This summer, European film classics will be screened in some of Europe’s most iconic cultural heritage venues. From tomorrow until the end of September, classic films from across the EU will be screened free of charge in a wide variety of venues in 13 EU countries – from small towns to capital cities – highlighting Europe’s rich and diverse cultural heritage. As part of the wider restoration and digitisation of heritage films, the event series “A Season of Classic Films” is supported by Creative Europe MEDIA programme.
June 6, The Yugoslav Film Archive (YFA) Day, was marked by first offering a review of the history of the institution, celebrating its 70thanniversary, followed by the Golden Seal Award ceremony, awarded to former students of the Prague Film Academy who became distinguished film directors – Lordan Zafranović, Srđan Karanović, Goran Marković, Rajko Grlić and Goran Paskaljević.
The festivities in the packed Makavejev Hall were attended by former YFA managers and guests of the festival – representatives of various film archives from the region and the world.
The Yugoslav Film Archive’s director, Jugoslav Pantelić, pointed out “the multigenerational effort on the part of those who created and create film art, and on the part of the Yugoslav Film Archive’s employees, which enabled us to feel proud today, seven decades since its founding”.
With an exhaustive overview of the history, funds and activities of the YFA, accompanied by words and images on the screen, Pantelić announced the release of a monograph on the YFA, as well as a new permanent museum exhibition, both scheduled for this fall. A video showcasing the current project of digitally restoring the Serbian film legacy, named “VIP Kinoteka”, was also screened.
The Nitrate Film Festival
Saša Erdeljanović, the manager of YFA’s archives, opened the Nitrate Film Festival, of which he is the director and the selector. The tagline of this year’s Nitrate Film Festival was “70 films for 70 years”. The festival featured films of various genres, including banned, recently unearthed, and newly digitally restored films. Also, for the first time, it featured 9.5 mm films shot in the 1920s and ‘30s, and a review of films about Serbia and Yugoslavia produced until 1941. This year the festival featured films from over 30 film archives around the world.
A special screening of Orson Wells’s The Other Side of the Wind opened the 21st Nitrate Film Festival after the Film Archive Day festivities. The festival ran June 6–16.
A panel discussion entitled “The preservation of cinematic cultural heritage and challenges of the digital age on the territory of former Yugoslavia” was held on June 7, 2019, as part of The Nitrate Film Festival.
Representatives from national film archives of the region joined the panel: Tatjana Rezec Štibilj from the Republic of Slovenia’s Film Archive; Ivan Nedoh from “Slovenska kinoteka”; Dinko Majcen and Mladen Burić from Croatia’s Film Archive, Andro Martinović from the Film Archive of Montenegro; Devleta Filipović from the Film Archive of Bosnia and Herzegovina; Vladimir Angelov from Macedonian “Kinoteka na Makedonija”; Ksenija Zelenović, representing of The Yugoslav Film Archive, and Jugoslav Pantelić, its director, who also moderated the discussion.
The participants welcomed and accepted in principle Pantelić’s proposal to establish closer co-operation among the Film Archives of the region. This would entail a Film Archive being able to carry out a digital restoration of a film made during the times of joint state of Yugoslavia, in case the original materials are being held in the archive of another ex-Yugoslav republic.
Besides sharing practical information, primarily in the field of digital restoration, another proposal made by the Yugoslav Film Archive was met with overall approval: that the archives and cinémathèques of non-EU countries of former Yugoslavia (Serbia, Bosnia and Herzegovina, North Macedonia and Montenegro), before using the technical support provided by European Commission through its TAIEX instrument, jointly determine the date, subject, and location of a meeting which would include interested professionals from these territories.
Representatives of all six states agreed to strengthen their mutual co-operation in terms of exchanging respective experiences and carrying out mutual projects.
Photo: third meeting of the CEN/DIN TC 457 in October 2018 in Berlin
The CEN TC457 project team is pleased to invite you to a presentation in Bologna on the progress of our work on the CEN Preservation Package aimed for the digital long-term archiving of films. The 50 minute session will start with a 20 min presentation on the concepts and ideas for this digital long-term archive format followed by a panel and a discussion with the audience. It will take place on Monday 24 June at 11:00 am at the DMS auditorium, Piazzetta Pier Paolo Pasolini, Bologna. We are looking forward to see you there.
In 2016 Fondazione Cineteca Italiana launched ‘The Film Corner. Online and Offline Activities for Film Literacy’, a co-financed Project within the frame of the Creative Europe Program, based on the creation of an online interactive platform especially devised for young people and their teachers.
The general framework of the project is provided by the “Framework for Film Education” edited by the BFI in 2015. Experts from different search fields have been contributing to designing and creating the platform content, which is dedicated to a cross-curricular approach that connects film to other subjects, languages and topics. The cross-curricular attitude is a core aspect of the platform, whose aim isto support teachers in working with their students, giving them skills and knowledge through an ancillary use of film.
