A presentation concerning the recently published Italian translation of Giovanna Fossati’sFrom Grain to Pixel: The Archival Life of Film in Transition (Dai grani ai pixel. Il Restauro del film nella transizione dall’analogico al digitale- Casa Editrice Persiani) took place on Monday, July 26th as part of a series of talks from DAMSLab and the Department of Arts at the University of Bologna
The new edition widens access and provides updated research developments following the original 2009 publication and significant, expanded second and third editions in 2011 and 2018 from Amsterdam University Press. New research projects featured in the volume include Beyond the Rocks (Sam Wood, 1922, with Gloria Swanson and Rudolph Valentino), Doctor Strangelove (Stanley Kubrick, 1964), and We Can’t Go Home Again (Nicholas Ray, 1973.)
The winners of the XVIII Edition of Il Cinema Ritrovato’s DVD Awards were presented on Saturday, the 24th by film critic and jury president Paolo Merghetti. He was joined at Piazzetta Pier Paolo Pasolini by other members of the jury present in Bologna. In addition to core prizes in the categories of Best Box Set, Best Special Features, Best Rediscovery of a Forgotten Film, Best Single Film Release, Best Documentary, and Best Film, each member of the jury chose a personal winner from amongst more than 40 finalists. The full 2021 jury was comprised of Lorenzo Codelli, Shivendra Singh Dungapur, Phillipe Garnier, Pamela Hutchinson, Miguel Marías, and Paolo Mereghetti. A complete list of winners can be found below.
The Russian Film Archive Gosfilmondand the portal Cultura.RU have announced the start of a joint project called Open Collection. For this project, employees of the scientific department of the State Film will prepare more than 20 rare films for publication each month.
Elena Filatova, General Director of the State Film Fund of the Russian Federation, says that the Open Collection project will let audiences meet rare examples of Soviet and Russian cinema, many of which until recently could only be viewed by researchers until now.
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”.
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).
20 November 2013 – On 13 November, the final session of the stakeholder’s dialogue Licences for Europe took place in Brussels. The initiative was set up jointly by the Commissioners Neelie Kroes (Digital Agenda), Michel Barnier (Internal Market and Services), and Andrea Vassiliou (Education, Culture, Multilingualism and Youth) in February this year. The purpose of the four working groups was to deliver quick solutions for bringing more content online. ACE was member of working group 3 “Audiovisual Heritage Institutions” represented by Nicola Mazzanti. After 10 months of discussions ACE and rights holders representatives agreed on principles and procedures about digitising, restoring and making available European film heritage. The statement was signed in presence of the three Commissioners by ACE, the Federation of European Film Directors (FERA), the International Federation of Film Producers Associations (FIAPF), the Society of Audiovisual Authors (SAA).
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)
18 June 2013 – With the advent of the Digital, the cinema industry is undergoing a fundamental change. As films are being made in a new way, they will have to be archived in a new way: Digital film has to be archived digitally. Film archives need to be well prepared to react on these changes. For this purpose, ACE has conceived a series of workshops aiming at exchanging best practices and finding solutions how these challenges can be met on a strategic, economic and practical level.
The two half-days workshop “Collecting, Conserving and Exhibiting in a Digital World” will discuss strategies and best practices of digital archiving, setting up digital workflows, new ways of exhibiting film, preservation and training needs and how to share information, services and content.
It will be held on 4th and 5th July during Il Cinema Ritrovato Festival at the Grand Hotel Majestic, Bologna.
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.