ACE scholarships for the FIAF Film Restoration Summer School announced

FIAFSummerSchool201622 April 2016 – The FIAF Film Restoration Summer School will be held from 24 June to 15 July 2016. Again, ACE and FIAF support applicants with a grant to participate in 7th edition.


This year, ACE has awarded 4 scholarships à 750 EURO each to

  • Masha Badalich, Jugoslovenska Kinoteka, Belgrade, Serbia
  • Tereza Frodlova, National Czech Film Archive, Prague, Czech Republic
  • Peter Dubecky jr., Slovak Film Institute, Bratislava, Slovakia
  • Kadi Sikka, Film Archive of the  National Archives, Tallinn, Estonia

See the full list of the selected participants here

Summer School Schedule:

  • Film restoration distance learning courses, 15/06-11/07 (on Wednesdays)
  • FIAF congress – symposium in partnership with The Reel Thing: “A new life for the cinema of the past”: Bologna, Cineteca facilities and Palazzo Re Enzo,  25/06 – 26/06
  • Theory lectures and Il Cinema Ritrovato film festival: Bologna, Cineteca facilities, 25/06 to 02/07
  • Restoration practice: Bologna, L’Immagine Ritrovata, 04/07-15/07

The programme is available on the website of L’immagine Ritrovata.
For further information please contact Elena Tammacaro via

ABCinema film literacy website online

Logo_ABCinema440x200-grau28 November 2015 – Since July 2014,  leading Film Heritage Institutions and cinema organisations are working together in the ABCinema project to share best practices and to explore, on a pan European level, creative approaches to encourage children, young people and teachers to engage with film heritage.  The ABCinema website gives now access to first results, providing a catalogue of film’s related activities, supporting materials and practical guidance. The catalogue covers all types of films, mainly silent and non-narrative formats.  Children and students are encouraged to enjoy the playfulness of animation cinema, to explore the great creativity and dream-like potential of surrealistic movies, and to get familiar with the impact of specific narrative elements like shadow, movement, sound etc. So far, twelve different activities based on twelve films are available on the website.  They aim at enabling children and young people from 3 to 25 years old to explore their own creativity by experimenting with the material, by making their own films, as well as developing an understanding of the cultural richness, the social, historical and artistic importance of cinema. All activities, related films and resources intend  to inspire practitioners, teachers and educators that wish to work with heritage films.

The first project year was dedicated to develop, implement and exchange film literacy activities among the partners. In the second project year, which started September 2015 and will run for one year, ABCinema plus will focus on peer-to-peer activities, addressing educational departments, decision-makers and teachers alike, while continuing to enrich the ABCinema website with best practices. The overall goal is to establish ABCinema as an expert hub for film literacy activities working with archival material. ABCinema and the follow-up project ABCinemaplus have been co-funded by the CREATIVE EUROPE programme of the European Union.

Partners:  Fondazione Cineteca di Bologna (Bologna), Cinémathèque royale (Brussels), Deutsches Filminstitut (Frankfurt/Main), Les Enfants de Cinéma (Paris), EYE Filmmuseum (Amsterdam), Watershed Arts Trust (Bristol), Association des Cinémathèques Européennes (Brussels).

Project Coordination:
Fondazione Cineteca di Bologna
Enrica Serrani –
Elisa Giovannelli –

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Leaked Communication “Towards a modern, more European copyright framework”


15 November 2015 – The Commission announced in a draft Communication (leaked by IPKAT) a legislative proposals to ensure wider access to content across the EU, adapte exceptions to digital and cross-border environments, achieving a well-functioning marketplace for copyright, and to provide an effective and balanced enforcement system.

