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.
15 August 2014 – In connection with the policy report”Towards an integrated approach to cultural heritage”, the Commission has published an overview of activities and funding programmes related to cultural heritage, including film heritage: Horizon2020, Europeana, Creative Europe and the Structural & Investment Funds, ERASMUS etc. It encourages cultural institutions to seize these opportunities and to work closely across Europe to ensure that cultural heritage contributes to more sustainable growth and social cohesion.
Europe as a political body needs to recognize the value of cultural heritage, beyond economical and financial legislations. It is a powerful instrument to build a shared identity and a sense of belonging amongst and between European citizens, as stated in the declaration “ A new narrative for Europe”.
7 November 2012 – For its first editon, the International Festival of Restored Film presents more than 40 screenings across the three sections of the programme: Tribute to Martin Scorsese’s Film Foundation, Restorations and early films, The early days of the talkies (1900-1932) as well as ciné-concerts, workshops, lectures, and roundtable discussionon on the methods and ethical and technical challenges involved in restoring images and sound. Many restored films will be screened in France for the first time: All That Jazz by Bob Fosse (1979), The Fireman’s Ball by Mi los Forman (1967), Blackmail by Al fred Hitchcock (1929), The Living Corpse by Fedor Ozep (1929), The Goose Woman by Clarence Brown (1925), The Chase by Arthur Ripley (1946), They made me a fugitive by Alberto Cavalcanti (1947), Le Joli Mai by Chris Marker and Pierre Lhomme (1962), M by Joseph Losey (1951), Misère au borinage by Joris Ivens and Henri Storck (1933) and the sound version of Lonesome by Paul Fejos (1928). In partnership with Fond Culturel Franco Americain.
3 September 2012 – This year’s Cinema Expert Group – Subgroup Film Heritage takes place at the Cinematek in Brussels on 16 October 2012. The Cinema Experts Group is annually organised by the Audiovisual and Media Policy Unit of the European Commission, where experts from all over Europe meet to discuss best practices and policies related to film heritage. Attendance to the meeting is by invitation only. Agenda updates and related documents are available on http://ec.europa.eu/avpolicy/reg/cinema/experts/index_en.htm
4 May 2012 – The 5th edition of the Film Restoration Summer School / FIAF Summer School will take place in Bologna from June to July 2012. The project is organised and hosted by Cineteca di Bologna in collaboration with ACE and FIAF. The main objective of the Summer School is to teach and update participants on how to restore and preserve a film through the use of photochemical and new digital technologies. It is designed for both for archivists and staff working at FIAF archives, and students. For the Festival Edition 2012, ACE awarded a scholarship to five applicants.
Programme and timetable 2012 On-line Distance Learning: 9 May- 20 June (on Wednesdays) Theory Classes: Bologna, Il Cinema Ritrovato Film Festival, 23 – 30 June Restoration Practice: Bologna, 2 – 13 July During the internship, participants are supervised by international experts and laboratory staff to put into practice what they learned during their first week of theory.
Please find more information, the full programme and the list of the 36 selected participants here.
The final report of the Study on a Digital Agenda for European Film Heritage is available on-line. The Study was launched in January 2011 to assess the impact of digitisation for European film archives. It has been conducted by peacefulfish Productions Ltd, subcontractors were Red Cat Technologies, the University of Helsinki/IPR University Center and the external expert Nicola Mazzanti. Read the full report. More information on the DAEFH study
Organized by the Filmoteca Española, the conference took place on 7 – 8 June 2010 on the occasion of the Spanish EU Presidency. The following conclusions are based on the presentations by the speakers who constitute a highly representative body drawn from film archives, universities which offer courses related to the film heritage, and institutions dedicated to training in the areas of the conservation and diffusion of cultural heritage within Europe as a whole.
The Conference participants, all representatives from film archives, European universities and training institutes
The creation, in various European countries, of University M.A courses and other introductory training modules designed to provide training related to the Film Heritage, particularly in conservation and restoration.
The holding of specialised conferences, seminars and other modules of ongoing education, largely organised through the initiative of film archives.
That the impact of new technologies calls for the redefining, with an eye to the future, of the occupations and profiles related to the Film Heritage and its conservation and diffusion.
Closer ties between film archives and training centres in order to agree on supply and match it to demand, with a view to a future market of diversified work, and the need to establish broader professional and occupational categories.
Therefore, the formulation of, on the one hand, a referential table of professional tasks and profiles and, on the other, a White Paper on existing training with recognised results.
That the conservation and valorization of the Film Heritage receive European Union and Member State recognition and support equal to that given to other cultural areas, such as Fine Arts and Libraries.
The establishment at a trans-national European level of an initial training born of an agreement between Universities and Archives, with additional periodic ongoing education initiatives, which would take into account, on the one hand, the array of professional tasks and levels required, and on the other, their place within a broad and high-level training format which responds to the express ambition to put the film heritage on a level footing with other cultural sectors.
An increase in European Union support through the diversity of its programmes and other Community instruments, taking into consideration its trans-national sphere of activity and its principles of subsidiarity.
28 April 2010 – The Schlemmer Frame Collection is the property of Edith Schlemmer, the former chief archivist of the Austrian Film Museum. Mrs. Schlemmer had received it in the 1960s as a donation from an anonymous collector, and decided to make it available to the Austrian Film Museum for purposes of research and publication.
This little treasure consists of 2254 frames and fragments of films, mostly silent and mostly from the period between 1910 and 1920, many of which are believed lost. The collection has now been digitized and ordered, with the aim of identifying and cataloging the individual items as well as preserving the original order. At present, 35% of the collection have been identified. The process of research and identification is ongoing and will presumably continue for several years. As a parallel endeavour, a visual database of these beautiful images has been created and can be accessed here.
Although many film archives are in possession of these types of collections, it is the first time that one of them receives such detailed attention from researchers. The aim of the Austrian Film Museum is to make these images accessible to the larger public, to enable everyone to enjoy the colors and photography of early cinema, to constitute a historical resource for archivists and researchers, and to enlarge the debate about open archives and “orphan” collections held in those archives.