A good working knowledge of the German language is necessary to do the job. The film archives hopes to fill this position by January 1st, 2022, so that there is a proper transition period to break in the new person.
DigiTraining, Digital & Audiovisual Capacity Building for Accessible Heritage, a project co-funded by the European Commission under the Creative Europe Programme, has launched an Open Call for European cultural heritage institutions.
The digital shift in the cultural heritage sector is important but can be quite challenging: successful applicants will receive training and support in the process to innovate and integrate new technologies in their organisations. For some this means personalised and tailor-made support and digital production services directly adapted to their needs and mission to facilitate accessibility to culture.
This spring, for the 6th FIAF Winter School, FIAF offers a short training course aimed at professionals in FIAF archives and beyond, in collaboration with the Cinémathèque française and the Fondation Jérôme Seydoux-Pathé. The theme of the course, taught by experienced professionals from the sector, is “Programming Film Heritage“. This edition will take place as an online even over the course of four half days, on Thursday 25 and Friday 26 February, Monday 1 and Tuesday 2 March 2020, right before the start of the 2021 edition of “Toute la mémoire du monde“, the international festival of restored film hosted by the Cinémathèque française.
The programme of this edition of the FIAF Winter School is available in English and in French. Every participant will be asked to take an active part in the event by submitting programmes as part of the FIAF programming game before the Winter School.
FIAF has decided not to charge any fee for this online edition. The number of participants have however been limited to 50, as in previous years. The selection will be made on the basis of the online form the participants have to submit.
The deadline for validating the online form is Friday 5 February. Selected candidates will be notified by email by Thursday 11 February at the latest.
ACE has decided to highlight the initiatives organised by its members during these difficult times, in which film archives have to reinvent themselves online. It’s in moments like these that we need culture, cinema, more than ever. After exploring the Italian film archives’ initiatives, now it is time to explore the francophone area’s offer.
LA CINÉMATHÈQUE FRANÇAISE offers on its website more than 800 videos that include cinema lessons from some of the biggest authors and actors, conferences and video-essays. It is also possible to read more than 500 articles, to discover the gems from its collection. To find out more, click on the following link: https://www.cinematheque.fr/decouvrir.html Since the cinema has been shut down since March, the Cinémathèque française has decided to open a movie theater named Henri, after the film archive’s founder Henri Langlois: a screening every evening at 20h30. To find out more, click on the following link: https://www.cinematheque.fr/henri/
UPDATE (30/06/2020): due to the uncertain context of the Corona Pandemic, the Digital Archive Summer School has been postponed. The new date is 6-10 September 2021.
This summer, for the first time ever, Filmuniversität Babelsberg KONRAD WOLF will organise the Digital Archives Summer School in collaboration with the International Federation of Film Archives (FIAF) and Deutsche Kinemathek Berlin. It is a 5-day, practice-oriented educational offer directed at staff members of audiovisual archives who are interested in enhancing their knowledge about digital environments and processes.
This first edition focuses especially on the subject of data literacy and presentation strategies. Lectures, seminars and exercises will explore subjects such as conversion, digital preservation, storytelling and visualisation.
The festival “Film:ReStored”, an event of the Deutsche Kinemathek dedicated to film heritage in the difficult scenario of the digital age, has reached its fifth edition, which will take place from October 27 to November 1 at the Filmhaus in Berlin. Even though the festival has always concerned mainly German film heritage and domestic digitalization with the addition of some international guests, the fifth edition, thanks to its theme “A European Affair”, will have a decidedly European orientation. Preservation, restoration and access to film heritage are concerns common to all film archives and now it is time to develop a pan-European perspective on film heritage in the digital age.
The Fédération Internationale des Archives du Film (FIAF), the Association des Cinémathèques Européennes (ACE), Cineteca di Bologna and L’Immagine Ritrovata are eager to announce that the ninth FIAF Film Restoration Summer School will take place during summer 2020 in Bologna, confirming the good results of their long lasting cooperation. The application process will close on the 16th February 2020.
Since 2007 these institutions have been promoting an ideal of shared knowledge in the field of film restoration offering the opportunity to specialists, film archive staff and students to experience the complete restoration workflow through the use of photochemical and digital technologies in a two-decade experienced film restoration laboratory.
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 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).
JTS is offering up to five travel grants for the upcoming Joint Technical Symposium in Hilversum (Oct 3-5).
JTS is committed to cultivating an environment in which includes a multiplicity of voices. Travel grants are open to everyone working in the field whose attendance will contribute to their professional and/or organizational development. Applicants will be asked to provide a short statement about the value of attending JTS.
Travel funding is limited and grants are not intended to cover all travel expenses. Please include the costs of your travel and registration as well as the amount of funding requested.
Applicants will be asked to submit a statement (not more than 750 words) addressing the need for the award and how JTS will contribute to their professional development and/or that of their institution.
Applicants will be asked for an estimated budget for costs of travel (transport and lodging) as well as the total funds requested for the grant.
Applicants will be asked to upload their CV/Resume as well as a Letter of Recommendation from a senior manager or supervisor.
Grant recipients will be expected to attend the full conference as well as submit a post-conference report outlining their experience and any outcomes of the conference.
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.