First news from Il Cinema Ritrovato 2019

One of the biggest film parties in the world, which screened nearly 500 titles last year, is coming back for its 33rd edition, taking place this year between 22nd and 30th June. Famous for its legendary evening screenings in Piazza Maggiore, the festival recently decided to add an extra day during only one cinema operates, showing the best of that year.
Here are some programmes and retrospectives to expect during the festival:

SOUL AND CRAFT: A PORTRAIT OF HENRY KING. One of Hollywood’s most enduring filmmakers, he made 116 films across all genres between 1915 and 1962. Nostalgic and religious, his films are blessed with vitality in each and every shot. They feature some of cinema’s greatest stars, often in their best performances. This retrospective focuses on King’s sound period, but the programme also includes one classic and one rarity from his silent years. Curated by Ehsan Khoshbakht

RENDEZ-NOUS MUSIDORA! A haunting enigma made flesh, night incarnate in her black silk catsuit, the elusive and wild character of Irma Vep, the leader of a gang of criminals in Feuillades’ Les Vampires (1915) made the actress Musidora immortal. But what about the woman behind the cult image? Musidora was an accomplished designer and painter, an essayist, novelist, and poet, a film archivist, a theatre actor, singer and variety artist. Between 1921 and 1923, as an independent filmmaker, Musidora wrote, produced, acted in and shot a highly personal film trilogy in Spain. The long-awaited reconstruction of her Pour Don Carlos presents an occasion to celebrate the artist and her many lives, which were as adventurous as, if not more than, the exploits of Irma Vep. Curated by Émilie Cauquy and Mariann Lewinsky

“WE ARE THE NATIVES OF TRIZONIA”: INVENTING WEST GERMAN CINEMA, 1945-49: Following the capitulation on 8th May 1945, Germany became an occupied territory devoid of proper nationhood. From 1945 to 1948 the US-American, British and French occupied zones slowly fused into an administrative unity called the Trizone, which became the basis for the Federal Republic of Germany. We Are the Natives of Trizonia (named after a Cologne carnival song from the same period) will look at this fragile construct’s film production, called “the avant-garde days of post-war German cinema” with movies such as Der große Mandarin (Karl Heinz Stroux, 1949), Herrliche Zeiten (Günter Neumann and Erik Ode, 1949-50), Lang ist der Weg (Marek Goldstein and Herbert Bruno Fredersdorf, 1948), Asylrecht (Rudolf Werner Kipp, 1949). This is going to be a programme of discoveries and surprises. Curated by Olaf Möller.

UNDER THE SKIES OF SEOUL: THE GOLDEN AGE OF SOUTH KOREAN CINEMA. Il Cinema Ritrovato’s first survey of South Korean film is a rare opportunity to discover key works from the renaissance of one of the most influential East Asian cinemas. The programme will present great films by celebrated directors such as Shin Sang-ok, Lee Man-hee and Kim Soo-yong, many of which will be screened from new or recent restorations. Curated by Hyun Jin Cho and Minhwa Jung, in collaboration with Korean Film Archive

BRUTAL, NASTY, AND SHORT: THE NOIR OF FELIX E. FEIST. Even though he was born into the movie business, Felix E. Feist was always an outlier. But in 1947, he suddenly found his niche in the wave of noir that swept over Hollywood. These brisk, low-budget crime thrillers provided him with the template to create a crop of films spiked with verve and violence. He was particularly adept at presenting desperate characters in confined spaces, as seen in The Devil Thumbs a Ride (1947) and The Threat (1949), the former to be premiered in a new restoration. Il Cinema Ritrovato will screen four dark, fresh and deeply felt noir masterpieces by Feist. Curated by Eddie Muller

CINEMALIBERO – A 50TH ANNIVERSARY TRIBUTE TO FESPACO: An ongoing strand of the festival, Cinemalibero has been screening films and showcasing new restorations that are not otherwise easily detected on the radar of cinephilia. This year it will celebrate the 50th anniversary of FESPACO, the Panafrican Film and Television Festival of Ouagadougou in Burkina Faso, dubbed as the ‘capital of African cinema’. Curated by Cecilia Cenciarelli
Other retrospectives will regard Jean Gabin, Eduardo De Filippo, Youssef Chahine, Georges Franju and some rediscoveries from the Fox Film Corporation, following last year’s selection curated by Dave Kehr.
Il Cinema Ritrovato’s classic strands include:

