As the war in Ukraine is in its 4th week, we continue to seek ways that we can support our colleagues from the Oleksandr Dvozhenko Centre in Kyiv.
FIAF reports that a frequent contact with our brave colleagues of the Oleksandr Dovzhenko National Centre in Kyiv is kept to try and provide advice or put them in touch with other organizations that can help them protect their institution and collection.
A fundraising campaign to help the Dovzhenko Centre has been set up by British achitect and camera historian Richard Bossons, who has close links with the Dovzhenko Centre. FIAF will be donating to the Fund, and it encourage its affiliates – both institutionally and individually, to do the same if they can. The fundraising campaign can be found here:
ACE would also like to develop a list of current offers being made, or actions being taken, by our Member institutions. We would then share this feedback with all of you, which might serve as inspiration for many of us to take further action.
Examples we have learned of so far include: possible employment/housing or other support offers for affected colleagues, technical advice about protecting collections, fundraising events, public statements of support, providing educational materials or other resources to refugee centers, and free entry to museums and cinemas for refugee populations (from all countries affected by crises). Please email us with your updates at email@example.com which is ACE’s new contact email address.
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 presents the 8th edition of This is Film! Film Heritage in Practice, a public lecture series devoted to notable projects in the fields of film restoration and film heritage. Under the overarching theme of Global Audiovisual Archiving, also this year’s theme of the Eye International Conference, international scholars and archival practitioners showcase and discuss archival practices from all over the globe.
Each of the six sessions will highlight different institutional and non-institutional efforts and archival practices worldwide. Together with guests, we explore topics like film heritage in Brazil, forgotten female film directors from Indonesia, the African Film Heritage Project, the efforts of the Asian Film Archive and the Southeast Asia-Pacific Audiovisual Archive Association, non-institutional practices in Latin America, and the Cinematheque Beirut project. This year’s guests are all members of the Advisory Board of the Eye International Conference on Global Audiovisual Archiving.
Film, talks & discussion Each session will feature a short introduction by Giovanna Fossati (Chief Curator at Eye and Professor of Film Heritage at the University of Amsterdam), followed by a lecture and Q&A with an international expert on the topic and a film screening. Eye will record these events for online publication afterwards.
Starting on 21 March 2022, ARTE will present in collaboration with the Association des Cinémathèques Européennes (ACE) a diverse programme of European films with a focus on modern film heritage. As part of this programme, ARTE licensed feature films from ACE’s A Season of Classic Films catalogue that consists of newly-restored distinguished titles and less known gems (see catalogue here).
The programme will premiere with La Strada in primetime in combination with the launch of selected films by ACE on ARTE’s digital platforms. New film titles will be added on a monthly basis. Each film will be available for free for 90 days, Europe-wide, with subtitles in English, French, German, Polish, Italian and Spanish.
The titles from ACE’s A Season of Classic Films catalogue include: The Man who had his hair cut short (1965, André Delvaux) – Royal Belgian Film Archive, She Didn’t Say No! (1958, Cyril Frankel) – Irish Film Institute, Derborence (1985, Francis Reusser) – Cinémathèque suisse, The Wayward Girl (1959, Edith Carlmar) – Norwegian Film Institute, and The Death of a Horse (1992, Saimir Kumbaro) – Albanian National Film Archive. These films will be complemented with additional titles co-curated by ACE member institutions. ACE facilitates the selection and acquisition of archival films in high-quality digital remastered versions, which are provided together with curated texts and contextual information. A video trailer and the full programme will be published in the beginning of March.
The ACE-ARTE partnership aims to make European film heritage and cinema history more visible and accessible to greater audiences. The initial timeframe for this programme is planned until the end of 2023, with a hope to extend this collaboration in the longer term to jointly offer restored films on TV, web and cinemas.
From 29 – 31 May, 2022, Eye Filmmuseum, the University of Amsterdam (UvA), Amsterdam School for Cultural Analysis (ASCA), and the Association of Moving Image Archivists (AMIA) will present the 7th Eye International Conference on ‘Global Audiovisual Archiving: Exchange of Knowledge and Practices’.
The annual Eye International Conference is an opportunity for scholars, archivists, curators, researchers, filmmakers, students, artists, and film enthusiasts from across the world to gather and explore contemporary professional and academic issues affecting audiovisual heritage today.
