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An open-air screening of the 3rd Budapest Classics Film Marathon

– rue Blanche 42, 1060 Brussels – Belgium – T +32 2 538 30 65 – info@afnet.org – www.afnet.org

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12.2019

As I write these lines, the Preservation & Restoration Workshop India

(FPRWI) 2019 just ended in Hyderabad. It is hard to believe that it is

already the fth time that FIAF has been working in close collaboration

with the Film Heritage Foundation to organize the amazing training

initiative – an event that already welcomed almost 300 participants over

its rst ve editions. Our partnership has got stronger and stronger every

year and, partly as a result, the workshop has got more complex, richer

and more adapted to the specic needs of the participants and to their

dierent knowledge levels.

There are now signs that the Workshop is really starting to make a

dierence, not only by training the next generation of lm archivists in

each of India’s regional lm industries (this year the Telugu lm industry,

whose rich legacy is at risk of total disappearance), but also by raising

public awareness about the urgent need to save lm heritage in India

(thanks to the generous help of various high-prole lm personalities

such as Amitabh Bachchan to promote our cause) but also in other

neighbouring countries. This last point is crucial for us. We have worked

together with the Film Heritage Foundation to open FPRWI to other

countries in the Indian sub-continent. This year we were able to welcome

participants from Sri Lanka, Bangladesh, and Nepal, as well as a strong

contingent of 10 lms archivists from Afghanistan.

We are, as always, very proud of the work done by our Training and

Outreach Coordinator David Walsh, who has once again put together

an ambitious and complex multi-thematic curriculum covering the key

aspects of lm archiving. As a global network of solidarity, FIAF could

also count on the dedication and expertise of some of its 169 aliated

archives and their sta to contribute to the Workshop. From the feedback

we received from the trainers, it was an incredibly rewarding experience

for them too.

Last but not least, we must express our warmest congratulations to

Shivendra Singh Dungarpur, Teesha Cherian, and their dedicated team at

the Film Heritage Foundation, on their key role in the impeccable organi-

zation of this year’s workshop, but also on their unparalleled dedication

to the cause of lm preservation in India and its neighbouring countries.

“FPRWI” is now one of the key events in FIAF’s global training and out-

reach calendar, and one that we now regard as a clear model for other

training initiatives for lm archivists in other parts of the world, such as

the one that took place last May in Bloomington, Indiana, and others

elsewhere in the coming years.

Christophe Dupin

Editorial

CONTENTS

Editorial

01 News from the

Aliates

02 News from

the Executive

Committee

03 News from the

Secretariat

04 Journal of Film

Preservation

05 News from the P.I.P.

06 News from the

Commissions

07 Training and

Outreach

08 FIAF Congress(es)

09 CCAAA and

Audiovisual

Archiving

Associations

10 FIAF Supporters

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01 New FIAF Aliates

The silent green Kulturquartier, where the Arsenal lm archive is located

> BERLIN

ARSENAL  INSTITÜT FÜR FILM UND VIDEOKUNST E.V.

Arsenal – Institute for Film and Video Art (founded in

1963 as “Friends of the German Film Archive”) is an insti-

tution located at Potsdamer Platz and in the quiet, leafy

Kulturquartier in Berlin. The institution is dedicated to

developing and fostering international lm and video

art. Its work comprises running the 2-screen Arsenal

cinema, and putting on the Berlinale Forum and Forum

Expanded as part of the Berlin International Film Festi-

val, as well as collecting and distributing works of inde-

pendent and experimental cinema. Arsenal has a lm

collection numbering 10,000 titles. It bears testimony to

the idea of lm (history) as a “living archive”, and spans

both historical trends in the history of the avant-garde

and current trends in lm and video art. The task for the

future will increasingly consist of processing and preser-

ving the collection, as well as opening the archive up to

outside use through digitization/restoration.

Arsenal also encourages public discourse on the

language, history, and future of lm in a wide range of

dierent forms, and provides comprehensive consul-

tation services and research facilities for curators and

scholars, as well as anyone else interested in lm.

The Board of Directors is made up of the lm schol-

ars and curators Milena Gregor, Birgit Kohler, and Ste-

fanie Schulte Strathaus.

As a charitable association, Arsenal – Institute for

Film and Video Art has a cultural remit and receives

funding from the Federal Government Commissioner

for Culture and Media to this end, as well as project-re-

lated support from a wide range of dierent institu-

tions and partners.