Recovered and Restored – The best of the new restorations and discoveries from around the world.
In Search of Colour – Favourite and often obsolete colour formats will be explored in vintage prints and new restorations.
One Hundred Years Ago: 1919 – Riding back in our time machine to showcase some of the best and most surprising films made a century ago.
1899: Year Four of Cinema – There is more to early cinema than Méliès and the far-flung cameramen of the Frères Lumière. Discover sound film tests, home movies by affluent families and spectacular 68mm Mutoscope & Biograph films from the last year of the 19th century.
The Keaton Project – The comedy genius returns in new restorations, with live music.
Documents and Documentaries – Films on cinema and classic documentaries back on the big screen.
Il Cinema Ritrovato Kids – Films and workshops for our youngest and most curious audience.
Film Lectures – Legendary filmmakers, film restoration experts and prominent historians sharing their stories with the audience.
Il Cinema Ritrovato DVD Awards – An international jury picking the best releases of the year.
Book Fair – The most tempting collection of film books, DVDs and posters offered inside the Renzo Renzi Library.
Subscribe to Il Cinema Ritrovato’s mailing list to receive the latest news: bit.ly/cinemaritrovato2019_newsletter/
Purchase your pass today via the following link: bit.ly/cinemaritrovato2019_ticket/

Please complete the NEMOSINE survey!

– Apologies for cross-posting –
Dear colleagues,
DFF – Deutsches Filminstitut & Filmmuseum and Filmoteca Valenciana – IVC are partners the EU project NEMOSINE, which aims to set new standards for the preservation of audiovisual heritage by developing innovative “smart packages”.
The packages will be equipped with the latest sensor technology to monitor decomposition processes and adsorb decomposition products such as acetic acid. The focus is on films, photos and audio carriers based on cellulose. Aim of the four-year project is to achieve more efficient long-term archiving and increase the life cycle of films and other audiovisual objects. http://www.nemosineproject.eu/
To get an overview of current archival preservation conditions, could you please answer the following questions: Under what conditions do you store and preserve your collections? Which packaging / cans do you prefer? How satisfied are you with the existing solutions? What requirements do you think a “smart package” should meet?
This link will take you to the questionnaire:

https://s2survey.net/nemosine_questionnaire/

Completing the seven pages of the survey will take about one hour. You can save and pause at any time (just click on the button at the bottom of the page). Please answer the questions to the best of your knowledge. As a potential user of the innovative cans your feedback is important to us. Your answers will be treated confidentially.
Deadline is 20 March 2019. If you have any questions, please do not hesitate to contact us.
Thank you for your support!

With kind regards,
Kerstin Herlt, DFF – Deutsches Filminstitut & Filmmuseum (herlt@dff.film)
Juan Ignacio Lahoz Rodrigo, Filmoteca Valenciana – IVC (lahoz_ign@gva.es)

Film heritage screenings – EU funding available

European Year of Cultural HeritageAs part of an initiative funded last year under the European Year of Cultural Heritage, the European Commission is gathering proposals for organising a series of at least 5 screenings between May–September this year.


The main event specifications are as follows:

1. The screening must take place in a culturally important location.

The venue could be a cultural institution or heritage site which already hosts screening events (so that they have all the equipment and experience with handling them). The screenings could take place indoors or in an open air location.
The institution managing the venue should be willing to take the bulk of responsibility for the event (in collaboration with the local film heritage institution, the Creative Europe MEDIA desks, and the contractor of the European Commission).

2. The screening may take place during local celebrations, especially linked to heritage (eg. the 100th anniversary etc.).

The screening may be followed or opened by a networking cocktail, and/or discussion with a film/cultural historian (depending on the context). Of course, the bigger the outreach and audience of the screening, the better.

3. The heritage film to be screened has to be a non-national European film.

It will be a film of your choice as your knowledge of the audience’s preferences will be relied on.

Proposals for different venues and concepts for these events are now being gathered.
Concrete suggestions of possible venues, possible dates and a rough estimation of costs are needed.

Please send questions and proposals directly to Ms Irina Sofletea (Irina.SOFLETEA@ec.europa.eu).

