Author: Association of European Cinematheques

Call for papers | Exposing the Film Apparatus: what, where, when and how?

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
  • institutions
  • 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.

Submissions

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: exposingthefilmapparatus2024@gmail.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

 

In Memoriam: Marleen Labijt

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

Online Exhibition: FRAMES OF RECONSTRUCTION now available in 5 languages

The online exhibition Frames of Reconstruction. Realities and Visions of Recovering Europe. Documentary Film in Postwar Visual Culture is now accessible at www.frames-reconstruction.eu.

Available in English, Czech, French, German and Italian and providing access through a variety of different thematic, temporal and spatial entry points, the exhibition is the result of the EU-funded research project ViCTOR-E. Frames of Reconstruction tells a visual history of the European postwar reconstruction efforts through non-fiction films that functioned as witnesses and political agents alike. A crucial tool of communication of the transformative era, newsreels, short documentaries, and amateur films, are the main focus of the exhibition that also features oral history videos recorded with eye witnesses from the Czech Republic, France, Germany, and Italy. The exhibition also features focused e-learning activities, model lessons and sources for teaching Post-War history with and through film.

Several ACE member archives as well as other heritage institutions have contributed film clips, among them Narodni Filmovy Archiv, CSC – Archivio Nazionale Cinema Impresa, DFF – Deutsches Filminstitut & Filmmuseum, who together with ACE and EFG – European Film Gateway were associated partners of the project.

The exhibition is connected to the European Film Gateway and gives access to a larger thematic collection of over 600 films relevant to the project theme.

The ViCTOR-E project ran from 2019 through 2022 and was coordinated by the Goethe University Frankfurt (Germany). Other project partners were the Université Paris 1 – Panthéon-Sorbonne, France, the Università degli Studi di Udine, Italy and the Academy of Sciences of the Czech Republic. The online exhibition was designed by Athena Research Center, Athens. Funded by the HERA Joint Research Programme which is co-funded by BMBF via DLR-PT, CAS, ANR, MUR and the European Commission through Horizon 2020.

Explore the exhibition at www.frames-reconstruction.eu

Bregtje van der Haak: New Director of Eye Filmmuseum

Journalist and documentary filmmaker Bregtje van der Haak – long connected to the broadcaster VPRO as a programme maker, editor of the Tegenlicht programme and editor-in-chief – will succeed the current director Sandra den Hamer on 1 April 2023. Van der Haak was appointed by Eye’s supervisory board. The new director looks forward to leading a contemporary museum for cinema with a world-class collection that provides a unique opportunity to connect past, present and future as well as to question the world in transition around us on the basis of images, and to discuss film’s role in digital image culture.

Photo by Jordi Wallenburg

Much like her magnificent contributions to ACE, Sandra den Hamer – ACE President 2018-2022 and member of its Executive Committee 2010-2022 – leaves a museum that, since ‘crossing the IJ River’ in 2012, has undergone impressive development.

Over the past 15 years, Eye Filmmuseum has transformed into a bustling centre for film culture and a museum with international allure. Bregtje van der Haak (1966) will continue to further the museum’s ‘kaleidoscopic assignment’ to be a meeting place that showcases film in all its guises and provides context, from the earliest films to the most contemporary developments, and from meticulously restored classics to the latest digital experiments as well as exhibitions on contemporary artists and filmmakers.

Career

Van der Haak studied dance in Paris, law and politology in Amsterdam, and political theory and journalism in New York. She was a member of the board of the Prins Claus Fonds [arts and culture NGO] and the Erasmusprijs [a prize for the humanities, social sciences and the arts], a member of travelling biennial Manifesta X in Palermo’s artistic team. Van der Haak is also a member of IDFA [International Documentary Film Festival Amsterdam] and the Rijksakademie van Beeldende Kunsten [state academy of fine arts] in Amsterdam’s supervisory boards.

As the editor-in-chief for VPRO Television (2006/2007 with Frank Wiering) she initiated programmes including: Metropolis TV, Eeuw van de Stad and the 3D archive on urbanisation T_visonarium OPEN CITY (with Jeffrey Shaw). Van der Haak has been a visiting professor at the City University of Hong Kong and at USC in Los Angeles. In 2005, she made Lagos Wide & Close (with Silke Wawro, Rem Koolhaas & The Harvard Project on the City), one of the first interactive documentaries. During the economic crisis she reported on its societal consequences for sociologist Manuel Castells’ Aftermath Network. Until 2022, Van der Haak worked as a director and editor-in-chief for the TV programme VPRO Tegenlicht, where she recently presented the innovative project Archief van de Toekomst [archive of the future].

Lex ter Braak, (interim) chair of Eye Filmmuseum’s supervisory board: ‘The supervisory board has found its dream candidate in the shape of Bregtje van der Haak. With her knowledge of film and new media, and her educated convictions concerning the collection’s importance and societal impact, Bregtje van der Haak will create new options for Eye and its audience. She will intensify the dynamic between the museum and society, creating an urgent programme around it. Bregtje van der Haak will make Eye a multicoloured prism, a place for everyone.’

Bregtje van der Haak:

‘Under Sandra den Hamer, Eye became a fabulous public institute, an essential meeting place for everyone who thinks and dreams in images. I am very enthusiastic about the opportunity to further her work, cooperating with a team of excellent professionals who highlight film culture at ever level with passion and dedication. In my dreams I see Eye, the oyster on the IJ River, further opening itself to the world like a ‘brave space’ where cinema reveals itself in many ways and everyone feels welcome to enter into dialogue with the collection and the international film community: jointly arriving at a highly personal, yet shared diagnosis of our times.’


For more information, please contact: Maria Lam, Publicity Manager

Eye Filmmuseum. marialam@eyefilm.nl. +31630444429