Under the title Commercials from the Geesink studio (1942-1972), Eye is releasing ten themed programmes with some of the most important vintage commercials from the Geesink collection. The compilations can be watched – free of charge – world wide on the Eye Film Player, Eye’s streaming platform.
Dutch producer Joop Geesink set up a film studio in 1942 that made hundreds of advertisements for TV and cinema: stop-motion ‘puppet’ films under the name Dollywood as well as live action films under the name Starfilm. The Geesink studio’s collection is held in the Eye Filmmuseum archive. Eye has preserved and digitised part of this collection. Between 1 August 2022 and March 2023, Eye will be releasing eleven themed programmes featuring the best advertisements from the Dollywood and Starfilm studios on the Eye Film Player, Eye’s streaming platform. The compilations can be watched – free of charge – world wide.
Joop Geesink (1913-1984) – also known as ‘the Dutch Disney’ – was extremely effective at bringing in customers. One of his major clients was Philips, but Geesink also had many customers in, for example, Germany, Italy, Great Britain and the United States. Some seventy percent of Geesink productions were for the market outside of the Netherlands. In the US, people started to refer to ‘the Geesink technique’ in relation to the extremely good art direction and highly professional standard of animation. The Geesink studio won many awards for its stop-motion films, including prestigious Cannes Lions Awards.
Filmoteca Española and SEFF (Seville European Film Festival) are committed to organize a two-day workshop titled “Programming European Heritage at Film Festival” during the festival, 5th-13th November 2022, at the city of Seville (Spain).
The workshop “Programming European Heritage at Film Festivals” will explore different forms of curating and screening heritage cinema within the global programming activity of a contemporary film festival. In the last years, European festivals that used to screen complete retrospectives of masters, solid subject-specific programmes or tributes to contemporary filmmakers (build with European heritage cinema), and even publish annual essays dedicated to its investigation, have been reducing or removing the presence of the cinema of the past in their offer.
Restored by Filmoteca de Catalunya in 4K, the film Apartado de Correos 1001 (P.O. Box 1001) will be presented in a free open-air screening event at the Plaza de Salvador Seguí on Sunday 17 July 2022 at 22:00, as part of A Season of Classic Films. The film will also be free-to-view worldwide between 18 and 19 July.
This film is a great classic of Barcelona’s cinema noir. An echo of the Hollywood thrillers in the context of the Franco regime.
The film was shot on location: on the streets and at popular venues of 1950s Barcelona city centre, especially the neighbourhood where the cinema theatre of Filmoteca de Catalunya is located nowadays. How does this film from the fifties connect to the realities of the neighbourhood today? Filmoteca has conceived a physical and virtual itinerary that connects films linked to the area of Raval. The result is a collaborative map to understand how cinema produces reality and reality produces cinema. The map is available to pick up at the Filmoteca or in a digital version. Audiences can follow the itinerary in the way that suits them best (fragmented, complete, with or without company…) and are encouraged to share snapshots using the tag #FilmoRutaRaval. An organised walk will take place before the film screening, upon registration.
Director: Julio Salvador. Producer: Emisora Films. With: Tomás Blanco, Modesto Cid, Elena Espejo, Guillermo Marín, Conrado San Martín. Script: Julio Coll, Antonio Isasi-Isasmendi. Cinematography: Federico G. Larraya. Music: Ramón Ferrés. Physical characteristics of first release: 16mm, 90’, B&W, sound, Spanish. Film copy screened during A Season of Classic Films: New restoration. DCP 4K, 90’, Spanish. Subtitles available: English, French. Copyright: Video Mercury Films, SAU.
Barcelona, 1950. A man is murdered in the street in front of a police station. Two agents of the criminal brigade, a skilled veteran and an eager young one, are in charge of the investigation. We follow them on their journey to a thrilling climax in a local amusement park.
A Season of Classic Films: Celebrating film heritage across Europe
A Season of Classics Films is a series of free film screenings and parallel activities across Europe designed to attract younger audiences to our shared cinematic cultural heritage. The programme looks to raise awareness of the work of European film archives, connecting the public with cinema history and the significance of film preservation. Most of the films are premiere digital restorations and some screenings include live performances and educational interactive sessions. All films are available with English subtitles. Additionally, French or other subtitles are in some cases available. This is an initiative of the Association des Cinémathèques Européennes (ACE) with the support of the EU Creative Europe MEDIA programme.
For dates and access links of the upcoming free screenings in cinemas across Europe and online, please follow ACE’s website and social media pages on Instagram | Facebook | Twitter.