A first proposal on the portability of content will be published early December, more proposals will follow in Spring 2016,   they will be a mix of legisative and non-legislative measures aiming at:

  • reaching licensing agreements with righs holders that allow for cross-border access to content
  • facilitating the digitisation and making available out-of-commerce collections. This is good news, because the need for digitisation has not been mentionned before in connection with the copyright reform. On the other hand,  the making available of out-of-commerce works is not listed among the exceptions that the Commission considers to adopt, although Europeana and other Cultural Heritage Institutions have advocated for an exception to achieve this goal. (see Europeana Open Letter on copyright reform).
  • creating ready-to-offer-catalogues of European films, and the development of licensing hubs
  • supporting the developpment of an European aggregator of online search tools destinated to end users, promote more efficient funding for, and  use of, subtiteling and dubbing
  • intesifying the dialogue with AV industry to promote legal offers, the findability of films as well as a more sustained exploitation of existing European films.

In the area of copyright exceptions, the overall aim is to achieve further harmonisation and more mandatory exceptions for the Member States, to function also cross-border. However, the proposals in this area a limited to

  • implementing the WIPO Marrakesh Treaty as a mandatory, harmonised EU exception, which allows to disseminate and make available special formats of print material for people with print disabilities across the EU
  • carrying out text and data mining (TDM) for research purposes
  • clarifying the scope of EU exceptions for teaching (online remote learning), preservation, and freedom of panorama.

In order to achieve a “well functioning marketplace for copyright”, the Commisison considers if action is needed on the definition of the rights of ‘communication to the public’ and of ‘making available’. In other words: under which conditions linking to content might infringe copyright. To enforce copyight, a ‘follow-the-money’ approach shall deprive intermediary service providers involved in copyright infringement of the revenue streams (via advertisement or payments).
According to the Commission, full harmonisation and a single copyright title in the EU remains the long term vision.
Draft Communication “Towards a modern, more European Copyright Framework


ACE workshop „Showing a Film is Not Enough” – Cinema Programming in the Digital Era“

30 September 2015 – The constant development of digitization broadens the access to the film market. When film can be accessed from everywhere, cinemas, and particularly those that show classical and silent films, must find innovative ways to engage with audiences. At the 5th ACE workshop, which took place in Bologna on 3rd July 2015, film archivists and curators came together to present their activities in promoting archival films and developing audiences for this specific material.  It was also discussed how cinematheques can better collaborate as a network, and share both best practices and cinema programmes.

Making “old” films fashionable

Tadeusz Kowalski (Filmoteka Narodowa, Warsaw) moderated the workshop.  One of Filmoteka’s approach to make archival films more “trendy” is to combine a modern and a classical film on same topic, which allows the viewer to follow the development of cinema from the perspective of a particular theme. Filmoteka also organises cine-concerts to celebrate re-premieres of restored silent films. They have created an own TV programme, “Iluzjon.TV” , to inform about special events and the actual programme. It can be watched on You Tube, Facebook and in the cinema.

Presentation Out of Love for Cinema

  Happenings and Communality

KAVI – the National Audiovisual Archive in Finland shows high quality 4K restorations, 70 mm films, 3D as well as Technicolor restorations, introduced by experts.  Popular formats like sing-along contests and dress-along screenings help to bring new audiences into the theatre. 

Presentation Audience development and film education at KAVI

 “We Want Cinema” – Attracting younger audiences

Cinematheques offer a wide range of activities for kids and young adults to raise enthusiasm about watching, making and experiencing film.  Sandra den Hamer  (EYE Film Institute Netherlands, Amsterdam) presented MOVIE ZONE,  an online platform that provides teaching materials, film tips, and an interactive film series teacher and pupils can works with. “EYE Exposed” is an innovative approach to involve young adults to write blogs about cultural events at EYE. They organize openings at EYE and share this information with their community. The Short Film Pool (“Korte Film Poule”) offers special educational programmes for primary and secondary schools. Subscribers have unlimited access to 250 short films, and DCPs are made on demand. 

 “Show me yours and I’ll show you mine” – Sharing film programmes

Mariona Bruzzo (Filmoteca Catalunya) presented the anthology “Basics of Catalan Cinema”. The five programmes (11 sessions) cover Catalan film production from the silent era until the 1980’s. The aim is to promote Catalan film heritage among FIAF members, festivals and cultural institutions. The programmes will be available in 2016.

