Author: Association of European Cinematheques

2024 FIAF FILM RESTORATION SUMMER SCHOOL PROGRAM

Cineteca di Bologna, L’Immagine Ritrovata, the Fédération Internationale des Archives du Film (FIAF) and the Association des Cinémathèques Européennes (ACE) are thrilled to announce that the 10th FIAF Film Restoration Summer School will take place in Bologna during summer 2024.

The institutions behind the Summer School have come together once again 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.

The 2024 FIAF Film Restoration Summer School is structured along three main course steps:

  • Film restoration online theory course: distance learning, May 2nd to June 13th (on Wednesdays)
  • Restoration lectures and Il Cinema Ritrovato film festival: Bologna, Cineteca facilities, from June 22nd to 30th
  • Restoration workshops: Bologna, L’Immagine Ritrovata, July 1st to 12th

Application Process

  1. Reading the full course description: 2024 FIAF Film Restoration Summer School – Program (PDF).
  2. Complete your application using this form: 2024 FIAF Film Restoration Summer School – Application (PDF).

The deadline is 16 February, 2024.

 

Participation

The training is conceived for an international target group and will be taught by an international panel of the best experts from different countries. The 2024 FIAF Film Restoration Summer School is aimed at staff working at film archives, institution, or organization, as well as right holders and students in the field of Cinema. The aim is to foster a shared knowledge in the field for current and future generations and world film archives.

All classes will be in English.

Participants will be selected according to their C.V., commitment, and motivation.

The course will be divided into different levels and participants will be grouped according to their skills and expertise according to personal C.V. and experience in that field.

A special commission composed of representatives from FIAF, ACE, and Cineteca di Bologna will examine all applications. The commission will officially release the names of the 40 selected participants via e-mail and on the website of L’Immagine Ritrovata and those of its partners on March 4th.

The participation fee amounts to 4.000€ and includes registration, festival accreditation, accommodation, and lunch for 18 days.

Past editions of the FIAF Film Restoration Summer School have proved to be an excellent meeting ground for people working in the same field. It represents a great opportunity for participants to initiate collaborations on possible future restoration projects.

After completing the FIAF Film Restoration Summer School participants will:

• know how a film can be restored using new digital technologies in a modern, flexible work environment
• be able to manage a complete restoration workflow
• know how to choose the best source to restore a film and have it digitized from film support to 35mm, DCP and file broadcasting
• be able to discuss each step of a restoration project in detail with a restoration laboratory
• know the various approaches to restoration of different FIAF archives
• know how to manage a film restoration project budget

 

For further information, please contact:

2024 FIAF Film Restoration Summer School
Coordinator: Elena Tammaccaro
Secretariat: Charlotte Oddo
Tel: +39 051 552541 – Fax: +39 051 521584 frss@immagineritrovata.it

Europa Nostra partners with ACE to call for support to safeguard European film heritage

For the European Heritage Awards Ceremony 2023, Europa Nostra, the European Voice of Civil Society committed to Cultural Heritage, partnered with ACE – Association des Cinémathèques Européennes to highlight heritage excellence and best practices in Europe in the domain of cinema culture.

European film heritage has been too often overlooked when talking about European heritage and European values. This lack  of a reflection on the history of the European filmic language represents an omission which needs to be redressed. European films and audiovisual works have forged European culture over the last 135 years, since the Lumière brothers invented the big screen thanks to their revolutionary camera and projector, the Cinématographe. In our societies where in particular new generations talk through images and share audiovisual stories, a great opportunity exists for film heritage institutions to help to bridge the past, present and future.

In this last century, cinema-going has become part of our cultural habits in Europe, a source of entertainment, firstly, but also a social experience to share common stories, to imagine and dream of a faraway world, to reflect on contemporary events and politics, to engage with our past, to dig into our consciousness and intimacy. Cinema production has dealt with history, colonialism, women’s rights, sexual identity, social inequality, labour relations, scientific revolutions and many other themes that constitute  the human condition and our common history. And cinema still formulates  questions, like any other art form, and triggers collective – critical and creative – thinking.