The 2022 edition will focus on the imbalance or current misrepresentation of global audiovisual heritage holdings, looking in particular at the alarming scarcity of audiovisual heritage from the Global South in the digital space. We will provide speakers and participants a platform to encourage knowledge exchange between scholars and archivists from different parts of the world, and different archival traditions. The conference offers a space to consider the impact of geographical location, the availability of resources, technical and digital gaps, and different audiovisual traditions. We will discuss archival challenges and think together about new models for collaboration.
The goal of the conference is to broaden the knowledge and connections within the global archival community, leading to new insights on the status of film heritage and archiving in different parts of the world.
The Call for Proposals is now open and the deadline to apply is 16 January 2022. We encourage proposals from participants, archives, and regions that are underrepresented in conferences related to audiovisual heritage, discussing topics that highlight concrete, urgent, practical concerns, and threats to collections.
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.
Das DFF – Deutsches Filminstitut & Filmmuseum e.V. sucht zum nächstmöglichen Zeitpunkteine Kuratorische Leitungder Sammlungen–Abteilungsleitung Non-Film-Archiv (m/w/d)
Leitung und kuratorische Betreuung der Sammlungendes DFF an den Archivstandorten in Frankfurt am Main und Wiesbaden(Non-Film-Archiv/filmbezogeneNachlässe, Bibliothek, Bild-, Plakat-, Musik-und Textarchiv)
Fachaufsicht und strategische Mitverantwortung bei der Erschließung der Sammlungen und Verfügbarmachung der Bestände(analog und digital/virtuell)
Weiterer Ausbau des Sammlungsbestandes – Überprüfung und Erweiterung der Sammlungen, Hinzufügen verschiedener Perspektiven und breitere Repräsentation verschiedener Filmemacher:innen
Aufbau und Pflege von Kontakten zu nationalen/ internationalen Filmschaffenden, Zusammenarbeit im nationalen Verbund der Kinematheken und Filmarchive
Planung, Konzeption und Kuratorium sammlungsbezogener Ausstellungen. Entwicklung, Redaktion von Publikationen (analog und virtuell)
Entwicklung von öffentlichen Programmen zur Erhöhungdes Engagements von Interessenten und potentiellen Unterstützern für die DFF-Sammlungen
Führungen, Archivgespräche, Einbindung in die Aktivitäten des DFF und seiner Projekte
Beantwortung der zahlreichen internen und externen Nutzungsanfragen an das Non-Film-Archiv bzw. deren Delegation innerhalb der Abteilung
Personalführung und -entwicklung
Management, Organisation, Administration und Budgetverantwortungin enger Absprache mit der Direktorin
Lichtspiel / Kinemathek Bern joins the second edition of A Season of Classic Films with a compilation of unique short films that takes viewers to a journey to the various regions of Switzerland. The compilation consists of eight newly digitised films, presenting aviation pioneers in the 1920s to progressive women in the 1960s. The films will premiere on Thursday 2 September at 20:00 CEST in a special free-admission event at Lichtspiel’s premises in Bern and via live stream with English subtitles. An introduction by Brigitte Paulowitz, Head of Film Collections and Restorer at Lichtspiel, will provide the context to the films.
A Season of Classic Films is an initiative of the Association des Cinémathèques Européennes (ACE) with the support of the EU Creative Europe MEDIA programme to raise awareness of the work of national and regional film archives, connecting the public with cinema history and the preservation of film heritage. Twenty-two European film institutions are taking part this year offering free access to films from their precious collections. This screening is organised by Lichtspiel / Kinemathek Bern.
Reise durch die Schweiz (Travel through Switzerland) | Switzerland, 1920-1961, 102′
Basler Flugtag. 12. September 1920. Advertisement, 1920, 9’, silent.
Cinemateket / The Norwegian Film Institute joins A Season of Classic Films with the restored film Ung flukt (Edith Carlmar, 1959), a teen rebellion drama with Liv Ullmann in her debut role, with a free special cinema screening event on Wednesday 25 August at 18:00 CEST at Cinemateket in Oslo, while the film will be free-to-view worldwide between 26 August and 2 September, with English subtitles.
The digital restoration was carried out by the National Library of Norway in 2018 and has drawn attention internationally to the work of Edith Carlmar, the number one female director in Norwegian post-war cinema. Carlmar was not only Norway’s first female director, but she made what is considered to be the country’s first film noir (Death Is a Caress). Together with her husband Otto Carlmar, she founded the film company Carlmar Film AS, where he produced and she directed one brilliant film after another. She directed ten films in ten years and Ung flukt is her last feature film.
