Interview in Melbourne with Meg Labrum, National Film and Sound Archive of Australia, Canberra, June 16, 2015

A conversation with Meg Labrum (National Film and Sound Archive, Canberra),arguing that women have a disproportionate impact upon the programming of silent film at festivals. It asks how she works and, specifically, how the change to digital has impacted archival outreach and access today in Australia.

Arthroscopic repair of a chondrolabral lesion associated with anterior glenohumeral dislocation

Chondrolabral lesions are uncommon after anteroinferior glenohumeral dislocations. This report describes a new dual-lesion complex that involved an avulsion of the anteroinferior glenoid labrum and a flap tear of the adjacent articular cartilage [glenoid labral tear and articular cartilage flap (GLAF) lesion]. The chondral component involved a large undermined region of the anterior half of the lower glenoid articular cartilage, and the labral component involved an avulsion from the 2.30–6 o’clock position on the glenoid. The labral tear was reconstructed with 3 suture anchors to form a neo-labrum in an attempt to overlap and stabilize the periphery of the chondral flap. A meniscal repair device was used to place a mattress stitch in the cartilage periphery to further stabilize the flap. This technique resulted in a secure repair without any chondral damage, and this remained intact on an MRI performed at a 3-month follow-up. A final 12-month follow-up showed complete recovery, as assessed by the Oxford shoulder instability score and Rowe score, and by a return to the pre-injury sporting level.

An introduction to the interviews

This article explores the work that female archivists undertake today. It is based upon a series of six interviews—conducted largely in Europe in 2015—with noted female archivists, curators, and programmers. Through conversations with Bryony Dixon (British Film Institute), Giovanna Fossati (EYE Film Institute, Amsterdam), Karola Gramann (Kinothek Asta Nielsen, Frankfurt), Mariann Lewinsky (Il Cinema Ritrovato, Bologna), Elif Rongen-Kaynakçi (EYE Film Institute, Amsterdam), and Meg Labrum (National Film and Sound Archive, Canberra), it argues that women have a disproportionate impact upon the programming of silent film at festivals. It also suggests that there is a growing public that is attracted to festivals such as Il Cinema Ritrovato precisely because these festivals give us access to a vision of film history and feminism that we cannot find in traditional history books. Finally, it asks how these women work and, specifically, how the change to digital has impacted archival outreach and access today.