Budapest Classics Film Marathon 2022 – Budapest, Vienna, Hollywood

The fifth edition of Budapest Classics Film Marathon, the international festival of restored films organised by National Film Institute is about to start and will run from September 13-18.

Over six days, the audience will be able to enjoy recently restored, popular classics and rarities for a total of 100 of the finest films from global movie history. The goal of Budapest Classics Film Marathon (BKFM) is to position the values of Hungarian film in the focus of domestic and international attention, and present the best of European film heritage to a Hungarian audience. Once again, the highlight of the festival is the transformation of the square in front of St. Stephen’s Basilica into a free open-air cinema for four evenings.

The main theme of the September festival is the Central European roots of Hollywood. The core of the programme comprises works by artists who, setting out from Budapest and frequently with stop-offs in Vienna and Berlin, made it to Hollywood where they achieved global fame. The lives of those individuals coming from territories that were formerly part of the Austro-Hungarian Monarchy and exporting Central European culture to America were often just as exciting as the works they created.

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Commercials from the Geesink studio (1942-1972) on Eye Film Player

Under the title Commercials from the Geesink studio (1942-1972), Eye is releasing ten themed programmes with some of the most important vintage commercials from the Geesink collection.
The compilations can be watched – free of charge – world wide on the Eye Film Player, Eye’s streaming platform.
 

Dutch producer Joop Geesink set up a film studio in 1942 that made hundreds of advertisements for TV and cinema: stop-motion ‘puppet’ films under the name Dollywood as well as live action films under the name Starfilm. The Geesink studio’s collection is held in the Eye Filmmuseum archive. Eye has preserved and digitised part of this collection. Between 1 August 2022 and March 2023, Eye will be releasing eleven themed programmes featuring the best advertisements from the Dollywood and Starfilm studios on the Eye Film Player, Eye’s streaming platform. The compilations can be watched – free of charge – world wide.

Joop Geesink (1913-1984) – also known as ‘the Dutch Disney’ – was extremely effective at bringing in customers. One of his major clients was Philips, but Geesink also had many customers in, for example, Germany, Italy, Great Britain and the United States. Some seventy percent of Geesink productions were for the market outside of the Netherlands. In the US, people started to refer to ‘the Geesink technique’ in relation to the extremely good art direction and highly professional standard of animation. The Geesink studio won many awards for its stop-motion films, including prestigious Cannes Lions Awards.

CLICK HERE TO VIEW THE COLLECTION

“Programming European Heritage at Film Festival” Workshop by Filmoteca Española & Seville European Film Festival

Filmoteca Española and SEFF (Seville European Film Festival) are committed to organize a two-day workshop titled “Programming European Heritage at Film Festival” during the festival, 5th-13th November 2022, at the city of Seville (Spain).

The workshop “Programming European Heritage at Film Festivals” will explore different forms of curating and screening heritage cinema within the global programming activity of a contemporary film festival. In the last years, European festivals that used to screen complete retrospectives of masters, solid subject-specific programmes or tributes to contemporary filmmakers (build with European heritage cinema), and even publish annual essays dedicated to its investigation, have been reducing or removing the presence of the cinema of the past in their offer.

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A Season of Classic Films: ‘Apartado de Correos 1001’ (1950)

Restored by Filmoteca de Catalunya in 4K, the film Apartado de Correos 1001 (P.O. Box 1001) will be presented in a free open-air screening event at the Plaza de Salvador Seguí on Sunday 17 July 2022 at 22:00, as part of A Season of Classic Films. The film will also be free-to-view worldwide between 18 and 19 July.

This film is a great classic of Barcelona’s cinema noir. An echo of the Hollywood thrillers in the context of the Franco regime.

The film was shot on location: on the streets and at popular venues of 1950s Barcelona city centre, especially the neighbourhood where the cinema theatre of Filmoteca de Catalunya is located nowadays. How does this film from the fifties connect to the realities of the neighbourhood today? Filmoteca has conceived a physical and virtual itinerary that connects films linked to the area of Raval. The result is a collaborative map to understand how cinema produces reality and reality produces cinema. The map is available to pick up at the Filmoteca or in a digital version. Audiences can follow the itinerary in the way that suits them best (fragmented, complete, with or without company…) and are encouraged to share snapshots using the tag #FilmoRutaRaval. An organised walk will take place before the film screening, upon registration.

Apartado de Correos 1001 (P.O. Box 1001) | Spain, 1950, 90’, fiction

Director: Julio Salvador. Producer: Emisora Films. With: Tomás Blanco, Modesto Cid, Elena Espejo, Guillermo Marín, Conrado San Martín. Script: Julio Coll, Antonio Isasi-Isasmendi. Cinematography: Federico G. Larraya. Music: Ramón Ferrés. Physical characteristics of first release: 16mm, 90’, B&W, sound, Spanish. Film copy screened during A Season of Classic Films: New restoration. DCP 4K, 90’, Spanish. Subtitles available: English, French. Copyright: Video Mercury Films, SAU.

Barcelona, 1950. A man is murdered in the street in front of a police station. Two agents of the criminal brigade, a skilled veteran and an eager young one, are in charge of the investigation. We follow them on their journey to a thrilling climax in a local amusement park.

