How can audio-visual collections be mobilized for the common good? How can (future) preservationists, curators and programmers be trained to achieve this goal? In May 2018, the EYE International Conference will explore answers to these and other questions, in a programme entitled Activating the Archive. Audio-Visual Collections and Civic Engagement, Political Dissent and Societal Change.
ACE is pleased to announce that it is awarding four scholarships of 750 € each to the following selected participants to the 2018 FIAF Film Restoration Summer School in Bologna:
- Iga Harasimowicz, Warsaw, Poland
- Michal Fricman, Bratislava, Slovakia
- Tihomir Kashmicovski, Skopje, Macedonia
- Mafalda Melo, Lisbone, Portugal
Because ACE had to close down the secretariat in Frankfurt it became necessary to move the ACE website to a new home from DIF’s servers. Since the website was running some really old software it also needed a technical overhaul.
This website is now hosted on a server in Amazon’s cloud and sports a new layout which is responsive so it should work nicely on mobile devices too.
The content is the same with only some minor corrections. Once we’re running in full speed we hope to add some new stuff – especially preparing for the GA in Bologna. That is set to take place on 27 June at 2 p.m., save the date!
Reports on any anomalies of the new site are welcome. Please send any comments via email to me at firstname.lastname@example.org.
Ellen M. Harrington has taken over the directorship of the Deutsches Filminstitut in Frankfurt am Main on January 1, 2018. Harrington, who studied Comparative Literature and Cinema Studies, began working for the Academy of Motion Picture Arts and Sciences in Beverly Hills in 1993, following positions in non-profit film programming and feature film development. She was Director of Exhibitions and Special Film Events and Founding Director of the Academy’s International Outreach Program. In 2013, with the green lighting of the Academy’s film museum, she became part of the planning team of that large-scale project, as its Director of Exhibitions and Collections. Since 2015, she has been responsible for developing and shaping the museum’s collections.
The EU Research and Innovation Programme Horizon 2020 has published several calls addressing cultural heritage and the creative sector:
Deadline 13 March 2018
Curation of digital assets and advanced digitization
Inclusive and sustainable growth through cultural and creative industries and the arts
Social platform on endangered cultural heritage and on illicit trafficking of cultural goods
Deadline 14 March 2019
Collaborative approaches to cultural heritage for social cohesion
Digitization, Digital Single Market and European culture: new challenges for creativity, intellectual property rights and copyright
Innovative approaches to urban and regional development through cultural tourism
The societal value of culture and the impact of cultural policies in Europe
Get in touch with your National Contact Point for further information.
“Sharing” in all its aspects is the guiding principle for the two-day symposium at the FIAF Congress 2018 in Prague: This includes not only sharing content, but also metadata, tools and methods for preservation and research. As an international community FIAF archives don’t operate isolated, but in line with other partners and cultural heritage institutions in the field. Aim of this Symposium is to examine and discuss what we share, with whom, and how, but also the limits of sharing. Moreover, it should be explored if the the notion of sharing is a mean to better understand what challenges lie ahead of us and would benefit from joint solutions.
The FIAF Congress 2018 is organised by the National Czech Film Archive.
20 August 2017 – From 26-29 October 2017, the second edition of “Film:ReStored” will take place at the Filmhaus am Potsdamer Platz, Berlin. The festival presents new digital restorations as well as lectures and workshop talks to give an insight into the digitisation process and the questions surrounding this process. One major topic is the collaboration between rights holders, filmmakers, archives and service providers. What are the advantages of this collaboration and where does it cause tension? Would it be useful to develop common guidelines?
Film:ReStored is organized by the Deutsche Kinemathek on behalf of the Association of German Cinematheques (Deutscher Kinematheksverbund). The festival dates have been scheduled to correlate with UNESCO’s “World Day for Audiovisual Heritage” on 27 October and the “Kinopreis des Kinematheksverbundes”, which will be awarded at the Deutsche Kinemathek the same day.
The programme and the list of speakers are published HERE.
For more information and to register, please contact email@example.com
In November 2016 the European Audiovisual Observatory has carried out a survey among the members of the Association des Cinémathèques Européennes. The objective was to assess the access to the film works in their collections in the context of education and research. 32 ACE members replied to the survey, representing over 1.1million film works.
