Cineteca di Bologna is happy to take part in the #IorestoinSALA initiative that wants the quality movie theater experience available on the internet. To launch the circuit that includes more than 70 cinemas from all over Italy with the collaboration of a great number of distributors and of mymovies.it, there will be one of the best movies of the year, recipient of the Silver Bear for Best Screenplay at the 70th Berlinale.
Call for Proposals for the 12th Orphan Film Symposium – Water, Climate, & Migration, hosted by the 6th Eye International Conference, 23-27 May 2020
The biennial NYU Orphan Film Symposium returns to Eye Filmmuseum in Amsterdam, 23-27 May 2020, combining forces with the annual Eye International Conference to explore contemporary archival and academic debates. As always, both events assemble film heritage professionals, scholars, archivists, media artists, curators, collectors, filmmakers, and restorers, and others devoted to saving, studying, and screening neglected audiovisual media. Presenters selected from this open call for proposals will offer three full days and four evenings of talks and special screenings of rare and restored films.
This edition focuses on the urgent but perennial subjects of water, climate, and migration, by examining how neglected works have recorded, represented, and imagined these phenomena throughout the history of moving images.
We invite proposals to present talks and screenings that address one or more of these intertwined concepts. The symposium seeks a range of historical and theoretical perspectives. Proposals might address questions such as these:
- Water. Why water? Because of Amsterdam! Because everywhere. Water is essential to life itself but also has destructive, even traumatic power, through its flooding forces — or its scarcity. Societies are shaped by their interrelationships with water — the Netherlands being a most conspicuous and visible example. For filmmakers, media artists, and documentarians, H20 has always been a subject with aesthetic attraction as well. What neglected films illustrate the significance of water in its many forms?
- Climate. How can the study of moving images inform our understanding of earth’s climate over time? Of perceptions and collective imagination of climate? What films have tackled this subject directly? Indirectly? How might media be used as evidence of historical climate change? Moreover, how are the practices and conceptions of preservation itself being reexamined in a time of climate change? What of the environmental impact on and of archives? And how does a growing awareness of living an Anthropocene epoch alter our experience of watching historical audiovisual recordings of planet Earth, its atmosphere, landscapes, oceans, shores, cities, farms, flora, and fauna.
- Migration – human, animal, other – remains a topic of news, policymaking, political debate, scientific study, social analysis, and historical research. Humanitarian crises of migration are prevalent in current discourse but have been so throughout the history of mass media. What previously overlooked films and media recordings help us understand issues of migration and our engagement with them?
We of course also welcome proposals that address perspectives not mentioned here.
We invite a variety of presentation formats: traditional illustrated conference papers; introductions to single films; performances, demonstrations, and interventions; and recent media productions using archival or found footage. We can consider a limited number of (live) video presentations for those who either don’t fly or who want to fly less. Presenters selected from this open call will discuss and screen rediscovered or recently preserved films from collections and archives around the world. The event showcases a diverse array of rare orphan films – silent, experimental, nontheatrical, sponsored, independent, scientific, documentary, educational, newsreel, fragmentary, amateur, industrial, personal, incomplete, and other moving images from outside of mainstream cinema.
Presentations of 10 to 30 minutes will constitute most of the programming. We can also accept proposals for longer time slots if the running time of a compelling screening or the nature of a collaborative presentation warrant more than half an hour. Evening screenings (with short introductions) may allow for longer films, including features. We may discuss with presenters appropriate alteration of a format or duration when this makes curatorial sense for the programme as a whole.
how to apply
- Proposals (500 words or less) for presentations should summarize the argument or rationale and identify AV materials by title, format, and duration. Include a short bio (50 words).
- E-mail a .docx attachment to firstname.lastname@example.org.
- Subject header: PROPOSAL for Orphans 2020.
- Proposals received by 19 November 2019 will receive full consideration.
travel grant programme
Eye and NYU Orphans have established a travel grant programme for speakers of the Eye International Conference. The grants, up to 500 euro each, can be used to partially offset registration and travel costs. To apply, please submit a brief essay (no more than 500 words) addressing the financial need for the award, as well as how attendance at the conference will contribute to your professional development. Email your application by 19 November to email@example.com, using the term “Travel Grant” in the subject header. The travel grant programme is only open for speakers of the Eye International Conference 2020.
The Orphan Film Symposium begins with an evening screening on Saturday, May 23 (preceded by “Meet the Archive,” an afternoon public programme highlighting recent projects from the Eye Collection). Three full days and evenings of symposium presentations and screenings, Sunday, Monday, and Tuesday. “Orphans 12” attendees are also invited to special activities at the Eye Collection Centre on Wednesday 27 May.
This event is organized by Eye in collaboration with the Orphan Film Symposium, a project of NYU Tisch School of the Arts, Department of Cinema Studies, and its Moving Image Archiving and Preservation Program.
University of Amsterdam (UvA) and the Amsterdam School for Cultural Analysis (ASCA).
