The morning session:
The afternoon session:
The morning session:
The afternoon session:
On July 27th, before the screening in Piazza Maggiore, Andrea Meneghelli (Cineteca di Bologna) and composer and musician Daniele Furlati presented the restoration work on Mario Fantin’s footage of the 1954 expedition on K2, directed by the geologist Ardito Desio. The footage was originally part of the 1955 Marcello Baldi’s documentary Italia K2, but the restored version of the documentary will have its premiere at the Trento Film Festival and the screening in Piazza Maggiore focuses on the mountain scenery with a new editing by Andrea Meneghelli, texts by Albino Ferrari and original music by Teo Uselli orchestrated and adapted by Daniele Furlati.
After the presentation from Cinémathèque Suisse, Museo Nazionale del Cinema di Torino took the stage of Auditorium DAMS Lab, on Monday 24th, to present its new film laboratory. The meeting featured two representatives from the film archive, Director Domenico De Gaetano and Head of the digital restoration area Gabriele Angelo Perrone, and was moderated by Davide Pozzi from L’Immagine Ritrovata.
The film laboratory opened in the first months of 2021. It is dedicated to the restoration and digitization of films, but the first focus of Museo del Cinema is interested is the digitization and safeguard of the mute cinema from Torino. The laboratory is divided in three spaces to optimize the workflow and it features a latest-generation server. The Museo del Cinema also owns a scan station, that permits to digitalize the film materials by following the FIAF protocols. For what concerns the programs used, they are currently still in a testing phase.
The main purpose of the laboratory is to make possible for the Museo del Cinema di Torino to be independent in the restoration of its archive and others in the city of Turin, such as the Aiace archive. Among the restorations curated by Museo del Cinema di Torino, this year’s Cinema Ritrovato hosted “I raggi “Z” (Eleuterio Rodolfi, 1917), in collaboration with Cineteca di Bologna and Národní filmový archiv.
The morning of July 26th , at il Cinema Ritrovato, was dedicated to the presentation of the new film laboratories from two ACE members: Cinémathèque Suisse and Museo del Cinema di Torino. For Cinémathèque Suisse, Nicolas Ricordel had recorded a video presenting the structure and a small video-tour.
Stéphanie Louis’ book, La cinématheque musée, une innovation cinéphile au coeur de la patrimonialisation du cinema en France, published in March of 2020, spans from the early days of the Cinémathèque Française in the wake of the Second World War to the late 1960s. Chronicling the advent of both mainstream and specialist interest in cinephile heritage over the greater part of three decades, this essential work explores the manner in which the origins of cinematographic museums and institutions transformed the experience of and around film viewership in France, as well as the role of film heritage in the fabric of contemporary French cultural identity.
As part of a new project from the ACE in the promotion of new and significant publications in the field of cinema scholarship, Anna Fiaccarini of Il Cineteca di Bologna spoke with Stéphanie Louis on Monday, the 19th of July about her research. ‘The effect of showing, in this historic work of research, the development of cinematheques everywhere, but in France, clearly, and the prime example of the Cinématheque Française, is how these developments had a strong influence on the practice of cinephilia,’ Fiaccarini said, urging archivists, scholars, and institutions to include the volume in their collections. ‘I have also borrowed the words of Donata Pesenti Campagnoni, who wrote a very nice presentation on Stéphanie’s volume in The Journal of Film Preservation (this summary and additional materials on the text can be accessed on the Association française de recherche sur l’histoire du cinéma’s website) in October of 2020. It is very interesting, because like Donata said here, we really come to understand how we have arrived at this world of cinematheques today, and why we watch and re-watch heritage films.’
The 7th edition of Eye’s annual public lectures series This is Film! Film Heritage in Practice is the first one to be available online. With this series, Eye aims to interest a wider audience for issues related to the preservation, restoration and presentation of film heritage. Throughout 6 sessions, this edition focusses on the overarching theme of re-use and recycle of archival films from different perspectives. All lectures and Q&A sessions with guest speakers are available on YouTube. A selection of films screened during the sessions is available on the Eye Film Player.
Introduction by Giovanna Fossati (Chief Curator at Eye and Professor of Film Heritage at the University of Amsterdam). Q&A in collaboration with the Master students of the This is Film! class at the University of Amsterdam.
