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.
In this installment of our series on film archives’ offers during the COVID-19 crisis, we will discuss what ACE members from the Balkan Peninsula are organizing for their audiences.
CRNOGORSKA KINOTEKA has created a series of videos presenting different Montenegrin cities through time with material from the archives and an added soundtrack by Montenegrin alternative bands. This initative follows the contribution the Film Archive has provided to the film program of the Second Program of RTCG. The cycle “Crnogorski gradovi kroz vrijeme” can also be watched on the Crnogorska Kinoteka’s website. Via the following link you can watch one of the most recently published videos and have access to the others available: https://kinoteka.me/2020/05/19/crnogorski-gradovi-kroz-vrijeme-herceg-novi/
In this installment of our series on film archives’ offers during the COVID-19 crisis, we will discuss what ACE members from Northern Europe are organizing for their audiences.
SVENSKA FILMINSTITUTEThas launched a new short film venture with special funds of the value of SEK 200,000. The investment consists of eight development grants of SEK 25,000 each to create short feature films that depict our present in the shadow of the Corona virus. The project is for both established filmmakers and new talent and its aim is to enhance as many different voices as possible. The short films must be produced in accordance with the recommendations of the Public Health Authority. The deadline for application is June 14. For more information, click on the following link: https://pressroom.filminstitutet.se/pressrelease/view/corona-2020-ny-kortfilmssatsning-fran-filminstitutet-18171
In this installment of our series on film archives’ offers during the COVID-19 crisis, we will discuss what ACE members from Germany and Austria are organizing for their audiences.
DFF – DEUTSCHES FILMINSTITUT FILMMUSEUM has an entire section on its website dedicated to its digital offer. There are a video tour through the permanent exhibition “Filmisches Sehen” with curator Stefanie Plappert, ideas on how to introduce children to film culture with games, streaming tips from DFF staff, virtual exhibition and videos. To find out more, click on the following link: https://www.dff.film/coronavirus/
In this installment of our series concerning film archives’ offers during the COVID-19 crisis, we will discuss what ACE members from the Iberian Peninsula are organizing for their audiences.
LA CINEMATECA PORTUGUESA has created “Gestos & Fragmentos”, a selection of films, museum pieces and records of the life in the Cinematheque. It is described as an enhanched version of the already existing initiative named “Cinemateca Digital” (that will still remain on the website). There are four different sections: films to see this week (a series of features from Portoguese Cinema with a temporary availability), a larger Cinemateca Júnior, “O museu vai a casa” which displays a series of pre-cinema objects from their collection and “Textos & Imagens” dedicated to reflections raised by items from the collection of their Documentation and Information Center. To find out more, click on the following link: http://www.cinemateca.pt/Cinemateca/Noticias/A-CINEMATECA,-A-DIFUSAO-EM-LINHA-E-A-SALA-DE-CINEM.aspx
In this installment of our series on film archives’ offers during the COVID-19 crisis, we will discuss what ACE members from Eastern Europe are organizing for their audiences.
FILMOTEKA NARODOWA from Poland highlights a home film competition named “Mistrzowskie wyzwania”. The rules are simple: stay at home, make a film (max. 3 minutes long) and send the file. There will be two rounds: one that has started on the 23rd with the participation of Jagoda Szelc and one starting on May 4 featuring Paweł Łoziński. The winners will receive prizes totaling PLN 2,000 and have their short featured on the prestigious Ninateka website. To find out more, click on the following link: https://fina.gov.pl/mistrzowskie-wyzwania-domowy-konkurs-filmowy/
In these troubling times where cinemas have to close down because of safety issues, we need culture more than ever. We want to use this space to highlight initiatives offered by film archives which can let the general audience discover film history from the comfort of one’s house. This first installment will revolve around the activities of three Italian film archives: Cineteca di Bologna, Fondazione Cineteca Italiana, La Cineteca del Friuli e Museo Nazionale del Cinema di Torino.
At the end of March, the Cinemateca Portuguesa-Museu do Cinema hosted the second partner meeting for CINARTS, the fourth European Film Education project conducted by Cineteca di Bologna and co-funded by Creative Europe. The project is developed with Cinemateca Portuguesa, Hungarian Film Fund, CINEMATEK, Les enfants de cinéma and BAM! Strategie Culturali.