The study “Access to film works in the collections of Film Heritage Institutions in the context of education and research” was part of a research project supported by the European Commission.” It can be downloaded HERE.
Following the success of the joint FIAF/ACE Workshop “Metadata Management in Film Archives: Putting the Cinematographic Works Standard EN 15907 to use and introducing the new FIAF Cataloguing Manual” (ZEM Potsdam, March 29-30, 2017), it was very clear that most film archives share a set of questions and problems that are worth discussing as a community.
The ACE Workshop traditionally organized in Bologna is the perfect occasion to continue this discussion and to delve deeper into some of the issues:
For many decades, the range of choices was limited: film archives’ databases were all more or less relational databases, simple, basic tools developed painfully for years… Metadata rules were simple, we just followed the FIAF’s Cataloguing Rules. If your archive was big and rich, there was one collection management software available for purchase, used everywhere… But now, all this is gone, leaving film archives with more questions and fewer answers …. What should a management tool for film and non-film collections look like in the 21st century? What should it be able to do? Shouldn’t we, as a community, find a way to create the tools we need?
Date: Tuesday, 27/06/2017, 9:30-12:30h
Venue: MAMbo (Museo d’Arte Moderna di Bologna), via Don Minzoni, 14
Registration: Attendance is to the workshop is free, but places are limited. Please register HERE
Workshop Programme (pdf)
“Extending the FIAF Moving Image Cataloguing Manual and FIAF Glossaries using LoD”
The FIAF Cataloguing and Documentation Commission has set up a Task Force to define and deliver an agenda to augment and extend the FIAF Moving Image Cataloguing Manual with Linked Open Data resources, and to transform the FIAF Glossaries to LoD. What are the objectives and where will the task force go from here?
Stephen McConnachie (BFI), presented by Anna Fiaccarini (Cinteca di Bologna) and Bram Biesbrouck (Cinémathèque royale de Belgique) – Presentation (pdf)
“Collection management tools for non-film collections”
How do archives currently store, archive and annotate non-film objects like magazines, pictures, clothing, objects, etc? How is the metadata managed? Is it linked to the film collection(s)? What kind of tools do we need?
Anna Fiaccarini (Cineteca di Bologna) – Presentation (pdf)
“Practical introduction to LOD and how to apply it to film archives”
Everybody is talking about LOD, but what is it exactly and how can it be used by Film archives? What’s the big difference with relational databases? What are the advantages of
linking to internal and external ontologies? An example of its application is the CRB new collection management for film and non-film, including long term digital preservation.
Bram Biesbrouck and Bruno Mestdagh (Cinémathèque royale de Belgique)
“A community-based approach, and benefits of sharing knowledge and development. Is this the way to go for our community of film archives?”
For years, archives have been developing solutions to manage their film and non-film collections, each one separately from all colleagues. Shouldn’t we change our approach and combine forces to create tools that are designed for and by the community?
Nacho Lahoz Rodrigo (IVAC), Nicola Mazzanti (ACE, CRB) – Presentation (pdf)
Attendance is to the workshop is free, but places are limited. Please register for the workshop via: https://tinyurl.com/yaskrjvo or send an email to firstname.lastname@example.org
23 May 2017 – Il Cinema Ritrovato is one of the world’s major festivals of film restoration and definitely one of the major highlights in a cinephile’s world. The 29th edition presents 500 films from 65 archives, newly restored copies of well-known classics, but also rediscovered rare films: in the traditional “Recovered and Restored” section, at evening events at the Piazza Maggiore (don’t miss “Saturday Night Fever” (1977) by John Badham and “Let’s Get Lost”, Bruce Weber’s portrait of Chet Baker), in programmes dedicated to Robert Mitchum, Jean Vigo, Carl Laemmle jr, postwar German director Helmut Käutner and Augusto Genina, one of the most cosmopolitan directors of Italian film history. And there is much more to discover and re-discover. Buena visione! Il Cinema Ritrovato, Bologna, 24 June -2 July 2017.