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).
19 November2013– Each year, the European Commission officially invites the Member States to send experts to the meeting of the Subgroup film heritage. Also invited are professional European and International associations from the audiovisual sector ( film archives, public sector broadcasters, rights holders organisations, distributors, experts in film literacy and media education etc.). Purpose of the meeting is to exchange information and discuss best practices related to film heritage in the European Union.
The meeting takes place at CINEMATEK, 9 Baron Horta, 1000 Brussels. Please note that attendance to the Cinema Experts Group meeting is by invitation only. More information and the agenda are available at the wesbite of the European Commission.
7 October 2013 – During this year’s Pordenone Silent Film Festival, EFG1914 partners show highlights from their collections related to the First World War. The presentation will take place on Wednesday, 9th October from 14:30 – 16:30h in the Auditorium della Regione (Via Roma 2).
Within the scope of the EFG1914 project, 21 film archives are digitising a considerable amount of their WWI collections. For the Centenary of the First World War in early 2014, more than 600 hrs of documentaries, newsreels, amateur footage and feature films from and related to WWI will be available on the European Film Gateway and Europeana websites. As approximately 80% of films from this period are considered lost, the material provided through EFG1914 represents a considerable share of what has been preserved from the time in Europe’s film archives.
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.
31 May 2013 – Cinephiles from all over the world will meet during the 27th edition of Il Cinema Ritrovato Festival in Bologna. From 29 June to 6 July, a selection of very best restorations both in 35 mm and digital formats will be presented in the festival cinemas and during the evening screenings at the Piazza Maggiore. Special sections are dedicated to Hitchcock’s silents films, Allan Dawn, Vittorio De Sica, Charlie Chaplin at Mutual, Glorious 1913, Soviet filmmakers Olga Preobrazhenskaya and Ivan Pravov, to name only a few. This year’s programme will also include two screenings of films digitised in the scope of EFG1914, a joint project between 21 European film archives, with a special focus on First World War.
For further inormation, please visit the official website
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.
20 December 2012 – The European Commission published today a press release highlighting the findings of the 3rd Implementation Report on the Film Heritage Recommendation 2005. Commissioner Neelie Kroes is concerned by the fact that only 1,5% of European film heritage is digitised and accessible to the public: “It is ridiculous that our film heritage is invisible in the 21st century. Culture is the heart of Europe, and film is at the heart of future. I am determined to bring this film legacy online and will make a proposal in 2013 that helps Member States and stakeholders to join forces to get films online.” Identified obstacles to digitisation include scarce national and private funding and the complexity of rights clearance.
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.