Speaking about the restored film, Head of Cinemateket Jan Langlo said, “The restored version of Ung flukt (The Wayward Girl) was selected for Berlinale Classics in 2019. This generated quite a lot of interest in both this film and other films by Edith Carlmar, and there are several retrospectives of her films being planned at international festivals in 2021 and 2022. New viewers recognise Ung flukt as a surprisingly vital film, with a vibrant Liv Ullmann in her screen debut.”
A Season of Classic Films is an initiative of the Association des Cinémathèques Européennes (ACE) with the support of the EU Creative Europe MEDIA programme to raise awareness of the work of national and regional film archives, connecting the public with cinema history and the preservation of film heritage. Twenty-two European film institutions are taking part this year offering free access to films from their precious collections. This screening is organised by Cinemateket / The Norwegian Film Institute.
Ung flukt (The Wayward Girl) | Norway, 1959, 95′
Director: Edith Carlmar. Producer: Otto Carlmar. Cast: Liv Ullmann, Atle Merton, Rolf Søder, Nanna Stenersen, Randi Brænne, Tore Foss. Physical characteristics of first release: 35mm, 95’, B&W, mono sound, Norwegian. Film copy screened during A Season of Classic Films: DCP, 95’, B&W, sound, Norwegian. Available subtitles: English. Copyright: Norwegian Film Institute.
Ung flukt is based on a book by Nils Johan Rud and tells the story of 17-year-old Gerd, the illegitimate daughter of a single working mother. Gerd, played by Liv Ullmann in her first lead role, has fallen into delinquency. After she spends a brief stint in police custody, Gerd’s boyfriend, a student, disobeys his parents and takes her away to the country to protect her from bad influences.
Wednesday 25 August, 18:00, Cinemateket Dronningens gate 16 0152 Oslo. With English subtitles. Introduced by Hege Jaer, Curator at Cinemateket. Reserve your free ticket here!
Thursday 26 August – Wednesday 2 September. Watch free online here, worldwide access, English subtitles.
Cinémathèque suisse will present the new 4K restoration of Derborence, a landmark work by the Swiss filmmaker Francis Reusser (1942-2019), during two free special screenings, one at the Locarno Film Festival (12 August) and one at the Festival international du film alpin des Diablerets (14 August).
The digital restoration was carried out by the Cinémathèque suisse in the Color Grade laboratory, with the support of RTS. The special free screening events are offered by A Season of Classic Films, an Association des Cinémathèques Européennes (ACE) initiative with the support of the EU Creative Europe MEDIA programme and in partnership with Cinémathèque suisse.
Twenty-two film institutions from all over Europe, including the Cinémathèque suisse, are taking part this year in A Season of Classic Films. The initiative offers free access to restored European films, connecting the public with cinema history and the preservation of film heritage.
Derborence | Switzerland/France, 1985, 99′
Director: Francis Reusser. Producer: Jean-Marc Henchoz, Claude Stadelmann. Cast: Isabel Otero, Jacques Penot, Maria Machado, Jean-Marc Bory, Bruno Cremer. Music: Maria Carta / Sound Design: François Musy / Cinematography: Emmanuel Machuel / Film Editing: Christine Benoît and Francis Reusser / Production Design: Jean-Marc Stehlé / Costume Design: Rose-Marie Melka. Physical characteristics of first release: 35mm, 99’, colour, sound, French. Film copy screened during A Season of Classic Films: New restoration. DCP, 99’, colour, sound, French. Copyright: Les productions JMH, Marion’s Films, Sagittaire production.
The lives of two newlyweds, Antoine, an alpine shepherd, and Thérèse, are overturned when a landslide swallows the mountain pasture where Antoine is working. Believed to be dead by everyone, Antoine suddenly returns home. In this adaptation of Charles Ferdinand Ramuz’s novel, Francis Reusser has crafted a sensual alpine western, which competed in Cannes in 1985 and received the César for the best French-language film the following year.
Thursday 12 August, 15:00, PalaCinema 1, 74 Locarno Film Festival. With English subtitles. Introduced by Emmanuelle de Riedmatten, Jean Reusser and Frédéric Maire. Reserve your free ticket here!
Saturday 14 August, 13:30, Festival International du Film Alpin des Diablerets (FIFAD 2021). Closing screening event, more information here.