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.
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.
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.
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.
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.firstname.lastname@example.org
We look forward to welcoming you in Budapest on these events.
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.
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.”
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.
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.
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 Deathfrom 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.
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.
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!
For those heading to the Berlinale this year, please feel very welcome to join us for this ArteKino panel discussion at theDeutsche 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.
A message from Giovanna Fossati, Annie van den Oever and Erkki Huhtamo:
In 2016 we published Exposing the Film Apparatus: The Film Archive as a Research Laboratory, which sprang from a workshop in 2013 under this title. It addresses the rather new awareness of the prominence of media technologies in culture and discusses how such an awareness impacts the archival and curatorial consciousness of those working in film archives, science, technology, and media museums at the time. It seems to us though that there have been significant changes in the field of archives, apparatus collections as well as in the world of the arts, museums, teaching, and research since then, raising newly relevant questions that need to be addressed. We recognize three fields which we would want to focus our attention on in this upcoming volume: (1) archiving and curating, (2) research and teaching, and (3) artist practices and experimentation. Our aim is to contribute to the mapping of these developments in the fields of collecting, curating, archiving, exhibiting, and the use of apparatus collections in research and teaching.
We want to focus on new developments from a fresh, global, diverse and inclusive post-colonial perspective and we are specifically interested in topics and questions understudied so far – and we hope that you will bring examples to this project we might have missed otherwise. We also want to address a series of simple, general, practical questions: which public and private entities prioritize the apparatus collections today and how? Who studies these collections? How are they archived and curated? How (if at all) are apparatuses kept operational in a time they were (technically) not made for?
Furthermore, we want to take the impact of the covid-19 pandemic into account as it has evoked new questions and concerns in all three of these fields.
Sections of the book will be dedicated to different themes — archiving & curating, research & teaching, artist practices — and each section will be introduced with an essay by one of the editors. In line with the format adopted for the 2016 book, we will feature thirty contributions in total, each focusing on a different device. The length of each separate contribution will be about six pages (2400 words). A full-page illustration of the technology discussed will be included with each essay as a focal point. Moreover, a short technical description and a theoretical framework will be added to each essay to announce its topic and approach.
This call for papers addresses archivists, curators, projectionists, theorists, film and media historians, media artists, archaeologists, educationists, and new media scholars.
Each contributor is invited to reflect upon a specific device. The technical and theoretical reflection on the device will differ (depending on the author’s interests and expertise. We stimulate and support a great variety of different approaches. Proposals may include the following topics:
Histories of use and representation
Global media cultures: non-Western media archaeology and histories of use
Best practices in archiving histories of use
Sustainable approaches for demonstrating working devices in heritage
The reception and evaluation of a device by critics or specific audiences
Object-oriented archaeologies of media technologies
Hands-on media history in practice-based research or education
Intersectional media archaeology
The development of a certain dispositif
Artist practices and experimentation
Artist-driven media archaeologies
Changing policies and priorities in acquiring, preserving and curating film apparatus collections
Of further importance are ever-relevant questions about the role of apparatus collections or archival devices in the history and development of film and cinema, or their role and significance as an object of teaching and research, restoration, and archiving both inside and outside of the archive or museum.
This book is meant for use in film archives, film, technology, media and modern art museums, libraries and universities. We aim at a visually attractive book that stands out in art museums and art schools, presenting a detailed and relevant inventory of devices used by artists, scholars, amateurs, and cinematographers.
We invite you to submit a 300-word proposal, including 3 bibliographic references, 3 keywords, as well as a short biography of 100 words at the following email address: email@example.com. The deadline for proposal submissions is 10 January 2023. On the basis of the proposals, writers will be invited to submit full manuscripts (2400 words) – you will be contacted no later than 1 February 2023. The deadline for the full manuscript is 1 September 2023, after which each contribution will be peer-reviewed. We aim to present the book at the Eye International Conference in May 2024.
Please note that we do not accept complete manuscripts for consideration without an invitation.
Time frame publication:
Presentation book: May 2024 Peer feedback: 15 November 2023 Peer reviews: (6 weeks) until 15 October 2023 Submission all individual manuscripts: 1 September 2023 Response proposal: no later than 1 February 2023 Submission abstract: 10 January 2023 Call for papers: 22 November 2022
It is with great sadness that we announce the sudden death of our colleague Marleen Labijt on December 19th, 2022. Marleen was a faithful staff member of Eye Filmmuseum for the last 30 years. She started as a booker for our distribution branch before moving on to a pool responsible for both producing programs and archival loans. She took full responsibility for Archival Loans 20 years ago, and many colleagues abroad have known her in this capacity.
Marleen was an important contact between Eye Filmmuseum and the outside world. She was passionate about providing access to our film collection for our FIAF colleagues, for many festivals and for countless theaters, both in the Netherlands and abroad. She advocated for our film heritage, prepared programs and promoted our restorations. To her colleagues inside Eye Filmmuseum, she was always a dedicated supporter of her outside clients, always trying to help with every request. No program was too big that she couldn’t handle it, and no theater was too small that it didn’t deserve her full cooperation. To her clients, she was always a staunch protector of the integrity of the films on loan and a relentless guardian of good programming practice. She has facilitated countless presentations of films from our collection over the whole world. We shall miss her.
Archival Loans will continue in the spirit that Marleen showed us. You can still reach us at ArchivalLoans@eyefilm.nl.
For those who wish to send condolences to her family, you can use the same address and we will make sure that your message reaches them.
Maureen Mens Corporate Communicatie Eye Filmmuseum