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.
The Filmuni Summer School is organising the Digital Archive Summer School in cooperation with FIAF Cataloguing & Documentation Commission and the Deutsche Kinemathek. The Summer School is a 5-day (6-10 September), practice-oriented educational offer directed at staff members of audiovisual archives as well as any other interested person who are interested in enhancing their knowledge about digital environments and processes related to digital archives. The focus is “Data Literacy and Presentation strategies in Audiovisual Archives”.
The Summer School Digital Archives can take place on-site at the Film University Babelsberg Konrad Wolf this year. Since the Summer School has received many requests regarding online participation, they have decided to stream parts of the program for people who may not be able to travel due to the pandemic or its economic impact.
An overview of the preliminary program and which content will be available online can be found here.
Location: Film University Babelsberg KONRAD WOLF, Potsdam, Germany
Cost: 1195,- EUR (in-person participation)
Application deadline: 15 August 2021 for online participation
Cinema is global, as is cultural heritage. Both have recently been insulted, humiliated and seriously damaged by the Brazilian authorities. Beyond any question, the government should be held accountable for leading the Cinemateca Brasileira into such a crisis which has culminated in the fire of the Cinemateca’s vaults on 29 July 2021.
Fires are always a tragedy, no matter to whom they happen. However, no organization, public, state, or private, responsible for the care of collections of cultural value should be plunged into such a crisis like we have been following in Brazil. This recent fire is number five in the history of this Brazilian film heritage institution and the most devastating one.
Cinemateca Brasileira is a much-respected member of the family of film archives. Since last June, representatives from numerous film heritage institutions from Europe and the World have expressed their concerns regarding the future of this respected institution. We, international representatives, can attest that the management and staff of Cinemateca Brasileira are the last who should be considered accountable for this disaster. We have known this for far too long. The federal government has been treating the Cinemateca with such disregard that in 2020 the institution became starved: funds were frozen, the employees unpaid and fired, activities halted – including conservation of the collection. The government took over the administration of the Cinemateca, with no one in charge of these fundamental responsibilities.
On Friday July 30th at 10.00 GMT (at 10:00 PDT for international attendees), the British Film Insitute will unveil a major new redesign and editorial approach for the film magazine Sight and Sound, with an introduction by BFI Chief Exec Ben Roberts.
During the event an exclusive preview of the Sight and Sound’s special ‘Future of Film’ September issue will be shown. This issue marks Editor-in-Chief Mike Williams’s new vision for the magazine to build upon the legacy of the magazine and deliver culturally relevant, impactful film journalism, reflected in a new design, developed in collaboration with award-winning design agency Pentagram.
Williams will also reveal the stars featured on the cover of the September issues, alonside a series of established and emerging filmmakers who will be reflecting on their hopes and fears for cinema.
For those interested in received a complimentary copy of the launch issue, you can provide your mailing address when your RSVP. The event will take place at 10:00 GMT and again at 10:00 PDT for international attendees – please specify which launch you would like to attend when you RSVP.
RSVP right now by sending an email to email@example.com with the subject “Sight & Sound new look launch”
On July 27th, before the screening in Piazza Maggiore, Andrea Meneghelli (Cineteca di Bologna) and composer and musician Daniele Furlati presented the restoration work on Mario Fantin’s footage of the 1954 expedition on K2, directed by the geologist Ardito Desio. The footage was originally part of the 1955 Marcello Baldi’s documentary Italia K2, but the restored version of the documentary will have its premiere at the Trento Film Festival and the screening in Piazza Maggiore focuses on the mountain scenery with a new editing by Andrea Meneghelli, texts by Albino Ferrari and original music by Teo Uselli orchestrated and adapted by Daniele Furlati.
After the presentation from Cinémathèque Suisse, Museo Nazionale del Cinema di Torino took the stage of Auditorium DAMS Lab, on Monday 24th, to present its new film laboratory. The meeting featured two representatives from the film archive, Director Domenico De Gaetano and Head of the digital restoration area Gabriele Angelo Perrone, and was moderated by Davide Pozzi from L’Immagine Ritrovata.
The film laboratory opened in the first months of 2021. It is dedicated to the restoration and digitization of films, but the first focus of Museo del Cinema is interested is the digitization and safeguard of the mute cinema from Torino. The laboratory is divided in three spaces to optimize the workflow and it features a latest-generation server. The Museo del Cinema also owns a scan station, that permits to digitalize the film materials by following the FIAF protocols. For what concerns the programs used, they are currently still in a testing phase.
The main purpose of the laboratory is to make possible for the Museo del Cinema di Torino to be independent in the restoration of its archive and others in the city of Turin, such as the Aiace archive. Among the restorations curated by Museo del Cinema di Torino, this year’s Cinema Ritrovato hosted “I raggi “Z” (Eleuterio Rodolfi, 1917), in collaboration with Cineteca di Bologna and Národní filmový archiv.
The morning of July 26th , at il Cinema Ritrovato, was dedicated to the presentation of the new film laboratories from two ACE members: Cinémathèque Suisse and Museo del Cinema di Torino. For Cinémathèque Suisse, Nicolas Ricordel had recorded a video presenting the structure and a small video-tour.