Through the Association des Cinémathèques Européennes, the European Commission has embarked on a European policy towards cinema heritage. Established in 1991, ACE is a network of 49 European national and regional film archives that aims to safeguard the film heritage and make it accessible to the public. Europa Nostra applauds the collaboration between the European Commission and ACE and expresses its support to further developing an ambitious EU policy towards cinema heritage, as part of a holistic EU strategy towards the safeguard and enhancement of cultural heritage. This was made visible during this year’s European Cultural Heritage Summit held on 27-30 September in Venice, more specifically during the European Heritage Awards Ceremony which took place on 28 September at the Palazzo del Cinema. 

The safeguard of Europe’s film heritage, an integral part of Europe’s shared cultural heritage, presents two main challenges. With regard to the digitisation of film heritage for dissemination purposes, significant work has been done but it needs to be further  enhanced and constantly renewed. Yet digitisation is by no means a comprehensive way to preserve film heritage. While the state of digital preservation on European level can further develop, the majority of film heritage institutions also hold analogue film materials in their collections. Therefore, film preservation and restoration is the only possible way to ensure that this pillar of European culture is duly transmitted to the future generations. In this context, we wish to stress that preserving and restoring films is a costly endeavour and that many film heritage institutions in Europe are struggling to find necessary resources to restore the films, to find space for the conservation of the film materials as well as to invest in the renewal and training of professionals to secure the same level of competences also in the future. In the light of the above, while expressing our strong support for investments which provide support for digital dissemination of film heritage at all levels, we call for adequate funding at European and national level in support of the restoration and conservation of film archives, for the benefit of present and future generations.

 

Sneška Quaedvlieg-Mihailović, Secretary-General of Europa Nostra

Michal Bregant, ACE President

27 October 2023

 


Read more: European Heritage Awards focus on Film Heritage

Watch the European Heritage Awards Ceremony 2023 on Vimeo.

 

2nd Global Audiovisual Archiving Conference

The 2nd Global Audiovisual Archiving Conference, presented by Archive/Counter-Archive, Eye Filmmuseum, and the Toronto International Film Festival® (TIFF), will take place between 12th – 14th July 2024 in Toronto, Canada.

CONFERENCE THEME: BUILDING ALLIANCES

The biennial Global Audiovisual Archiving Conference is an opportunity for scholars, archivists, artists, curators, filmmakers, students, and film enthusiasts from across the world to gather and explore contemporary professional, artistic, and socio-political issues affecting audiovisual heritage today. The aim of the conference is to broaden the knowledge and connections within the global archival community, leading to new insights into the material and cultural resonances of archival approaches to sound and moving image in different parts of the world.

Learn more >

The call for proposals will close on 1 October 2023.

The conference invites papers and presentations in a variety of formats that address the challenges and generative opportunities afforded by diverse media archives, from those that are publicly/privately funded to those surviving on very little support. We are especially interested in marginalised audiovisual archives, whether collections are vulnerable to disappearance and inaccessibility or archives that are invisible and need to come into being. Central to our conference is the importance of identifying gaps in the field, building bridges, creating archival networks, fostering collaborations (Pretlove, 2021), and uncovering or deepening alliances (Heidiger et al., 2021). Such approaches may be tied to designing practices of care (Campanini, 2023) and pedagogical approaches for the next generation of archivists, artists, activists, humanists, and historians in ways that are inclusive, expansive, liberatory, and that might reinvent and redefine archival language and protocols. The conference also explores the emergence of theoretical questions, and novel ways of understanding history through notions of entanglement (Namhila and Hillebrecht, 2022) and redefinitions of allyship and stewardship that mark a critical paradigm shift in the field of archival studies.

We encourage proposals from participants located in parts of the world and on topics that are underrepresented in conferences related to audiovisual heritage.

