The Omicron variant has caused many film archives to close their doors once again and to implement ways to reach their audiences even when the traditional film theater is closed. Since Holland is lockdown, Eye Filmmuseum is offering new selections on its streaming platform Eye Film Player.
Eye Filmmuseum is showing monthly curated programmes dedicated to Dutch avant-garde and experimental films, both recent and older. The avant-garde film selection can be accessed here and Eye has also published a film dossier which can be found here. On the streaming platform it is also possible to find our which movies are accessible from your region via the “Availability by region” filter.
Eye Filmmuseum is also happy to announce that the British Time Out Magazine has named the Amsterdam Tuschinski Theater as the most beautiful of the world and on the Eye Film Player a documentary on the cinema, featuring Max von Sydow is available.
From 29 – 31 May, 2022, Eye Filmmuseum, the University of Amsterdam (UvA), Amsterdam School for Cultural Analysis (ASCA), and the Association of Moving Image Archivists (AMIA) will present the 7th Eye International Conference on ‘Global Audiovisual Archiving: Exchange of Knowledge and Practices’.
The annual Eye International Conference is an opportunity for scholars, archivists, curators, researchers, filmmakers, students, artists, and film enthusiasts from across the world to gather and explore contemporary professional and academic issues affecting audiovisual heritage today.
The 2022 edition will focus on the imbalance or current misrepresentation of global audiovisual heritage holdings, looking in particular at the alarming scarcity of audiovisual heritage from the Global South in the digital space. We will provide speakers and participants a platform to encourage knowledge exchange between scholars and archivists from different parts of the world, and different archival traditions. The conference offers a space to consider the impact of geographical location, the availability of resources, technical and digital gaps, and different audiovisual traditions. We will discuss archival challenges and think together about new models for collaboration.
The goal of the conference is to broaden the knowledge and connections within the global archival community, leading to new insights on the status of film heritage and archiving in different parts of the world.
The Call for Proposals is now open and the deadline to apply is 16 January 2022. We encourage proposals from participants, archives, and regions that are underrepresented in conferences related to audiovisual heritage, discussing topics that highlight concrete, urgent, practical concerns, and threats to collections.
Film restoration online course:from April 27th to June 8th 2022 (on Wednesdays) Restoration lectures and Il Cinema Ritrovato film festival: Bologna, Cineteca facilities, from June 25th to July 3rd 2022 Restoration workshops: Bologna, L’Immagine Ritrovata, July 4th-15th 2022
The Fédération Internationale des Archives du Film (FIAF), the Association des Cinémathèques Européennes (ACE), Cineteca di Bologna and L’Immagine Ritrovata are thrilled to announce that after the forced postponement of the 2020 edition, the ninth FIAF Film Restoration Summer School will finally take place in Bologna in summer 2022.
The Coronavirus-19 pandemic has had a big impact on our lives during the last two years, but the institutions behind the Summer School have come together once again in order to renew and strengthen their long lasting cooperation, a bond that aims to pursue the spread of film preservation and conservation through the international community. Specialists, film archive staff and students that are looking forward to experience the complete restoration workflow in our two-decade experienced film restoration laboratory are more than welcome to apply.
The program and further details will be available on January 2022.
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A new exhibtion, titled “Frame by Frame – Film restaurieren” opens today at Deutsche Kinemathek with a special event and will run till May 2nd 2022. Film restoration usually takes place in secrecy, in the workshops of the film archives and in the darkrooms of the copy factories. The exhibition brings this craft to light and shows the general public how the film archives work to preserve well-known but also forgotten works of film history and recapture them for the screen – and together with the film material also receive stories and testimonies for the future.
Divided in five chapters, everything that goes with saving films is examined: from the global search for film material and the reconstruction of early sound tracks to color and light determination in Technicolor films.
The exhibition is sponsored by the Governing Mayor of Berlin – Senate Chancellery and the Wüstenrot Foundation.