Presentation Basic Films of Catalan Cinema

 “Try the multiplexes”

Gian Luca Farinelli reported about Cineteca di Bologna’s success in doubling the size of their audience from 70,000 visitors in 2007  to nearly 130.000 in 2014, by offering a specified programme for different types of audiences. Through  ccooperation with commercial cinemas, Cineteca di Bologna was able to show restored classical films in 19 different cities in Italy.

Improve collaboration, share experiences

Although the presentations show that Cinematheques are innovative and successful in attracting new audiences, it is a matter of fact that archival films are less and less shown, states Nicola Mazzanti (Cinémathèque royale de Belgique). ACE members need to better collaborate and share information about prints and DCP’s already available to circulate them among the network. Also, members should  share experiences about titles which work and which doesn’t work, on the cinema screen as well as on VoD. The network could also collaborate closer in translating subtitles and buying film rights jointly. And why not trying the multiplexes? France is a good example that there is a demand and a market for heritage films.


 ACE has initiated the workshop series “Management Strategies for Film Archives in the Digital Age” in 2012. It is  a forum for discussing the impact of the digital paradigm on the daily work of archivists and curators working in Europe’s Film Heritage Institutions. Topics of the previous workshops were a) Digital archiving and workflows, b) Digital preservation and exhibition, c) Re-inventing cinephilia, d) Acquisition and collection policy.






Irish Film Archive publishes new Digital Preservation & Access Strategy

16 June 2015 – The IFI Irish Film Archive has published today a new Digital Preservation & Access Strategy that outlines its response to the challenges and opportunities of archiving vast quantities of moving image material in a digital environment.Over the last five years moving image production and distribution has changed from being almost entirely analogue to being predominantly digital; as the guardian of the national moving image collection the IFI Irish Film Archive is faced with the challenge of collecting, cataloguing, preserving and giving access to these digital collections for the benefit of current and future generations.
Read the full press release

IFI Irish Film Archive Digital Preservation & Access Strategy


Seminar “Archival Film Today”, Municipal Library of Prague, 26 May 2015

15 May 2015 – How to facilitate access to audiovisual heritage whether it has been digitised or not? Digitisation is being carried on under the rationale of enabling access, but it seems to be only the very first step in making sure that our audiovisual heritage is available, knoseminar-archivni-film_smallwn and alive. Digitising enables access rather in theory, not necessarily in practice.

During this one-day seminar film archivists, curators and experts in film and media education are presenting best practices and lessons learned in making 120 years of film heritage accessible and viewed.

You can access the full programme here

European Commisison publishes its Digital Single Market Strategy

7 May 2015 – Yesterday, the European Commission has published its “Digital Single Market Strategy for Europe”. One of the pillars of the DSM Strategy is the upcoming copyright reform.  Vice President Andrus Ansip has repeatedly said that the present EU copyright rules are not fit for the digital age and that citizens should be able to access media content from everywhere in the EU.

The Commission announced to publish legislative proposals before the end of 2015, “to reduce the differences between national copyright regimes and allow for wider online access to works by users across the EU, including through further harmonisation measures. The proposals will include: (i) portability of legally acquired content, (ii) ensuring cross border access to legally purchased online services while respecting the value of rights in the audiovisual sector, (iii) greater legal certainty for the cross-border use of content for specific purposes (e.g. research, education, text and data mining, etc.) through harmonised exceptions,(iv) clarifying the rules on the activities of intermediaries in relation to copyright protected content and, in 2016, (v) modernising enforcement of intellectual property rights, focusing on commercial scale.”

All of these actions are of course tied in with economic interests, but the non-commercial sector is also clearly  mentionned: The proposals will include harmonised exceptions at least for research and educational purposes.