ABOUT THE ASSOCIATION DES CINÉMATHÈQUES EUROPÉENNES (ACE)
The Association of European Cinematheques (Association des Cinémathèques Européennes – ACE) is an affiliation of 49 European national and regional film archives. Its role is to safeguard the European film heritage and make the rich audiovisual records collected and preserved by the various film archives accessible to the public. ACE members are non-profit institutions committed to the FIAF Code of Ethics.
From 12 to 30 June 2022, the Deutsche Kinemathek mounted a Ukrainian film series in three German cities, including introductions and discussions. The project has been curated by Victoria Leshchenko and Yuliia Kovalenko, whose initiative sloïk film atelier provides a space for underrepresented voices and fosters them internationally. Funded by the Federal Agency for Civic Education.
Information is available in three languages (English, Ukrainian, German) for future iterations of the programme at other institutions.
Russian war rhetoric seeks to negate the existence of Ukraine’s own history and culture. Ukrainian cinema, however, has a rich history and has recently been experiencing a veritable boom, testimony to a vivid, independent film culture. This series provides a map of that film culture negotiating self-perceptions, discourses, and places in the country.
Today, June 29th, saw the ACE General Assembly, which took place at MAMbo Museum in Bologna. The GA was an opportunity to elect the new executive committee and discuss new ACE projects.
The new ACE executive committee is composed by:
President: Michal Bregant, Narodní filmový archiv, Prague
Treasurer: Thomas Christensen, Det Danske Filminstitut, Copenhagen
Secretary General: Mikko Kuutti, National Audiovisual Institute, Helsinki
Chicca Bergonzi, Cinémathèque suisse, Lausanne Anna Fiaccarini, Cineteca di Bologna, Bologna Giovanna Fossati, Eye Filmmuseum, Amsterdam Ellen Harrington, DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt Rui Machado, Cinemateca Portuguesa-Museu do Cinema, Lisbon György Ráduly, National Film Institute Hungary – Film Archive, Budapest
In the first photo they are pictured together with Paulina Reizi (Eye Filmmuseum), ACE EC Coordinator.
A special thanks to our outgoing president Sandra den Hamer.
MAMbo – Museo d’Arte Moderna di Bologna Via Giovanni Minzoni 14, 40121 Bologna, Italy
The beginning of the 21st century brought along the most significant technological transformation that cinema has undergone since its invention.
The replacement by digital of analogue technology in the entire cinematographic chain from production to exhibition has had far more profound consequences than all the technological changes that occurred in the first century of cinema. These include the replacement of the 35mm cellulose nitrate film base with cellulose triacetate, and even the transition from silent cinema to sound cinema.
One of the consequences of the digital transformation is the need to establish an all-new archival methodology — including digital repositories whose long-term viability is still unproven. But another, no less decisive consequence, is the need to define how we intend, from now on, to preserve and exhibit the great historical collection of 20th century cinema.
Eye Filmmuseum is pleased to announce that the call for the Traineeship Programme “Film Restoration” and “Film Collection” for starting film restorers and film collection specialists is now open.
With these two traineeships, Eye aims to build a bridge between academic training and hands-on daily practices. This programme is designed to educate a new generation of film restorers and film collection specialists and seeks to facilitate their transition into the labour market.
Applicants are invited to send in their applications by July 1st, 2022.
ACE Film education Training at “Il Cinema ritrovato” Festival
Friday, July 1st, 10.00 – 16.00 pm
Sala Cervi, Via Riva di Reno, 72/A, Bologna
A group of education specialists from key European Cinematheques in the ACE are inviting colleagues to a one-day seminar at the Festival del Cinema Ritrovato in Bologna on Friday 1st July. Cinematheques and film archives have for many decades led the engagement of schools, children and young people with the heritage of cinema, and this event seeks to extend and amplify that work, principally by inviting renowned cineaste, thinker and educator Alain Bergala, to lead a discussion around approaches to film education. The day comes in two parts:
ACE presents the 3rd edition of A Season of Classic Films, which includes cinema and online screenings of restored films and parallel events organised by 22 European film archives between June and December 2022.
Opening night is Thursday 9 June (International Archives Day) and will start with the world premiere of the restored Face to Face (1966) by the Greek Film Archive. The film is about a timid young man hired to give English lessons to the daughter of a nouveau riche family. The screening will take place at Lais Open Air Cinema in Athens, while free online access is available for one day starting at 20:00 (Paris time) on 9th June.
On Friday 10 June, the programme continues with the restored Croatian comedy Blue 9. The film will be presented by the Croatian state archive – Croatian cinematheque at the main cinema room of the Archives and it will be free-to-view online from 10 to 17 June.
Both online screenings offer worldwide access with English subtitles.