The CfP can be accessed here: https://counterarchive.ca/gava-2024

Budapest Classics Film Marathon 2023

Dear Colleagues,

We invite you to attend the National Film Institute Hungary – Film Archive’s next edition of the Budapest Classics Film Marathon. The festival takes place between 12-17 September 2023, and it is open to visitors at all its favorite venues, Uránia National Film Theatre, Toldi Cinema, the French Institute, Budapest Music Center and the hugely popular and spectacular open-air screenings on Szent István Square in front of the Basilica.

This year, the Marathon’s focuses are Alexander Korda and his Universe, Emeric Pressburger,  Michael Powell, André de Toth, Adolph Zukor, Karel Zeman, female creators in Cinema, sport in film and we offer a yearly overview of recent restorations and rare pearls in the Open Archives section.

Our special guests this year among others: Andrew and Kevin Macdonald, Pierre Földes, Lajos Koltai…

The festival’s popular educational program continues: screenings, masterclasses, meet & greets, and a playhouse, all for younger film enthusiasts.

You can register for free accreditation HERE.  

The festival’s professional program the BUDAPEST CLASSIC LAB will take place at the French Institute between 13-15 September at 10 am- 3 pm. During the 3 days conference we will dedicate lectures and round-table conversations on the topics of film restauration, preservation and sharing.

You can read more about the professional program on the following link:  Budapest Classics Lab

Location: French Institute of Budapest, 17 Fő utca, Budapest.
Access is free of charge.

We are pleased to invite you also to join us at the first Budapest Archive Market which will be held on 15th September 2023 at the French Institute. The Market is an excellent opportunity for directors and producers who are working with archive materials and are seeking more partners in the field. The Archive Market welcomes international and domestic archives to exhibit their remarkable collections.

Our aims are to create a vibrant platform that brings together the archives, filmmakers, and film professionals to foster business cooperation and exchange. Don't miss this unique opportunity to celebrate and explore film heritage!

By participating, you will have the opportunity to connect with the Hungarian and international industry professionals and Archives, who can be your future partners in developing your projects.

Regarding the market for any additional information, please contact Asia Dér: Asia.andrejevna@gmail.com

We look forward to welcoming you in Budapest on these events.

Best wishes,

György Ráduly
director of NFI – Film Archive

 

 

 

 

SOUNDS OF SILENTS — Warsaw Silent Film Days 2023

From 15th to 17th September 2023, SOUNDS OF SILENTS will take place in Muranów Cinema, Warsaw, as a tribute to Anna Sienkiewicz-Rogowska, former deputy director of the Filmoteka Narodowa – Instytut Audiowizualny (FINA), a friend to many in the film community, and a wonderful advocate for culture.

  Read the full press release in English here.

The film programme includes, among others, the masterpiece “Earth” by Alexander Dovzhenko, the first documentary city symphony “Berlin: Symphony of a Great City” by Walter Ruttmann, René Clair’s last silent film “Two Timid Souls”, shorts from “The Cinema’s First Nasty Women” international project, as well as the Czechoslovak comedy “The Lovers of an Old Criminal”. 

Original musical arrangements and improvisations will be performed by Polish and Ukrainian musicians including Marcin Masecki, Jerzy Rogiewicz, Julek Płoski, Facheroia, and Baasch. The screening will include introductions by international experts and all films will have Polish and English subtitles.

The initiator and organiser, Siostry Archeo Collective, has been generously supported by esteemed international film archives, including several ACE members. The repertoire was created in collaboration with Deutsche Kinemathek, Eye Filmmuseum, La Cinémathèque française, San Francisco Silent Film Festival, Národní filmový archiv, Prague, Det Danske Filminstitut, and National Oleksandr Dovzhenko Film Centre. The media patrons are ARTE and podcast SpoilerMaster.

Strategic organisational support has been provided by the Ex Anima Foundation, which promotes the art of animation and socially engaged cinema not only through its own festivals, such as the Warsaw Animated Film Festival (WAFF), special screenings, and workshops, but also by supporting various international initiatives and events. 