Deadline for sending in proposals is 20 March 2019.

Rebranding: DFF – Deutsches Filminstitut & Filmmuseum

Press Release: Projects 2019 / New name – new design

A new name, a new brand identity, a new study center on Eschersheimer Landstrasse, innovative exhibitions and other exciting projects: 2019 will be a special year for an institution that goes back, at its roots, to the Deutsches Institut for Filmkunde (DIF), which was founded 70 years ago on 13 April 1949. Say hello to the new DFF – Deutsches Filminstitut & Filmmuseum.

2018, the first year for new director Ellen Harrington, was a successful one, with 201,000 visitors in the Museum on the Schaumainkai alone, and 365,000 visitors worldwide at our touring exhibitions and film programs. Right at the beginning, Harrington initiated a series of processes to analyze the impact of the institution. In addition to extensive visitor surveys, a working group started in February to draft a new mission statement; the group also developed the new name that presents this international film heritage institution as a unified entity- the DFF – Deutsches Filminstitut & Filmmuseum.

The new names stands, from now on, for the integrated organization that has emerged from the joining of the former DIF and the Deutsches (German) Film Museum, which opened in 1984. After the renaming of the Deutsches Institut für Filmkunde to “Deutsches Filminstitut” in 1998, the acronym DIF did not fit any longer, though it remained in use. With the merger of the Deutsches Filminstitut and the Deutsches Filmmuseum in 2006, its use repeatedly caused confusion. This is now a thing of the past. In 2019, the year of the 70th birthday of the institution, the DFF presents itself as a unified whole.

In addition to the new name and acronym, this naturally also includes a new corporate design: a new logo and a new graphic concept that represents the building and all its departments and activities as a whole. The aim was to make the brand more recognizable and understandable at a glance. With a clear, almost classical logo and
a fresh color concept, the Offenbach-based graphic design firm Urban Media Project has successfully implemented this requirement. Their clever brand design, which focuses on projection as a link between the analogue past and the digital present and future, will be widely presented in the coming weeks and help to advance the repositioning of the institution.

The tag line “Everything is film,” derived from the mission statement, punctuates the brand. It expresses the belief, from the point of view of our DFF experts, that ‘film’ encompasses and communicates the essential things in life and art – it creates a ‘cinematic world’ which touches our emotions, evokes our dreams, and shares visual beauty or even ugliness. Film inspires our imaginations with themes and images that entertain, shock and challenge us as human beings. Everything we see, hear and feel can remind us of a film, and serve as the inspiration for a new one. That is why, for us: Everything is film!

An appealing, responsive new website is currently being created, which will go online in the Spring; there visitors can intuitively discover the full range of DFF offers. Naturally, this will also include online ticketing for cinema-goers.

70 years of DFF – Our Anniversary Year in Brief:
The film installation ‘70 Years in 70 Minutes,’ opening on 25 March, presents German film since 1949 in a curated projection experience, and gives the starting signal for the celebrations marking the 70th anniversary of the house, which culminate in a ceremony with Minister of State Monika Grütters on Monday, 20 May. On the same day, the new DFF – Fassbinder Center, Frankfurt, will be opened – another highlight of the anniversary year. In the new study center on Eschersheimer Landstraße, the DFF will be able to concentrate its many collections, including the estate of Rainer Werner Fassbinder, which was taken over in 2018, and make them accessible to film experts and the public for research purposes.

Shortly thereafter, on 3 June, ‘Digital Revolution,’ an interactive exhibition dealing with the creative possibilities digitalization offers the arts will open, with a focus, of course, on the medium of film. The international artist Maximilian Schell, whose personal collection the DFF took over two years ago, is the subject of a major autumn exhibition that combines multimedia elements with scenic installations and invites visitors to immerse themselves in Schell’s artistic cosmos, including his interactions with many of the leading creatives of the 20th century across many fields.

First up, from February 1, there will be a visitor-oriented innovation in the opening hours: In future, the museum will change its evening schedule, and will be open until 8 p.m. on Fridays instead of Wednesdays.