Πρόσωπο με Πρόσωπο [Prosopo me Prosopo] (Face to Face) | Greece, 1966, 84’, fiction
Director-Producer: Roviros Manthoulis. With: Costas Messaris, Eleni Stavropoulou, Theano Ioannidou, Lambros Kotsiris, Alexis Georgiou, Mary Gotsi. Script: Roviros Manthoulis, Kostas Mourselas. Cinematography: Stamatis Trypos. Music: Nikos Mamangakis. Editing: Panos Papakyriakopoulos. Physical characteristics of first release: 35mm, 1:1.66, 24fps, 84’, B&W, sound, Greek. Film copy screened during A Season of Classic Films: Restoration premiere. DCP 4K (physical screening) and ProRes (online screening), 84’, Greek. Subtitles: English. Copyright: Roviros Manthoulis.
The main story of the film is about a poor English teacher who tutors the daughter of a rich family and flirts with both the daughter and her mother. Manthoulis presents a bitter satire of the new bourgeoisie which was profiting from the rapid economic growth in the 1960s but also presents a unique portrait of Athens experiencing a rapid and poorly planned urban development.
Only a few weeks after filmmaker Roviros Manthoulis passed away, this screening also serves as a tribute to his acclaimed work. Manthoulis played a crucial role in the renewal of Greek cinema in both documentary and fiction film. In the beginning of April, he was informed about how the restoration of his film Face to Face was going and of the great impression it made to the colleagues at the laboratory of Imagine Ritrovata in Paris – he was happy but also very modest. He died on April 21st, exactly 55 years after his film was first screened in Hyeres Festival. It was enthusiastically received by both the public and the critics and, as a result, it was screened at the Cannes Film Festival. Manthoulis then made statements against the Greek military junta (1967-74) that were broadcast worldwide and the film was banned by the colonels.
The image and sound restoration have been carried out in 4K based on the original 35mm negatives, preserved at the Greek Film Archive vaults. The film will be screened during the 12th Avant Garde Film Festival in Athens, following a roundtable discussion on film restoration including film experts Cecilia Barrionuevo, Ehsan Khoshbakht, Céline Ruivo, Elena Tammacarro, and Marian Vujovic as well as the inauguration of the Greek Film Archive’s exhibition “Magical Images”.
Plavi 9 (Blue 9) | Yugoslavia, 1950, 93’, fiction
Director: Krešo Golik. Producer: Jadran film. With: Irena Kolesar, Jugoslav Nalis, Antun Nalis, Ljubomir Didić, Tješivoj Cinotti, Šime Šimatović, Josip Daneš, Stane Sever, Veljko Maričić. Script: Geno Senečić, Hrvoje Macanović, Krešo Golik. Cinematography: Nikola Tanhofer and Slavko Zalar. Music: Bruno Bjelinski. Editing: Radojka Ivančević. Physical characteristics of first release: 35mm, 93’, B&W, optical sound, Croatian. Film copy screened during A Season of Classic Films: New restoration. DCP 2K, 93’, Croatian. Subtitles: English. Copyright: Jadran film (until the end of 2000); authors rights.
The film Blue 9 depicts adventures in the world of football with all the challenges and glory this game offers. The main striker of the city football team, Fabris, is a selfish individualist convinced of his irreplaceability. He is also a womanizer who tries to seduce young Nena, a hardworker and successful swimmer. Nena is close to the underwater welder Zdravko, a talented football striker who wears a jersey with a blue 9.
The basic formula of this film is part of the agitprop, which dealt with one of the foundations of the socialist system – physical education. The ideological engagement did not prevent the film from becoming a big hit in cinemas, mainly due to attractive footage of sport competitions, girls in bathing suits, and the fashionable life of football stars. Blue 9 is regarded as the first Yugoslav film to escape from the war narrative and set its plot in the everyday life.
A Season of Classic Films: Celebrating film heritage across Europe
A Season of Classics Films is a series of free film screenings and parallel activities across Europe designed to attract younger audiences to our shared cinematic cultural heritage. The programme looks to raise awareness of the work of European film archives, connecting the public with cinema history and the significance of film preservation. Most of the films are premiere digital restorations and some screenings include live performances and educational interactive sessions. All films are available with English subtitles. Additionally, French or other subtitles are in some cases available. This is an initiative of the Association des Cinémathèques Européennes (ACE) with the support of the EU Creative Europe MEDIA programme.
For dates and access links of the upcoming free screenings in cinemas across Europe and online, please follow ACE’s website and social media pages on Instagram | Facebook | Twitter.
ABOUT THE ASSOCIATION DES CINÉMATHÈQUES EUROPÉENNES (ACE)
The Association of European Cinematheques (Association des Cinémathèques Européennes – ACE) is an affiliation of 49 European national and regional film archives. Its role is to safeguard the European film heritage and make the rich audiovisual records collected and preserved by the various film archives accessible to the public. ACE members are non-profit institutions committed to the FIAF Code of Ethics.
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