Registration is open for a full week of audiovisual archiving knowledge and experience sharing: both the International Association of Sound and Audiovisual Archives’ 50th Annual Conference and the Joint Technical Symposium, stewarded by the Coordinating Council of Audiovisual Archiving Associations, will be taking place at the Netherlands Institute for Sound and Vision in Hilversum from September 30 – October 5. We’re happy to announce that registration for both events is now open! Save your seat for both or either event at 2019.iasa-web.org and jts2019.com.
#IASA50: IASA will be returning to the country of its birth, as the association was established in 1969 in Amsterdam to function as a medium for international co-operation between archives that preserve recorded sound and audiovisual documents. The preliminary programme is available at http://2019.iasa-web.org/programme. Do visit the conference website for more information about the conference, such as the programme, venue, travel advice, social events, information on workshops and tutorials, professional visits and other details: http://2019.iasa-web.org/. Please note that the “early bird” registration rate ends on September 2, 2019.
#JTS2019: JTS is the international scientific and technical symposium dealing with matters of particular importance to audiovisual archives and archivists. It provides an opportunity for audiovisual archiving experts from different backgrounds to come together, share new and upcoming technical advances in our field, and take positions that go beyond the boundaries of specific formats or domains. It is an occasion to inform each other about what’s going on in our field and seek cross-fertilization. Organized every few years since 1983 by the various audiovisual archives associations now forming the CCAAA, it provides an opportunity for colleagues around the world and those interested in the field to meet and share information about the preservation of original image and sound materials. Keep an eye on the website for updates: jts2019.com
We look forward to welcoming you in The Netherlands!
Communications & Outreach
Netherlands Institute for Sound and Vision
Media Parkboulevard 1, 1217 WE Hilversum
Postbus 1060, 1200 BB Hilversum | beeldengeluid.nl
UPDATE 25 September: Extended until the end of the year (31/12). Moreover, the possibility will also be offered to those responding to answer in another EU language than the ones of the consultation (EN, FR and DE).
We would like to inform you about the targeted consultation on the exercise of rights of performers and producers in the audiovisual sector published on the Commission’s website. The consultation will be open until the 31st of December. Your contribution would be very welcome, and we ask you kindly to please forward this email to anyone else in your network who might also want to provide feedback.
The aim of this targeted consultation is to gather relevant data on current market practices and on the exercise of rights of performers and producers in the audiovisual sector. The Commission will analyse these data in preparation of a report assessing the possible need for an extension of the term of protection of the rights of performers and producers in this sector, as required by Article 3(2) of Directive 2011/77EU.
This consultation is addressed at those engaged in the management of rights in the audiovisual sector. It mainly concerns performers and producers who are holders of related rights and their contractual partners such as broadcasters, distributors, sales agents, online platforms and cultural heritage institutions.
Please do not hesitate to contact Ms. Caroline Colin, Policy and Legal Officer-Copyright Unit, European Commission (firstname.lastname@example.org) should you have any questions.
We are happy to present a brief report of the ACE workshop, which took place during Il Cinema Ritrovato festival in Bologna and concerned the access, exhibition and distribution of film heritage in the 21st century.
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.
A new name, a new brand identity, a new study center on Eschersheimer Landstrasse, innovative exhibitions and other exciting projects: 2019 will be a special year for an institution that goes back, at its roots, to the Deutsches Institut for Filmkunde (DIF), which was founded 70 years ago on 13 April 1949. Say hello to the new DFF – Deutsches Filminstitut & Filmmuseum.
2018, the first year for new director Ellen Harrington, was a successful one, with 201,000 visitors in the Museum on the Schaumainkai alone, and 365,000 visitors worldwide at our touring exhibitions and film programs. Right at the beginning, Harrington initiated a series of processes to analyze the impact of the institution. In addition to extensive visitor surveys, a working group started in February to draft a new mission statement; the group also developed the new name that presents this international film heritage institution as a unified entity- the DFF – Deutsches Filminstitut & Filmmuseum.
hosts The 10th Women and the Silent Screen Conference
Save the date 25–28 May 2019
Women and the Silent Screen (WSS), an international conference held biennially, brings together research focusing on all forms of women’s presence in the earliest decades of motion picture history. After its first edition in Utrecht in 1999, the conference is coming back to the Netherlands to celebrate its twentieth year. The theme of WSS X is Sisters, taken both literally and figuratively within a wide range of theoretical and historical angles.
Film:ReStored_03. The Film Heritage Festival
On October 25–28, 2018 the third installment of the film heritage festival “Film:ReStored” will take place at the Filmhaus on Potsdamer Platz, a special event organized by the Deutsche Kinemathek for the Deutscher Kinematheksverbund (association of German cinematheques).
The next ACE General Assembly will be held in Bologna on 27 June at 2–5 p.m. in Sala Cervi at Cineteca di Bologna, via Riva di Reno 72. Members: do remember that this is an election year of the Executive Committee so it is important to be present to vote for your favourite candidates.
Meeting documents (agenda, minutes of GA 2017, activity report, results 2017, budget 2018, mission statements) are available in the members’ area.