“Promoting silent cinema in a modern and appealing way for contemporary audiences is another facet of our activities. We hope that, like other events we organise, such as WAFF, this one will capture the hearts of viewers,” says Ewelina Leszczyńska from the Ex Anima Foundation.

In doing so, organisers  “dedicate the event to the memory of Anna Sienkiewicz-Rogowska, a cultural manager who was devoted to film culture promotion in Warsaw and film education across schools in Poland. Who loved silent cinema, was a steadfast believer in education and inclusivity, and who we had the privilege to work with before her untimely death.”

More information:

soundsofsilents.pl
siostryarcheo@soundsofsilents.pl

DE-BIAS – Detecting and Cur(at)ing Harmful Language in Cultural Heritage Collections

The EU-funded DE-BIAS project (January 2023 – December 2024) tackles outdated and harmful language in cultural heritage collections. Led by the DFF – Deutsches Filminstitut & Filmmuseum, in collaboration with thematic and domain aggregators and technical partners in the Europeana network, DE-BIAS aims to foster inclusivity and respect in digital collections.

DE-BIAS will develop an AI-powered tool to automatically detect problematic terms in metadata. It will provide information on their problematic nature and suggest appropriate alternatives using contextual vocabularies.

These vocabularies will focus on migration and colonial history, gender and sexual identity, and ethnicity and ethnoreligious identity. Collaboratively developed with marginalized communities, these vocabularies empower communities to reshape historical descriptions affected by outdated colonial, patriarchal, and hegemonic structures.

By fostering collaboration, DE-BIAS aims to enhance representation, participation, and inclusivity in museums and archives. It will provide capacity-building workshops and a knowledge base for cultural heritage professionals to address bias in their collections. The project will analyze over 4.5 million records in English, Italian, German, French, and Dutch, including metadata coming from film archives through the European Film Gateway to Europeana.

Derogatory language in item descriptions on Europeana will be automatically identified and flagged. The DFF is looking forward to delivering relevant project findings and results to the ACE membership in due course.

Learn more about the project at https://pro.europeana.eu/.

European Film Gateway DFF – Deutsches Filminstitut & Filmmuseum

ACE reveals the fourth edition of A Season of Classic Films 2023

Full programme and award of the Joint Film Restoration Grant announced at Cannes

ACE (Association des Cinémathèques Européennes) unveiled May 19 at the Dutch Pavilion in Cannes details of the fourth A Season of Classic Films, a series of free screenings designed to attract younger audiences to our shared cinematic cultural heritage. The 2023 programme will run June to December 2023 across European cinemas and online. 

The initiative also seeks to raise awareness of the work of European film archives, connecting the public with cinema history and the significance of film preservation. 

European film heritage

The fourth edition of A Season of Classic Films will comprise a diverse programme curated by more than 20 European film heritage institutions. The world premiere restorations will be presented as free screenings across Europe until the end of 2023 and will be supplemented by educational tools to attract younger audiences to European film heritage, such as live music, introductions by filmmakers etc. 

The films span early silent classics, thrillers and romantic comedies, to works focusing on current topics such as feminism or the impact of urban planning to environment. Many of the films will be globally accessible online for free for a limited time to further promote European film heritage to international audiences. All films are available with English subtitles.

Discover the full programme here (PDF)

A Season of Classic Films is supported by the EU Creative Europe MEDIA programme.

Joint Restoration Grant

During the Cannes event, ACE also presented a Joint Restoration Grant of €40,000 for the restoration of the Hungarian ghost story After Death (1920) by Alfréd Deésy. The esteemed jury, made up of filmmakers Radu Jude and Saodat Ismailova, ARTE France general director Olivier Père and film curator-educator Cecilia Barrionuevo, chose After Death from an array of proposals submitted by Europe’s film heritage institutions. 

An international collaboration between The National Film Institute Hungary – Film Archive, the Belgian National Film Archive and La Cinémathèque française will enable the new restoration of one of the few ghost stories to have survived from the silent film era. There is only one known remaining copy of the film and it features richly tinted images. Adapted from a novel written by Phantom of the Opera author Gaston Leroux, the film will be presented in a new 4K edition as part of A Season of Classic Films. 