The 16th BAAC annual conference “GLAMorous content and access” will be held from October 9th to 11th 2019 in Riga, Latvia, in the Freeport of Riga (Rīgas Brīvostas pārvalde) conference hall, Kalpaka bulvāris 12.
Audiovisual materials are being collected by different types of memory institutions, such as archives, museums, libraries, as well as broadcasting institutions and research institutes. Historically, different memory institutions use different practices and standards for description and cataloguing. New technologies are emerging for capturing metadata and descriptive information, and challenging traditional practices of archival description. Lack of universal cross-domain standards for description of audiovisual materials forms a major challenge for exchange of information.
According to the ACE statutes, film archives in a European country may be admitted as members, under the precondition that they
are members of FIAF or
are public mission non-profit film heritage institutions that have signed a statement of adherence to the Code of Ethics of FIAF,
be nominated by at least two members.
In practice, you should
contact two ACE film heritage institutions in your area or that you otherwise know asking for nominations for membership. These institutions may submit their nomination via email.
If you are a FIAF member, you may then apply for membership via email stating that you are a FIAF member.
If you are not a FIAF member, print out and sign this statement, and send it in hard copy or as a signed PDF.
After receiving your application, the Executive Committee will process it. When the application has been approved, you will become an ACE member with full rights after paying the annual membership fee, currently 700€.
As a follow-up of the European Year of Cultural Heritage 2018, the European Commission will support the restoration of at least 4 heritage films. The total available budget is 320 000 €.
This project is managed by Creative Europe MEDIA and we are now gathering proposals for restoration and digitisation of films with a recognised value and a potential to find audiences in various EU states.
The EC grant can cover either the full restoration process or part of it (the grant can be accumulated with other sources of funding). The expected final product must include subtitles in the 24 official EU languages. An audio description is also encouraged. The deadline for delivering the final product (a remastered version of the film ready to be screened) is 31.10.2019.
As part of an initiative funded last year under the European Year of Cultural Heritage, the European Commission is gathering proposals for organising a series of at least 5 screenings between May–September this year.
The main event specifications are as follows:
1. The screening must take place in a culturally important location.
The venue could be a cultural institution or heritage site which already hosts screening events (so that they have all the equipment and experience with handling them). The screenings could take place indoors or in an open air location.
The institution managing the venue should be willing to take the bulk of responsibility for the event (in collaboration with the local film heritage institution, the Creative Europe MEDIA desks, and the contractor of the European Commission).
2. The screening may take place during local celebrations, especially linked to heritage (eg. the 100th anniversary etc.).
The screening may be followed or opened by a networking cocktail, and/or discussion with a film/cultural historian (depending on the context). Of course, the bigger the outreach and audience of the screening, the better.
3. The heritage film to be screened has to be a non-national European film.
It will be a film of your choice as your knowledge of the audience’s preferences will be relied on.
Proposals for different venues and concepts for these events are now being gathered. Concrete suggestions of possible venues, possible dates and a rough estimation of costs are needed.
The purpose of this call is to find a film archive representative – project team expert 5 – for the Project Team which will be in charge of the bulk of the practical work in this standardisation project.
The tasks of the project team expert 5 include:
Taking part in project team meetings (at least at 3 month intervals) to discuss results and next steps, to monitor progress and results, in order to ensure the agreed timeline
Evaluating standards and collecting requirements regarding film archives together with expert 4
defining the archive framework together with expert 2 and expert 4
Describes common workflows in film archive processing together with expert 3 and expert 4
Supports project group with requirements of film archives, especially make recommendations on legal deposit and workflow implementations
Supports PT leader and expert 3 and expert 4 in assessment of results of software development team according to the specifications
Discusses project results with experts from service providers and archives, gives feedback to the project team and delivers comments back to the project team
Supports project group with knowledge and descriptions of workflows in film archives
Dissemination of the progress and result to the archive and postproduction community
Taking part in the meetings with the development team, which will be held on a regular basis in order to discuss results with the development team, getting feedback on changes requested, identifying the effects on changes in the software to the draft and in order to ensure a good collaboration with the development team
The deadline for tenders is the 21st January 2019.
RESTORED MASTERPIECES ON BIG SCREEN 4–9 September 2018
Claudia Cardinale (Once Upon a Time in the West, 8 ½, The Leopard), Klaus Maria Brandauer (Mephisto, Colonel Redl, Out of Africa) and Jean-Marc Barr (The Big Blue), as well as Katinka Farago, Ingmar Bergman’s legendary – Hungarian-born – colleague, are all coming to Budapest between 4–9 September. Hungarian film classics, 4K restored by the Film Archive and Hungarian Filmlab will be screened along with masterpieces restored by other major European archives. This is the first opportunity to see the magnificently restored Oscar-winning Mephisto, Zoltán Fábri’s and Sándor Sára’s films, Hungarian animations, beautiful documentaries on such defining female characters of the film industry as Hedy Lamarr, the select of Cannes Classics 2018 programme is on show. We can also learn about which movies inspired Wes Anderson to make The Grand BudapestHotel.