After the success in 2019 with more than 15.000 people participating, ‘A Season of Classic Films’ is back for its second edition in December.
Led this year by the Association des Cinémathèques Européennes (ACE) with the funding of the European Commission under the cross-sectoral strand of Creative Europe programme, this initiative will be presented on 15 October at the Festival Lumière in Lyon. The festival, focusing on the history of cinema, will host a special afternoon around ‘Europe and Heritage’ where Sandra den Hamer, ACE president and Eye Filmmuseum director, and Maria Silvia Gatta, representative from the European Commission DG CNECT, will explain the details of the outreach project and other policies and trends to keep supporting and modernising European film heritage.
The second edition of the Season of Classic Films will consist of a series of free screenings planned between December 2020 and June 2021 across Europe to raise awareness of the work of European national and regional film archives, especially among young adults. Most of the films are new digital restorations and some include exciting elements such as experimental electronic music or augmented reality. With 22 participating institutions, this initiative particularly aims to support the reopening of European film archives, all affected by the Covid19 crisis.
A map including the list of cities and films will be soon available via this page.
Le Giornate del Cinema Muto festival from Pordenone (Italy) will close with a big event via streaming and in presence. Thanks to Lobster Films from Paris and to the American Library of Congress, Stan Laurel and Oliver Hardy will be the protagonists of the special closing event “Laurel o Hardy” available on streaming at 8:30 PM CEST Saturday 10th October with a live musical accompaniment by Neil Brand. The event will be repeated the following day in presence at 4.30 PM CEST at the Verdi Theatre in Pordenone with a live musical accompaniment by the Zerorchestra.
The films screened during this event want to highlight the genius of Laurel and Hardy that was evident even before they first teamed up. Le Giornate del Muto have decided to present 5 riotous shorts that precede their legendary partnership, each one joyfully showcasing their individual talents.
Eye Filmmuseum and the British Film Institute present a compilation film of newly-restored rare images from the first years of filmmaking. Immerse yourself in enchanting images of Venice, Berlin, Amsterdam and London from 120 years ago. Let yourself be carried away in the mesmerizing events and celebrities of the time, and feel the enthusiasm of early cinema that overcame the challenge of capturing life-like movement.
The Mutoscope and Biograph Company was founded by film pioneer and inventor William Kennedy-Laurie Dickson, who had worked with Thomas Edison since the 1880s. After leaving Edison, Dickson and partners filmed remarkable events across Europe.
These films are all photographed with the unique large-format 68mm Mutograph camera, which provided extraordinarily high resolution images. These one-minute time capsules from 120 years ago still convey some of the richest and sharpest images that film can achieve.
The films reflect the essence of early cinema: capturing the first ever moving images of important events, famous locations and personalities, as well as spectacular moments such as dance and sports performances, or even natural phenomena like fire or storm, that only work when seen in motion.
The Collection and Restoration
The Mutoscope and Biograph Collection is the oldest film collection held at Eye Filmmuseum. It includes over 200 films, most of which made in Europe between 1897 and 1902. This constitutes the largest existing collection of Mutoscope and Biograph films surviving in the world.
The films are shot on nitrate film stock with a short-lived technology which was, at the time, innovative and groundbreaking: an exceptionally large-format film (approx. 68mm wide, without perforation) with an extremely high resolution providing extraordinary richness of details.
Because the films are a non-standard size, they have been largely unseen. Given their obsolete format digital restoration with custom-made equipment at a resolution of around 8K is the best way to make them accessible again, using today’s technology. After digitization, image restoration is done to reproduce as closely as possible the characteristics of the original film.
Tomorrow, Wednesday July 15th, the Cinémathèque française reopens its doors and will stay open for the entire open of August with two screenings per day at 16h and 19h30 (Monday and Tuesday excluded) in the Henri Langlois hall.
La Cinémathèque royale de Belgique reopens its doors on July 1st. Security measures have been implemented to ensure the safety of everyone during the screenings. The seating capacity has been limited and it is strongly encouraged to purchase the tickets in advance. To read all the safety measures, click here.
The program for its reopening features a series of interesting film exhibitions:
At the end of May, Eye would traditionally have been the scene of the Eye International Conference, this year hosting the 12th Orphan Film Symposium dedicated to the theme “Water, Climate, and Migration”. Due to the COVID-19 pandemic, the symposium had to transform into a completely virtual event.
Orphans & Eye The Orphan Film Symposium is a renowned bi-annual gathering that has been celebrating abandoned and forgotten films since 1999. Since its first edition, the Filmmuseum has contributed to Orphans. Eye and New York University planned for nearly two years to have the symposium convene again in conjunction with the Eye International Conference. After a successful first European edition in Eye in 2014, with over 200 international guests from thirty countries, Eye was looking forward to welcoming again this wonderful community of international cinephiles.
The Filmoteca de Catalanuya is slowly reopening. At first on June 9th the Biblioteca del cinema started offering a loan service by appointment (Tuesday-Friday from 10 AM to 2 PM) and the David Lynch exhibition Dreams: Tribute to Fellini has been reopened and extended until August 30 (Tuesday to Friday, from 10 AM to 2 PM and from 4 PM to 9 PM; Saturdays and Sundays, from 4 PM to 9 PM).
The screenings will resume on the 26th of June in the two rooms of the Filmoteca de Catalunya, Chomón and Laya. The activity will be adapted to the new measures of restricted access and hygiene that have been implemented. During the months of July and August, there will be three daily screening, from Tuesday to Sunday, at 4.30 PM (Chomón), 7PM (Laya) and 8PM (Chomón), with reduced capaacity to facilitate distancing, numbered seats, priority for online sales and reinforcement of the cleaning and disinfection of the spaces between screenings.
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).
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 firstname.lastname@example.org, 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).