Giovanna Fossati, Chief Curator at Eye Filmmuseum and Professor Film Heritage and Digital Film Culture at the University of Amsterdam (UvA), will be one of the new members of the Academy of Motion Picture Arts and Sciences otherwise known as the Oscars. Fossati was selected in the category ‘members-at-large’ for her work in film preservation.
Since 1927, the Academy of Motion Picture Arts and Sciences has annually invited a select group of film professionals who have distinguished themselves due to their contributions to cinema to join the organisation. In line with Academy’s commitment to become more diverse and inclusive, this year’s new members originate from 49 countries outside the USA. 46% of the 2021 selection consists of women and 39% of minorities. In total, 395 new academy members have been announced.
Giovanna Fossati’s invitation to join the Academy constitutes major recognition of her work in the film archival field and, consequently, for Eye and its staff’s efforts to preserve, restore and promote film heritage.
This summer the big screen of Piazza Maggiore will light up again, a restart expected by an entire community. On the occasion of the ‘Sotto le stelle del cinema’, Fondazione Cineteca di Bologna will present the new 4K restoration of Comizi d’amore (Love Meetings, Pier Paolo Pasolini, 1965) during two free special screenings with English subtitles on Monday 28 June.
The film has been restored at the L’Immagine Ritrovata laboratory, by Cineteca di Bologna, in collaboration with Compass Film and with the support of MiC and A Season of Classic Films, an initiative of ACE – Association des Cinémathèques Européennes within the Creative Europe MEDIA programmme of the European Commission. Twenty-two film institutions from all over Europe, including the Fondazione Cineteca di Bologna, 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.
On Sunday 27 June, the Greek Film Archive will present a newly-restored copy of the unknown masterpiece Fishermen and Fishing, by Leon Loisios, produced in 1961 (22’), narrated by the acclaimed director Stavros Tornes. Along with the world premiere of this new restoration, the Greek classic silent film Social Decay (1932, 50’) by Stelios Tatasopoulos will also be screened with English and French subtitles. The programme will be first presented on 27 June (9:15pm) in the cinematheque’s open-air cinema in Athens and from 28 June to 7 July, the films will be free-to-view online with worldwide access.
The special free screenings and the restoration of Fishermen and Fishing are made possible thanks to A Season of Classic Films, an initiative of the Association des Cinémathèques Européennes (ACE) with the financial support of the EU Creative Europe MEDIA programme. Twenty-two film institutions from all over Europe, including the Greek Film Archive (Ταινιοθήκη της Ελλάδος), 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.
In collaboration with the Slovenian Film Centre and the Slovenian Film Archives, the Slovenian Cinematheque presents seven digitally restored remarkable short films in a world premiere, in the context of A Season of Classic Films. This rare overview of Slovene filmmakers will premiere on Tuesday 22 June in a special free-admission event at the Silvan Furlan Hall of the Slovenian Cinematheque in Ljubljana. Between 23 and 27 June, the films will be free-to-view online with English subtitles. An introduction by Igor Prassel, Head of programme department at the Slovenian Cinematheque, will provide the context to the films and details about their restoration.
The Slovenian programme highlights important filmmakers from the history of national cinema (1946-1984) and, in particular, their explosive creativity within film expression, which without exception integrates formal and narrative experiments. The historical overview starts with France Štiglic’s Mladina gradi (Youth Builds, 1946), an internationally acclaimed documentary on the building of socialism after liberation and then continues with Bizoviške perice (Laundresses from Bizovik, 1959), a film reportage on countryside laundresses by Jože Bevc, followed by Barva spomina (The Colour of Memory, 1967), a portrayal of painter Jože Spacal and his art directed by Jože Babič and Giorgio Šestan, Gratinirani možgani Pupilije Ferkeverk (Fried Brain of Pupilija Ferkeverk, 1970), an exquisite experimental short calling for freedom of expression by the renowned DOP and film director Karpo Godina, Slavica exception (Slavica Exceptional, 1971), a documentary portrait of a professional striper by Mako Sajko, Cukrarna (1972), Jože Pogačnik’s homage to an old building and its inhabitants with a glorious past and a tragic present, and finally, Zvonko Čoh’s Poljubi mehka me radirka (Kiss Me Gentle Rubber, 1984), a milestone in Slovenian artistic animated film.