Frauke Haß
Presse & Öffentlichkeitsarbeit / Leitung
Deutsches Filminstitut & Filmmuseum
Schaumainkai 41
60596 Frankfurt am Main
Tel: 069/961 220 307
hass@dff.film

www.dff.film

Call for Tender for a Project Expert for the preservation of digital cinema

The Secretariat of CEN/TC 457 would like to inform you that the third Call for Tender for preservation of digital cinema has been put on the Homepage of the DIN Standards Committee Entertainment Technology, Photography and Cinematography (NVBF).

https://www.din.de/en/getting-involved/standards-committees/nvbf/news/cft-preservation-of-digital-cinema-en-261552

The purpose of this call is to find a film archive representative – project team expert 5 – for the Project Team which will be in charge of the bulk of the practical work in this standardisation project.

The tasks of the project team expert 5 include:

  • Taking part in project team meetings (at least at 3 month intervals) to discuss results and next steps, to monitor progress and results, in order to ensure the agreed timeline
  • Evaluating standards and collecting requirements regarding film archives together with expert 4
  • defining the archive framework together with expert 2 and expert 4
  • Describes common workflows in film archive processing together with expert 3 and expert 4
  • Supports project group with requirements of film archives, especially make recommendations on legal deposit and workflow implementations
  • Supports PT leader and expert 3 and expert 4 in assessment of results of software development team according to the specifications
  • Discusses project results with experts from service providers and archives, gives feedback to the project team and delivers comments back to the project team
  • Supports project group with knowledge and descriptions of workflows in film archives
  • Dissemination of the progress and result to the archive and postproduction community
  • Taking part in the meetings with the development team, which will be held on a regular basis in order to discuss results with the development team, getting feedback on changes requested, identifying the effects on changes in the software to the draft and in order to ensure a good collaboration with the development team

The deadline for tenders is the 21st January 2019.

Digital Cinephilia in the Archives: European cities from grain to pixel

Monday, October 22nd 2018

 

In the context of I-Media-Cities, the Greek Film Archive in collaboration with the Laboratory of Audiovisual Media of the Department of Communication and Media Studies, National and Kapodistrian University of Athens, organises the one-day conference “Digital Cinephilia in the Archives: European cities from grain to pixel“.

The Conference will be conducted in English.

To read the full program of the conference, please click here.

Venue: Greek Film Archive

Free admission

Budapest Classics Film Marathon 2018

RESTORED MASTERPIECES ON BIG SCREEN
4–9 September 2018

Claudia Cardinale (Once Upon a Time in the West, 8 ½, The Leopard), Klaus Maria Brandauer (Mephisto, Colonel Redl, Out of Africa) and Jean-Marc Barr (The Big Blue), as well as Katinka Farago, Ingmar Bergman’s legendary – Hungarian-born – colleague, are all coming to Budapest between 4–9 September. Hungarian film classics, 4K restored by the Film Archive and Hungarian Filmlab will be screened along with masterpieces restored by other major European archives. This is the first opportunity to see the magnificently restored Oscar-winning Mephisto, Zoltán Fábri’s and Sándor Sára’s films, Hungarian animations, beautiful documentaries on such defining female characters of the film industry as Hedy Lamarr, the select of Cannes Classics 2018 programme is on show. We can also learn about which movies inspired Wes Anderson to make The Grand Budapest Hotel.

http://filmarchiv.hu/en/film-marathon

https://www.facebook.com/events/440020356484872/

Photo: István Szabó’s Mephisto – Academy Award for Best Foreign Language Film, 1980 © Hungarian National Film Fund – Film Archive

 

The 5th Eye International Conference

hosts The 10th Women and the Silent Screen Conference

Save the date 25–28 May 2019

http://eyefilm.nl/conference

SISTERS

Sisters
Women and the Silent Screen (WSS), an international conference held biennially, brings together research focusing on all forms of women’s presence in the earliest decades of motion picture history. After its first edition in Utrecht in 1999, the conference is coming back to the Netherlands to celebrate its twentieth year. The theme of WSS X is Sisters, taken both literally and figuratively within a wide range of theoretical and historical angles.

General Assembly 2018

The next ACE General Assembly will be held in Bologna on 27 June at 2–5 p.m. in Sala Cervi at Cineteca di Bologna, via Riva di Reno 72. Members: do remember that this is an election year of the Executive Committee so it is important to be present to vote for your favourite candidates.

Meeting documents (agenda, minutes of GA 2017, activity report, results 2017, budget 2018, mission statements) are available in the members’ area.