Last month, Eye Filmmuseum welcomed two new trainees to begin a 10-month-long on-the-job training programme in either “Film Restoration” or “Film Collections”. These paid positions are designed to educate and prepare new experts in their given fields of specialization, and to prepare them to be the excellent candidates for new positions in this competitive labour market. The programme begins with several weeks of introduction to the different departments within Eye. After that, the trainees split into their designated tracts. These tracts are tailed to some extent to the interests of the trainee (i.e. a focus on digital restoration or collection management, for example). After several weeks of training and development, the trainee then chooses a project to focus their attention on. At the end of the project, the trainee presents their work to their colleagues at Eye. Martine Bouw, focusing on Film Collections, holds a bachelor’s degree in Language and Literature (English & Theatre, Film and Languages Literary Studies) and two masters: MA Theatre and Film Studies and MA Preservation and Presentation of the Moving Image at the University of Amsterdam. She has volunteered, worked as an intern and as an employee in a number of media institutions in Belgium and the Netherlands, acquiring a broad range of skills that include digital ingest, book registration, distribution and festival programming, to name a few. Carolina Battaglini is Eye’s new Film Restoration trainee. She studied Cinematography at the Escuela Nacional de Experimentación y Realización Cinematográfica (I.N.C.A.A ENERC) in Argentina. She then went on to study Film Preservation at Elías Querejeta Zine Eskola in Spain where she learned skills such as cataloguing; film identification, restoration and software programmes such as MediaInfo, Cine2Digits and Diamant. She also has experience in digitizing magnetic formats: DV, miniDV, Umatic, VHS; and film formats: 8mm, 16mm. This programme is sponsored by the Gieskes-Strijbis Fund and the Hendrik Muller Fund. Applications for the next cycle will be opened again shortly, so please check Eye’s website for updates.
Meet the Archive, a EYE Filmmuseum initiative, showcases exceptional stories about (early) film history, highlights forgotten filmmakers, reports on new cooperations and shows what often remains hidden: the behind the scenes of the day-to-day programming.
Because of the coronavirus measures, this year Meet the Archive will not take place in Eye Filmmuseum itself. However since this year marks the 75th anniversary of Eye, the collection specialists have created eight online installments of Meet the Archive to celebrate this milestone. The collection specialists will discuss the history of the collection, major conservation projects, and innovations in the area of restoration and screening practice.
For some 26 years, the Cinémathèque française has nurtured a unique international film education programme called Le Cinéma, cent ans de jeunesse. Born in the centenary of cinema, the programme has evolved over many years into the longest established, and many would argue, the foremost film education programme in the world. After supporting it for so many years, the time has come for the Cinémathéque française to hand it over to a bigger group of organisations to take responsibility for the next phase of its extraordinary life.
What is the programme?
CCAJ began as an initiative of Alain Bergala, French cineaste, theorist and educator, and Nathalie Bourgeois, Head of Education at the Cinématheque française, in 1995. From the beginning film archives have played an essential role in this program.
The participants include ‘cultural partners’ cinematheques and film initiatives, who co-ordinate workshops in a country or region; teachers, educators, and filmmaking professionals who run project workshops; and the learners themselves, children and young people aged between the ages of 7 and 18.
Having survived World War II and the bombings of the Liberation gave a new impulse to a whole post-war generation. The innovative modernity of the architects who rebuilt the destroyed cities, the commitment of the construction workers who worked in perilous conditions, and the establishment of new, temporary peaceful diplomatic relations inspired a rich visual and artistic production.
Organized in the framework of the research project Visual Culture of Trauma, Obliteration, and Reconstruction in Post-World-War II Europe (www.victor-e.eu), this conference will take place 20-21-22 April 2022 in Paris, at the Institut National d’Histoire de l’Art (INHA). Itwill bring together the viewpoints of historians, visual sociologists, and historians of art, cinema, architecture, photography, painting and other related visual media on the period of Reconstruction following the Second World War in Europe. The research on the challenges of the post-war period, which began in the 1980s, has been fruitful but is only including visual sources since the 2000s. The increased digitization of archival collections, in particular iconographic and audiovisual holdings, encourages the exploration of the Reconstruction period through the rediscovery of these new objects.