Presentations and Workshops
The Time is Now – Challenges and Solutions to Making Time-Based Media Digitally Accessible. Humanities Data Stream. Digital Humanities at Oxford Summer School, Oxford, UK (2019, July.)
Quality Control Experiences from a Large-Scale Film Digitization Project. FIAT/IFTA, Venice (April 2018) / AMIA, (Nov 2018).
Digital Project Management in the Academic Library. Columbia University, New York, NY (2017, Nov).
DigiPres101: Programming Basics and Preservation Tools workshop. AMIA. Pittsburgh, PA (2016, Nov).
Arton, C. (2016, April). Preserving Hoagy Carmichael Home Movies. American Libraries Association Preservation Week. Herman B. Wells Library, Indiana University Bloomington. Bloomington, IN. WATCH at 22:00
Arton, C. (2015, July). On the Road to Find Out: Keeping our Professional Edge. Archives Forum series. Library of Congress. Washington, DC.
The Evolving Landscape of the Moving Image Archive. IU Libraries. Bloomington, IN (2014, Apr).
Arton, C., Heiber, B., Hutchinson, R., & Weissman, K. (2013, November). Vitaphone: Recent Discoveries and Preservation efforts for Sound-on-Disc Films. Association of Moving Image Archivists Conference. Richmond, VA.
Making the National Jukebox. AMIA/IASA Joint Conference. Philadelphia, PA (2010, Nov).
Arton, C., Parr, S., & Wall, J. (2007, October). Scopitones: Jukebox Films from the 60’s. Association of Moving Image Archivists Conference. Rochester, NY.
Media digitization and Access - University of East Anglia 
One year before Netflix launched its streaming services, my pioneering research for my Master’s thesis in Film Studies and Archiving, was the first to identify the unique challenges of film to mass digitization efforts that had previously been limited to books and photographs. I used surveys and qualitative research methods to argue that Chris Anderson’s The Long Tail: How Endless Choice is Creating Unlimited Demand (2006) should be the model for all media digitization efforts.
My thesis foreshadowed the successful implementation of said model to Netflix, Hulu, Vimeo, Facebook Video, the Johnny Carson Archive and the non-profit work of British Pathé on Youtube, the British Film Institute's Unlocking Film Heritage project, and most recently with Indiana University’s Media Digitization and Preservation Initiative where I am the Director of Technical Operations for Film.
Accessing Film Media: Users, e-Commerce & Archives in Cyber-Space Carla Arton, University of East Anglia, Norwich, uk 
David Francis predicted in 2002 that the film archive must “accept now that it cannot sustain the film experience because technology will eventually force a change.” Internet. Digitization. Usability. With multiple advances in digital technology over the last fifteen years, the internet has evolved into an interactive visually-based information service, commonly referred to as web 2.0. This interactive media service has in turn affected the way moving images are being consumed by the general public.
Online viewable access to material increases awareness of the archive and the industry. It also encourages more interaction between the user and the material, and promises increased commercial sales of footage. The easier the archive is to access as a public institution and a private business, the more frequent its collection will be viewed and utilized. While digitization does require an initial investment, within an additional increase in the annual budget for migration and long-term maintenance, the social and economic opportunities that arise theoretically outweigh the preliminary costs.
The moving image archive must be prepared to move forward in technology with the rest of the commercial economy. Change is part of being a business. While users presently will continue to access archives that will not have invested in digitization projects, business will eventually begin to slow as users increasingly utilize archives that have made their collections accessible online. As the internet continues to change the way that images are consumed, the archive must also change in order to access the popular consumer culture through digital technology; the sooner this happens the sooner the archive will profit from the rewards of increased awareness, business, and access to its collections.