9 November 2016 – In 2012, the Orphan Works Directive has been adopted with the aim to unlock hundreds of thousands of objects preserved in Europe’s libraries, museums, archives and cinematheques, to digitse and publish them on portals like the European Film Gateway or Europeana. How has this objective been put into practise? The conference, jointly organised by FORWARD coordinator CINEMATEK and the Royal Library of Belgium, brings together professionals from the library and the audiovisual sector, policy makers and Commission’s representatives to discuss the impact of the Directive and how it has been transposed into national law.
In the afternoon, participants are invited to discover new orphan works tools: the FORWARD system to support the rights status assessment of audiovisual works, and the Royal Library’s orphan works database.
Venue: Royal Library of Belgium Date: 30th of November 2016, 9.30 – 16.30 h
You can access the programme and the registration form on the FORWARD website: http://tinyurl.com/z7oavr6 Registration is free of charge, but upon inscription. Please register before 25th of November.
Since November 2013, a consortium of 13 partners, among them 11 Film Heritage Institutions and commercial film libraries are working on FORWARD, a three-year EU funded project, which aims at creating an EU wide, semi-automated system to assess the rights status for all types of audiovisual works, including orphans. FORWARD has been initiated by ACE in the context of the Orphan Works Directive 2012/28/EU. It is, in a way, the result of ACE’s advocacy work to facilitate rights clearing for films and, in particular, to find a solution for the hundreds of thousand of orphan works preserved in Europe’s film archives. FORWARD also works towards the Commission’s policy for an integrated approach to Europe’s cultural heritage.
FORWARD is co-ordinated by the Cinémathèque Royale de Belgique and supported by the Community Porgramme CIP ICT PSP “Europeana & Creativity”.
Analysis of national copyright legislationsand system workflow
As a first step, the legal frameworks of the countries involved in the project have been analysed. This is a necessary step to define the workflow for assessing the rights status of a film and to get a clear indication whether it is in public domain or in-copyright, and in this case, whether it is orphan and how it can be used across Europe. So far, FORWARD started to define legal decision trees for those countries in the project that have already implemented the EU Orphan Works Directive: Finland and Germany. The Netherlands and Denmark will follow. The analysis of the legal frameworks is coordinated by EYE Film Institute, due to their legal expertise in the “Images for the FUTURE” project and the European Film Gateway.
Design of rights information infrastructure The workflow design from a technical point of view is coordinated by CINECA. CINECA builds on the experience they have achieved as a technical partner in ARROW. ARROW is a similar tool to assist rights clearance, but for the publishing sector. Compared to ARROW, the system’s workflow in FORWARD is much more complex, because a film has more authors: In most European countries these are the principal director, music composer, author of the screenplay and author of dialogues. This means that much more databases and sources need to be checked to find the relevant information.
How to find information about AV rights holders? The 10 Film Heritage Institutions (FHI) presented in the consortium are the main and often unique sources of information, which is stored in filmographic databases, catalogues, on cencorship cards etc. However, to complete the information, 3rd party databases from producers, authors, and Collective Management Societies need to be searched as well. FORWARD partners are currently identifying relevant national 3rd party information sources such as GEMMA for music rights. FORWARD will take into consideration the search criteria and sources which need to be queried in compliance with the national legislations on Orphan Works
Enriching metada Project partner DFI (Danish Film Institute) is currently analyzing the databases of each partner archive. If information is missing that is critical for assessing the rights status, the archive will record the information manually, so that it can be harvested and processed by the FORWARD system.
Promotion and consensus building Consensus building among all stakeholders is a key element for the progress and succes of the project. FHI, CMOs, producers etc need to agree upon the workflow. For this purpose national seminars will be organized in the partner’s countries. The first seminars will be held in October in Germany at the Deutsches Filminstitut, Finland and The Netherlands are following.
Partners: Cinémathèque Royale de Belgique/Koninklijk Belgisch Filmarchief, coordinator (Brussels), Association des Cinémathèques Européennes (Brussels, Frankfurt), CNC – Archives françaises du film (Bois d´Arcy), Consorzio Interuniversitario – CINECA (Bologna), Danish Film Institute (Copenhagen), Deutsches Filminstitut – DIF (Frankfurt), EYE Film Institute Netherlands (Amsterdam), Fondazione Cineteca di Bologna (Bologna), FOCAL International LTD (Middlesex), Filmoteka Narodowa (Warsaw), KAVI – National Audiovisual Insitute (Helsinki), Instituto de la Cinematografia y Artes Audiovisuales – Filmoteca Española (Madrid), Národní filmový archiv – National Film Archive (Prague).