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.
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.
15 May 2015 – How to facilitate access to audiovisual heritage whether it has been digitised or not? Digitisation is being carried on under the rationale of enabling access, but it seems to be only the very first step in making sure that our audiovisual heritage is available, known and alive. Digitising enables access rather in theory, not necessarily in practice.
During this one-day seminar film archivists, curators and experts in film and media education are presenting best practices and lessons learned in making 120 years of film heritage accessible and viewed.
12 November 2014 – Balkans’ Memory, co-funded by the European Commission, is a 3-year project which started in 2012. Its objective is to implement the first actions of a policy of preservation and promotion of cinematographic and audiovisual heritage in the Western Balkans. The project is led by INA, in association with the Croatian audiovisual centre, the National Film Archive of Tirana and COPEAM. The aim is to raise awareness among decision-makers of the Western Balkans on the necessity to to invest in the preservation, digitisation, use and management of their audiovisual heritage.
The conference gathers experts from the ACE, FIAF and FIAT networks and the EBU operating group to discuss training opportunities, the creation of synergies and financing opportunities for the Western Balkans.
13/02/2014 – From 30 March to 2 April, EYE Film Institute Netherlands is hosting the 9th edition of the Orphan Film Symposium. The event is organised in cooperation with NYU Cinema Studies and the University of Amsterdam. For the first time, it will be held in Europe. Theme of Orphans 9 is “The Future of Obsolescence”: What kind of orphan films document these phenomena? What neglected and orphaned media should we re-view to better understand the world? How should archivists and curators deal with obsolete “new media”? How do archives, museums, libraries, and sister institutions participate in remix culture? The symposium addresses archivists, curators, scholars, technology experts, librarians, collectors, distributors, preservationists, artists, and legal experts alike. It starts on Sunday evening, March 30, 2014, with a film concert and the world premiere of the recent EYE discovery and preservation of East is West (USA, 1922). One session will be dedicated to the FORWARD project, the European Registry for Orphan Works.
Attendance at the Orphan Film Symposium is open to anyone, but advanced paid registration is required. Registration fee is $250 before 15 February, $300 after. Students and the underemployed may pay half-price. The fees cover access to screenings, panels, performances, and events, catered meals and breaks and a registration packet.
21 September 2013 – In the wake of the 21st century the issues such as the future of our past and the death of cinema have been raised in the context of the reinvention of Cinephilia. The Greek Film Archive gathers archivists, filmmakers and academics to discuss in a one day conference the future of cinephilia in the digital era and the challenges of archive programming. The questions of how to curate film for the new Cinephilia and how to reinvent Cinephilia in times of crisis are brought to the forefront. Also, in a wired world where young people are constantly downloading films and participate in blogging communities and social media environments, what brings still audiences to the movie screens and in particular to cinemathèques. The seminar addresses directors, curators, film professonals and cineastes alike.
The seminar is organised in collaboration with ACE in the scope of the workshop series “Management Strategies for Film Archives in the Digital Era”. It takes place during the 7th Avant-garde and Independent Film Festival, 17-27 October 2013, Cinephilia in the New Era (N.S.R.F. 2007-2013)
4 September 2013 – Cinémathèques as cultural institutions have a relatively short history, but need to quickly align themselves to radically changing technologies and user expectations. On the occasion of the 50th anniversary of the Deutsche Kinemathek – Museum für Film und Fernsehen (Berlin), the Conference “Collecting, preserving, presenting: What are Cinémathèques?” aims to analyse the origins, the development and the self- definition of Cinematheques and assess their social, political and aesthetical function: How can film museums and film archives remain significant places to create and promote film culture and knowledge? How can they contribute to a modern approach to film heritage?
Film archivists and experts will give lectures and discuss in round tables about archival standards, collection practices and their pitfalls, and, last but not least, modes of conveying and presenting their archival goods in exhibitions, screenings or via completely new channels.
30 May 2013 – Large scale digitsation projects, mainly undertaken by libraries and archives, are absolutely indispensable for the promotion of the knowledge society and public access to culture. These projects are all confronted with the challenge of copyright. To date, European Institutions don’t have a specific solution for mass-digitisation.
Over the past two years, three European initiatives have been set up in order to facilitate (large scale) digitisation and the access to works which are still in copyright: The Directive 2012/28/EU on Orphan Works, the Memorandum of Understanding on Works out-of-Commerce between libraires, publishers and collecting societies (2011), and the structured Stakeholder Dialogue “Licences for Europe”, a joint initiative launched by the Commisioners Barnier, Kroes and Vassiliou in February 2013.
Aim of the conference organised by CRIDS – Centre de Recherche sur Information, Droit et Société (Université de Namur) is to envisage the impact of these initiatives on the digitisation process and the availibility of works online. Nicola Mazzanti, ACE president and director of the Cinémathèque royale de Belgique, will speek about the necessity of digitisation in the audiovisuel sector.
14 March 2013 – Yesterday, at the XX Udine International Film Studies Conference ( 12-14 March) students, researchers and University professors have launched a petition to the European Parliament, the EU Council and the European Commission to increase the availability of films to the wider public, but also for research and educational purposes by fostering the digitisation of European films and their diffusion; to create a safe legal environment in which films can be freely used in the context of research and education at all levels.
11 March 2013 – The digital revolution and the birth of Web 2.0 has fundamentally transformed the media landscape. As a consequence, the question of intellectual copyright is at the very center of the public debate and has also begun to draw the attention of scholars and researcher.
The conference “Who’s What? Intellectual Copyright in the Digital Era” will discuss different aspects of this transformation. One section is dedicated to “Property and the Archives”. Nicola Mazzanti (Cinémathèque royale de Belgique, ACE president) and Leontine Bout (EYE Film Institute Netherlands) will present the film archives perspective and speak about the impact of current copyright legislation on their daily work. A round table coordinated by the Association des Cinémathèques Europénnes will look into chances and limitations for using orphan films in view of the European Directive on orphan works.
The Udine conference is part of filmforum, an international festival devoted to cinema and the contemporary visual arts. It brings together scientific research, the dissemination of culture, and exhibition shows. FilmForum takes place in Udine and Gorizia and it offers conferences, meetings, workshops and screenings. It also hosts the Limina Award for Italian and international books on film. The festival addresses a wide-ranging audience which includes specialists, scholars and students in audiovisual and new media studies as well as fans of cinema and visual culture.