Library and Archives Canada Preservation Centre, Gatineau, Québec

> GATINEAU

LIBRARY AND ARCHIVES CANADA

In 2022, Library and Archives Canada (LAC) will be cele-

brating 150 years of acquiring, processing, preserving,

and providing access to Canada’s documentary heri-

tage. From the establishment of the Dominion Archives

in 1872 to the creation of the National Library of Ca-

nada in 1953, through the merger of these two storied

institutions into Library and Archives Canada in 2004,

and on to today’s “Digital Age,” we have always played

a vital role in documenting our country’s history. LAC’s

employees in the library and archival elds are experts

at ensuring that Canadians are and will be able to mine

the treasures of their collective past.

LAC is home to a Canadian lm repository that is vir-

tually unequalled in the diversity of works it holds. We

have been actively acquiring lms for 50 years, and we

hold master material for many of our titles. We strive to

acquire the most original, complete, and archival mate-

rial, making our lm collection extremely important to

the preservation of Canada’s cinematic heritage.

The acquisition and preservation of lms by LAC

can be traced back to 1967, when a disastrous re in

a Montreal area storage facility destroyed millions

of feet of unstable nitrate lm. Two years after that

tragic event, the Canadian government authorized

the country’s Public Archives to begin collecting lm,

which led to the establishment of the national lm ar-

chives in 1976. To this day, LAC continues to acquire and

preserve lms in both French and English, from private

and government sources.

Nathalie Knoll

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Library and Archives Canada, 395 Wellington Street, Ottawa, Ontario

LAC has the expertise to collect and store nitrate

lm, and is home to a highly specialized dedicated sto-

rage facility for this purpose. With so little of what was

produced in the rst decades of lmmaking in Canada

having survived until the present (as is generally the

case for early lm most anywhere), our role is key in

preserving the country’s early lm history. Our collec-

tion includes signicant works such as Back to God’s

Country (1919), Canada’s oldest feature lm.

In addition to our dedicated lm storage vaults

and a lm preservation laboratory with the ability

to colour grade and print to lm, we have two DFT

4K Scanity scanners and a full digital grading suite.

LAC also has photochemical lm duplication capa-

city, and is currently in the planning stages for the

construction of a new facility that will include a fully

equipped screening room.

Collaboration and cooperation are essential com-

ponents of LAC’s eorts to build a comprehensive col-

lection of Canada’s documentary heritage – a key ele-

ment of which is on lm. We are honoured to now be

part of the FIAF family.

Leslie Weir

Librarian and Archivist of Canada

The cinema of the Cinémathèque Robert-Lynen before its current

refurbishment

> PARIS

CINEMATHEQUE ROBERTLYNEN

[en]

The opening of the Cinémathèque de la Ville de Paris

in 1925 was the culmination of 15 years of reection on

the use of cinema as an educational tool. Since then, its

mission has been to educate young audiences to how

cinema can indeed be an educational tool as well as a

recreational activity and a cultural artefact. A place

dedicated to the educational use of images, it has as-

sembled a completely unique archive that reects the

evolution of cinema and related practices, consisting

of lms, photographs, and a range of objects relating

to the various projection devices.

When in 1947 the Cinématheque was allocated

part of Ocampo, a private mansion in Paris’s 17th ar-

rondissement, as its new premises, new perspectives

opened up. From 1952 onwards, the then-state-of-

the-art projection room and booth made it a venue of

choice for training teachers in lm culture. The screen’s

heavy velvet curtain nally closed in 1992 after the ven-

ue no longer met the safety requirements pertaining to

places open to the public.

Regulatory safety works are currently in progress,

and the new premises are scheduled to open in 2020,

consisting of a 92-seat projection room plus an exhi-

bition space and educational workshops that will be

open to the general public.

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Building the new cinema of the Cinémathèque Robert Lynen

Robert Lynen (1920-1944)

In 1968, the Cinémathèque scolaire de la Ville de Paris

became the Cinémathèque Robert-Lynen, as a tribute to

Robert Lynen, a rising star of French cinema best known

for his roles in Julien Duvivier’s Poil de carotte (1932)

and Le Petit Roi (1933), and Marc Allégret’s Sans famille

(1937). In 1940 he had taken a break from cinema to join

the French Resistance. He was arrested in 1943 and sent

to Karlsruhe, where he was shot by the Nazis in 1944.

