Author: Giada Sartori

Statement from the ACE regarding the entrance of Russian troops into Kyiv, Ukraine 

The Executive Committee of the ACE shares the deep concerns articulated by our fellow film heritage organizations, as represented by the attached statement from FIAF. ACE members share the European Continent and a mission to preserve our shared moving image histories, and we fear for the well-being of our colleagues at the Oleksandr Dovzhenko National Centre. The human tragedy now unfolding due to Russia’s aggression could be further compounded by the potential loss of irreplaceable and culturally significant collections, as so often happens in the context of war. We stand ready to assist our colleagues, as they themselves have suggested to the FIAF through the following possible actions, among others. We urge our Member Archives to show their support any of these ways:

  • Share publicly the successful stories of cooperation with Ukraine, considering that in recent years our country achieved essential progress in arts and cinematography, cultural diplomacy, sharing and promoting European values. 
  • Mention the current war in Ukraine in your public talks and speeches — during art and film events, festivals, meetings, stating that this war is a war against the whole civilized world, free thought, and democratic values;
  • Initiate joint public statements from civil organizations, institutions, and industry associations — filmmakers, producers, actors, experts, and institutions on heritage preservation and security; 
  • Share information on the war and the current situation in social media with the hashtag #StandWithUkraine.
  • Finally, they suggested that financial support can be made via the NGO Vostok SOS.

Respectfully submitted by the Executive Committee Members of the ACE

Eye Filmmuseum’s new online offer

ANP KIPPA KOEN VAN WEEL

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.

FIAF FILM RESTORATION SUMMER SCHOOL

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.

Please contact frss@immagineritrovata.it if you wish to receive further information and subscribe to our mailing list.

Coordinator: Elena Tammaccaro

Secretariat: Charlotte Oddo

Frame by Frame – A new exhibition at Deutsche Kinemathek

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.

Click here for more information.

EYE Filmmuseum’s 75th anniversary: Meet the Archive initiative

Martha Colburn, What’s On (1977)

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.

 

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ACE welcomes «Le Cinéma, cent ans de jeunesse»

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.

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ViCTOR-E: The Reconstruction of Post-World-War II Europe through the Visual Arts – Call for Papers

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.

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Digital Archives Summer School 2021

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)

Language: English

Application deadline: 15 August 2021 for online participation

 

Click here for more information.

Association des Cinémathèques Européennes expresses its professional support to the Cinemateca Brasileira

 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.

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