Communication from the Commission “A Digital Single Market Strategy for Europe

Read the press release


The ten worst and five best amendments to the Reda Report on EU Copyright

copyright_1024x448_small17 April 2015 – The European Parliament is preparing a resolution on the implementation of the Directive 2001/29/EC, the so- called “InfoSoc Directive”. The Directive intended to harmonise certain aspects of copyright, including the exceptions and limitations to the use of copyright protected works, but it has failed to do so. The existing legal framework is also maladapted to new technologies and the increase of cross-border cultural exchange. Rapporteur is the German MEP Julia Reda (The Greens / EFA). Reda’s report calls for, amongst other things, a more user-friendly approach to copyright, better remuneration and fair contracts for authors, a single European copyright title, the harmonisation of the protection term (death of the author(s) + 50years), and the mandatory implementation of the exceptions and limitations in the member states, as well as a broad exception for research and education, which should enable cross-border collaboration and encompass also non-formal education.

As expected, the reactions were hugely controversial. The big majority of MEPs doesn’t  want to challenge the status quo of EU copyright. All in all, the MEPs have tabled 556 amendments. COMMUNIA, the International Association on the Public Domain, has published the ten worst and five best amendments.

The position of film and cultural heritage institutions is best represented by the Dutch MEP Marietje Schaake (ALDE) and the Polish MEP Lidia Joanna Geringer de Oedenberg (S&D). Schaake proposes to expand “mandatory exceptions beneficial for public interest institutions, such as libraries, museums and archives, which play a central role in facilitating online access to cultural heritage, and access to information that allows them to make protected works in their collections, that are not in commercial circulation anymore, or otherwise actively managed by their rights holders, available for online access by the public” (AM 348). Geringer de Oedenberg asks for making “uniform and mandatory all the exceptions and limitations referred to in Directive 2001/29/EC, to allow equal access to cultural diversity across borders within the internal market and to improve legal certainty” (AM 341). The vote in the Plenary is scheduled for early May.

Read the full Reda Report (all EU languages)

Copyright evaluation report explained

Background information: The Reda Report has been prepared in the context of the Commission’s initiative to revise the EU copyright rules. A public consultation, which was carried out early 2013, received 11.000 responses. This is one of the highest participation rates ever. You can access the ACE response to the consultation here.


ABCinema Sprint at Flatpack Film Festival, Birmingham, 27-29 March 2015

2014_07_Rife_team_jump_small19 March 2015 – ABCinema goes UK:  Co-organised by ABCinema partner Watershed (Bristol) as part of the Flatpack Festival in Birmingham, the 3-day sprint will explore innovative approaches to engage the next generation in film heritage and culture outside the formal education environment.
The event brings together experts from Europe’s film archives, cinema practitioners and young people aged 16 – 25 actively involved in film projects. The aim of ABCinema sprint is to inspire, surprise and challenge in a rapidly evolving digital environment. What kind of opportunities does it offer for user engagement and audience development? How can those who don’t engage with film heritage be reached? How can we re-imagine the way in which audiences are invited in and experience film? How can we explore, together with the young people, creative ways to engage their generation in heritage film and culture?  These are some of the questions which will be discussed in workshops and panels during the weekend.

ABCinema is co- funded by the Creative Europe Programme of the European Union.

Download the full ABCinema sprint programme
More information about the ABCinema project




Copyright reform – Julia Reda’s draft report on the Infosoc Directive

21 January 2015 – Julia Reda, rapporteur of the Legal Affairs Committee, presented yesterday in the European Parliament her draft report on the evalution of the Infosoc Directive 2001/29/EG. Reda, member of the German Pirate Party,  advocates for a harmonization of Copyright in the EU and an equal and mandatory implementation of  the exceptions and limitations in the Member States.  She is one of the few MEP who wants to make the EU lobbying transparent and has therefore published on her website the meeting requests of the lobbyists and interest groups. You can get involved in the discussion and share your comments on the draft report here.