications

• 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)

Honours

• 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)

Memberships

• 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/

Broadcast Interview

• 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)