Launch event at Cannes

The Cannes A Season of Classic Films presentation and award of the Joint Restoration Grant took place 19 May at 10am at the Dutch Pavilion in Cannes. The event was moderated by Paulina Reizi (Eye Filmmuseum, Coordinator of A Season of Classic Films). Special guests included Sarah Brunet (Policy Officer, MEDIA and Audiovisual Support Programmes, DG Connect, European Commission), Michal Bregant (ACE President), Olivier Père (General Director ARTE France) and Cecilia Barrionuevo (Film at Lincoln Center – Programmer at-large / ECAM Industria). 

 

 

Joint Film Restoration Grant 2023 – Jury Members

CECILIA BARRIONUEVO – film curator and educator

Cecilia Barrionuevo is currently Head of Seminars and International Relations at the Madrid Film School (ECAM) and film programmer at Lincoln Center. Barrionuevo was the artistic director of the Mar del Plata International Film Festival (2018 – 2021) and a member of the festival’s programming team since 2010. Barrionuevo also co-edited several publications, including the bilingual collection of “Las Naves Cine”, and has taught film classes around the world. She is also a member of the advisory board for the Film Study Center at Harvard University. In 2020, she was awarded with the honorary title of Chevalier of the Arts and Letters from the French Ministry of Culture. 

SAODAT ISMAILOVA – filmmaker 

Saodat Ismailova is a filmmaker, based in Tashkent and Paris. She is an important voice within the first generation of Central Asian artists to come of age in the post-Soviet era. She studied film and has made fiction films and documentaries, which have won awards at various international festivals. Her work focusses on the intersection of cinema and visual art. The use of archival footage is a recurring feature of Ismailova’s work. Her films and artwork have been featured in the Venice Biennale, Documenta (Kassel), Centre Pompidou (Paris), Berlin International Film Festival, Stedelijk Museum and Eye Filmmuseum (Amsterdam).

RADU JUDE – filmmaker

Radu Jude is one of the most renowned European directors of today. His work has been recognised with numerous awards from international film festivals, including the Golden Bear for Bad Luck Banging or Loony Porn in 2021 and the Silver Berlin Bear for Aferim! in 2015 at the Berlin International Film Festival. Jude graduated from the Film Directing Department of the Media University of Bucharest. He started his career as a director’s assistant, including for films by Costa-Gavra and Cristi Puiu. Jude also directed several award-winning short films, among them The Tube with a Hat (2006) – the most successful Romanian short film ever. Most recently, his short film The Potemkinists was screened in 2022 at Quinzaine des Réalisateurs in Cannes.

OLIVIER PÈRE – General Director ARTE France Cinéma

Olivier Père joined the French Cinémathèque in 1995, and soon became in charge of the programme, organising numerous retrospectives. Since 1997, he has been writing for the cultural publication “Les Inrockuptibles” on film and television programmes. Between 2004 and 2009, Père headed the Directors’ Fortnight, independent section at the Cannes Film Festival. From 2009 until 2012, he served as the artistic director of the Locarno Film Festival. In 2012, he became General Director of ARTE France Cinéma. He is also the Artistic Director of ArteKino and collaborates with the Association des Cinémathèques Européennes for the ArteKino Classics programme.

 

 

ArteKino Classics 2023 programme

Today, 20 March 2023, ARTE launched the second edition of ArteKino Classics. Under this label, ARTE will be showing rarely seen European films – true gems of the 7th art – as part of its linear and non-linear catalogue.

This year’s programme includes some 20 films, including major works by Hungarian director Márta Mészáros, Swedish director Mai Zetterling and Czech director Vera Chytilová. This eclectic collection will be broadcast in Germany and France and made available online at arte.tv, where a rotation of films will be available throughout Europe with subtitles in six European languages.

Swiss filmmaker Claude Goretta’s The Lacemaker, which brought Isabelle Huppert to the attention of a wider audience, will open the festivities on the TV channel.