A Season of Classic Films: Celebrating film heritage across Europe

A Season of Classics Films is a series of free film screenings and parallel activities across Europe designed to attract younger audiences to our shared cinematic cultural heritage. The programme looks to raise awareness of the work of European film archives, connecting the public with cinema history and the significance of film preservation. Most of the films are premiere digital restorations and some screenings include live performances and educational interactive sessions. All films are available with English subtitles. Additionally, French or other subtitles are in some cases available. This is an initiative of the Association des Cinémathèques Européennes (ACE) with the support of the EU Creative Europe MEDIA programme.

For dates and access links of the upcoming free screenings in cinemas across Europe and online, please follow ACE’s website and social media pages on Instagram | Facebook | Twitter.


 

ABOUT THE ASSOCIATION DES CINÉMATHÈQUES EUROPÉENNES (ACE)

The Association of European Cinematheques (Association des Cinémathèques Européennes – ACE) is an affiliation of 49 European national and regional film archives. Its role is to safeguard the European film heritage and make the rich audiovisual records collected and preserved by the various film archives accessible to the public. ACE members are non-profit institutions committed to the FIAF Code of Ethics.

Follow ACE news on social media  Instagram | Facebook | Twitter

 

 

Perspectives of Ukrainian Cinema

Вулкан|. Volcano, UA, GER 2018, Roman Bondarchuk, © Elemag Pictures

 

 

 

 

 

 

 

From 12 to 30 June 2022, the Deutsche Kinemathek mounted a Ukrainian film series in three German cities, including introductions and discussions. The project has been curated by Victoria Leshchenko and Yuliia Kovalenko, whose initiative sloïk film atelier provides a space for underrepresented voices and fosters them internationally. Funded by the Federal Agency for Civic Education.

Information is available in three languages (English, Ukrainian, German) for future iterations of the programme at other institutions.

Russian war rhetoric seeks to negate the existence of Ukraine’s own history and culture. Ukrainian cinema, however, has a rich history and has recently been experiencing a veritable boom, testimony to a vivid, independent film culture. This series provides a map of that film culture negotiating self-perceptions, discourses, and places in the country.

Further information: https://www.deutsche-kinemathek.de/en/ukrainian-cinema

Inquiries: ejochum@deutsche-kinemathek.de

General Assembly and new Executive Committee Elections 2022

Today, June 29th, saw the ACE General Assembly, which took place at MAMbo Museum in Bologna. The GA was an opportunity to elect the new executive committee and discuss new ACE projects.
 
The new ACE executive committee is composed by:
President: Michal Bregant, Narodní filmový archiv, Prague
Treasurer: Thomas Christensen, Det Danske Filminstitut, Copenhagen
Secretary General: Mikko Kuutti, National Audiovisual Institute, Helsinki

Chicca Bergonzi, Cinémathèque suisse, Lausanne
Anna Fiaccarini, Cineteca di Bologna, Bologna
Giovanna Fossati, Eye Filmmuseum, Amsterdam
Ellen Harrington, DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt
Rui Machado, Cinemateca Portuguesa-Museu do Cinema, Lisbon
György Ráduly, National Film Institute Hungary – Film Archive, Budapest

In the first photo they are pictured together with Paulina Reizi (Eye Filmmuseum), ACE EC Coordinator.

A special thanks to our outgoing president Sandra den Hamer.

 

ACE Workshop – THE PRESERVATION OF KNOWLEDGE: 28 June 2022


28 June 2022
10 a.m. – 5 p.m.

MAMbo – Museo d’Arte Moderna di Bologna
Via Giovanni Minzoni 14, 40121 Bologna, Italy

 

The beginning of the 21st century brought along the most significant technological transformation that cinema has undergone since its invention.

The replacement by digital of analogue technology in the entire cinematographic chain from production to exhibition has had far more profound consequences than all the technological changes that occurred in the first century of cinema. These include the replacement of the 35mm cellulose nitrate film base with cellulose triacetate, and even the transition from silent cinema to sound cinema.

One of the consequences of the digital transformation is the need to establish an all-new archival methodology — including digital repositories whose long-term viability is still unproven. But another, no less decisive consequence, is the need to define how we intend, from now on, to preserve and exhibit the great historical collection of 20th century cinema.

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OPEN CALL: Eye Traineeship Programme “Film Restoration” and “Film Collection”

Eye Filmmuseum is pleased to announce that the call for the Traineeship Programme “Film Restoration” and “Film Collection” for starting film restorers and film collection specialists is now open.

With these two traineeships, Eye aims to build a bridge between academic training and hands-on daily practices. This programme is designed to educate a new generation of film restorers and film collection specialists and seeks to facilitate their transition into the labour market.

Applicants are invited to send in their applications by July 1st, 2022.

For more information on the application process, please read the open call here: https://www.eyefilm.nl/uploads/downloads/blocks/vacature-2022-Traineeship-Call-for-Applications-EN.pdf.

If you have questions about the traineeships, please get in touch with Eleni Tzialli at eyeacademic@eyefilm.nl