[fr]

La création de la Cinémathèque de la Ville de Paris en

1925 consacre les années de réexions sur l’utilisation du

cinéma comme auxiliaire de l’enseignement, misent en

place dès 1910. Elle a depuis, pour mission de faire du

cinéma un support pédagogique, un spectacle récréatif

et un objet de culture auprès des Jeunes publics. Lieu

dédié à la pédagogie par l’image, elle a su constituer

une archive tout à fait originale, reet de l’évolution de

ses pratiques, constituée de lms, de photographies et

d’objets relatifs aux diérents dispositifs de projection.

Lorsqu’en 1947, la cinémathèque se voit attribuer

pour nouveaux locaux une partie de l’hôtel particu-

lier Ocampo (Paris XVII°), de nouvelles perspectives

s’ouvrent à elle. L’installation alors moderne de la salle

et de la cabine de projection, à partir de 1952, fait de

cet endroit un lieu privilégié pour la formation des ins-

tituteurs à la culture cinématographique. Le lourd ri-

deau en velours de l’écran s’est refermé un jour de l’an-

née 1992, les conditions de sécurité d’accueil du public

n’étant alors plus adaptées aux normes en vigueur.

Actuellement des travaux de mise en sécurité ré-

glementaire sont en cours de réalisation et la nouvelle

installation doit ouvrir courant 2020. C’est une salle de

92 spectateurs qui sera accessible, ainsi qu’un espace

d’ateliers pédagogiques et d’expositions qui seront mis

à la disposition d’un plus vaste public.

Robert Lynen (1920-1944)

En 1968, la cinémathèque scolaire de la Ville de Paris

devient Cinémathèque Robert-Lynen. Ce nouveau nom

rend hommage au jeune acteur, étoile montante du ci-

néma français, surtout connu pour ses rôles dans Poil

de carotte (Julien Duvivier, 1932), Le Petit Roi (Julien

Duvivier, 1933) et Sans famille (Marc Allégret, 1937). En

1940, Robert Lynen s’engage dans la résistance et sera

arrêté en 1942. Envoyé à Karlsruhe, il sera fusillé par les

nazis en 1944.

Emmanuelle Devos

Directrice de la Cinémathèque Robert-Lynen

> TUNIS

CINEMATHEQUE TUNISIENNE

[en]

Born with Tunisia’s independence, the idea of promo-

ting the country’s lm heritage couldn’t come to frui-

tion under the Bourguiba and Ben Ali regimes. Over

the years generations of lmmakers, intellectuals, and

cultural players have promoted, nurtured, and protec-

ted the fundamental values of the ambitious project of

a Cinémathèque tunisienne, which has long remained

in embryo – a theoretical claim, a dream, whose rea-

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lization was thwarted by the vicissitudes of a system

incapable of coming to terms with the essentially de-

mocratic nature of moving images.

The project ocially came back on the agenda in

2008 with the construction of the City of Culture, but

only materialized in 2018 when work was nally complet-

ed on this monumental cultural infrastructure, which

the dictatorial system had mainly wanted to build for its

prestige. But as history would have it, the City of Culture

was inaugurated at a time of democratic transition, and

a space within it was dedicated to the Cinémathèque

tunisienne. Having a room and premises to welcome

the public is certainly an major asset, and an acknowl-

edgement on the part of the authorities. However, this

tool may remain ineective without an appropriate

institutional framework and accompanying measures

guaranteeing the project’s viability. As such, the inclu-

sion of the Cinémathèque tunisienne within the Centre

national du cinéma et de l’image (CNCI, established in

2011) is the cornerstone that provides this structure with

the legal basis it had always lacked. The Cinémathèque

is now a department within the Centre’s organization

chart, with clearly dened statutory prerogatives. From

a legal, administrative, and nancial standpoint, the

Cinémathèque is dependent on the CNCI, which ensures

its place within the new Tunisian audiovisual ecosystem,

thus contributing a cohesive dynamic welcomed and

supported by the entire lmmaking community.

The Cinémathèque tunisienne must now make up for

lost time, and is relying on its own resources to take root

indigenously in its environment and to serve Tunisian civil

society and its associated network. It participates in a

decentralization program for the regional dissemination

of lm culture. