Venue: MAMbo – Museo d’Arte Moderna di Bologna, Via Giovanni Minzoni 14, 40121 Bologna, Italy/

Morning panel 10:00 – 12:00

An Economic Model of Audiovisual Heritage: film preservation and restoration as tools for audiovisual market development

Panel Chair: Michal Bregant
ACE President and Director of Národní filmový archiv, Prague

Maria Silvia Gatta
Policy Officer, European Commission

Maria Silvia Gatta has been working with the audiovisual policy of the European Commission since 2002, dealing with the MEDIA programme. From 2019, after a period abroad, she has been supervising the implementation of the Creative MEDIA Programme 2021–2027 and following the European policy for film heritage.

John Rodden
Head of Catalogue and Home Entertainment, STUDIOCANAL UK

Responsible for overseeing the commercial strategy and distribution of the STUDIOCANAL Library in the UK.

Simon Ofenloch
Commissioning Editor, ZDF – Subkoordination Fiktion/ARTE

ZDF (Zweites Deutsches Fernsehen) is one of the two national public television broadcasters in Germany, based in Mainz. ARTE is a European public service television channel dedicated to culture. The Subkoordination Fiktion is a department within ZDF that is responsible for coordinating the production of fictional content, often in collaboration with ARTE.

Davide Pozzi
Director, L’Immagine Ritrovata

L’Immagine Ritrovata is a highly specialized film restoration company founded and owned by Fondazione Cineteca di Bologna. The company has labs in Bologna and Hong Kong, and has expanded its operations to France and the Netherlands through lab acquisitions.

Philippe Bober
Founder, Coproduction Office

Based in Paris and Berlin, Coproduction Office is an international distributor and producer of bold, award-winning films. Coproduction Office’s founder Philippe Bober has produced forty-one films to date with thirteen of these having been selected to screen in Competition in Cannes, winning two Golden Palms.

Vincent Paul-Boncour
CEO, Carlotta films

Carlotta Films is a French film distribution company focused on re-releasing classic and cult films, particularly from the French New Wave era, for modern audiences.

Jędrzej Sabliński
Co-owner and CEO, DI FACTORY

DI Factory is a Polish film post-production company. In his role, Sablinski is actively involved in promoting and distributing cinema classics, having produced more that 150 restorations. Latest projects include 21 Polish classics presented by Scorcese’s Film Foundation and a Blu-ray album and the book with all films by WJ Has. 

Afternoon panel 14:00 – 16:30

Exhibiting film collections in the museum space: new approaches and new audiences

Panel Chair: Ellen Harrington
ACE Executive Committee member and Director of DFF – Deutsches Filminstitut & Filmmuseum

Introduction: Gian Luca Farinelli
Director, Fondazione Cineteca di Bologna

Ellen Harrington
Director, DFF – Deutsches Filminstitut & Filmmuseum

Transformation of the Permanent Exhibition through Digital and Inclusion Strategies

The DFF Filmmuseum was fully renovated and a new permanent exhibition was designed a decade ago. Rather than close the galleries and change the entire installation now, a multi-year ‘Transformation’ project was developed to progressively refresh and modernize the storylines and objects, working closely with various age groups and multilingual communities to create a more global and relatable gallery experience, with more accessible text and pathways. At the same time a new digital tool, ‘Constellations,’ was developed with ACMI, to provide a digital overlay to the permanent exhibition, which allows visitors to access curated storylines and archival collections by collecting objects with a simple interactive ticket. Touch screens at the end of the gallery reveal each visitor’s customized collection, which can also be accessed later online. This expands the gallery experience and brings visitors on a journey of exploration and deep-dives, without expanding the square meters of the gallery.

Giovanna Fossati
Director of Collection & Knowledge Sharing, Eye Filmmuseum

Kate Saccone
PhD Candidate, University of Amsterdam

Innovative Museum Installations for Film Collections

This presentation will explore two innovative projects at Eye Filmmuseum that highlight new approaches to showcasing audiovisual collections, developed through collaboration with academic research partners. The Film Catcher is an immersive and interactive installation based on a research project aimed at creating a non-semantic search tool for film collections, which allows visitors to navigate through hundreds of films using visual cues like color and shapes. The Narratives from the Long Tail project aims to transform access to large-scale audiovisual archives. Eye Filmmuseum’s contribution involves digitizing its Mutoscope & Biograph collection for a fully immersive 3D museum installation.

Erika Balsom
Curator and Reader in Film Studies, King’s College London

The Exhibition No Master Territory: Feminist Worldmaking and the Moving Image 

Curator and film scholar Erika Balsom will give a presentation on the project No Master Territory: Feminist Worldmaking and the Moving Image, an exhibition and cinema programme that originated at the Haus der Kulturen der Welt in Berlin in 2022, co-curated by Erika Balsom and Hila Peleg. It staged an expansive encounter with over 100 works of nonfiction film and video by 89 artists and collectives across the spaces of the cinema and the gallery, concentrating on the period of the 1970s to 1990s, a time when women’s liberation movements took hold internationally. Erika will tell us something about the curatorial and historiographic thinking that informed the project and the choice to take the films outside the cinema and into the exhibition space.

Samantha Leroy
Head of Programming, Fondation Jérôme Seydoux-Pathé

Collaborations between film programming and exhibitions

Public screenings in theaters still remain the most significant way to present cinema to the audience whose regaining interest must be fulfilled continuously. However, in order to explore and talk about the history of silent cinema – not to mention its relationship with contemporariness, these screenings need relevant introductions such as presentations, conferences and music accompaniment, just as much to be closely related to exhibitions about cinema. Few examples of collaborations between film programming and exhibitions held at Fondation Jérôme Seydoux – Pathé will be highlighted here.

A fruitful discussion is expected also thanks to the presence of the FIAF Summer School participants.