ArteKino Classics 2023 Programme (PDF)
English, Français, Deutsch, Español, Italiano, Polski.

Watch the films online:
English, Français, Deutsch, Español, Italiano, Polski.

With this initiative – a hitherto unique event for public television – ARTE is taking a fresh look at the history of European cinema from 1945 to 1995. The programme invites European audiences to (re)discover both popular classics and films that broke new ground in cinematography and social discourse. Making them available online and in multiple languages also allows new and younger audiences to discover classic films easily.

Since last year, ArteKino Classics has been an integral part of ArteKino, which, together with ArteKino Festival and ArteKino Selection, has been presenting young European filmmakers and their take on our times since 2016, providing a bridge between the young cinema of today and heritage cinema.

The ARTE Group selects the works, in cooperation with the Association of European Cinematheques (ACE). All these films have been recently restored, many of them in the framework of ACE’s A Season of Classic Films, and about one third of them were made by women.

Supported by the Creative Europe MEDIA Programme, the ArteKino project is delivered by the ARTE Group and ACE.

Join the conversation on social media using the #ArteKinoClassics hashtag!

 

PAST NEWS ABOUT ARTEKINO CLASSICS

2023-02-20 | PRESENTATION OF 2023 ARTEKINO CLASSICS DURING BERLINALE

2022-03-29 | ARTEKINO CLASSICS: A NEW LOOK AT EUROPE’S FILM HERITAGE

2022-02-01 | ACE – ARTE PARTNERSHIP

Dear Friends and Colleagues, 

The National Film Institute Hungary – Film Archive is happy to share that our latest restoration Szürkület /Twilight (1990) by György Fehér will have its world premiere as part of Berlinale Classics. 

You can read more about the film on the festival’s page.

Presskit (PDF)

If you’re at Berlinale, don’t miss out! 

Screening dates: 

Mon Feb 20, 19:00 at Cubix 6
Tue Feb 21, 13:30 at Cubix 3
Sat Feb 25, 11:00 at Cubix 3

Come and see us at Martin Gropius Bau booth nr, 176!

György Ráduly

NFI Hungary – Film Archive

A NEW LOOK AT EUROPE’S FILM HERITAGE: ARTEKINO CLASSICS

For those heading to the Berlinale this year, please feel very welcome to join us for this ArteKino panel discussion at the Deutsche Kinemathek!

Monday, 20.02.2023, 15:00-16:00
Veranstaltungsraum 4. Etage, Deutsche Kinemathek

Panel: Nadav Lapid (Filmregisseur / Berlinale Retrospektive), Olivier Père (ARTE France), Nina Goslar (ARTE / ZDF), Michal Bregant (ACE / Národní filmový archiv, Prague), Paulina Reizi (ACE / Eye Filmmuseum).
Moderation: Elisa Jochum (Deutsche Kinemathek).

Being young in today’s world means growing up with digital technology; in the past few years, the younger generation has also developed a renewed consciousness of socio-political issues. At the intersection of these two developments, digitally restored films on – and from – past societal transformations bear the potential to enrich cultural discourse. ArteKino Classics, a new pan-European streaming venture of ARTE, with a special focus on the modern film heritage of 1945-1995, tries to realize this potential. Over a period of three months, ARTE provides 20 national film classics from almost as many European countries with subtitles in six languages (French, English, German, Italian, Spanish, and Polish). The 20 recently restored films were selected in close consultation with the Association des Cinémathèques Européennes (ACE). The programme invites a young European audience to (re)discover both popular classics and films that broke new ground in cinematography and social discourse.

In English ǀ Free admittance

Panel Information (PDF) in English and German

 

PAST NEWS ABOUT ARTEKINO CLASSICS

2022-03-29 | ARTEKINO CLASSICS: A NEW LOOK AT EUROPE’S FILM HERITAGE

2022-02-01 | ACE – ARTE PARTNERSHIP

 

 

Follow ACE on social media for the latest news: Facebook / Instagram / Twitter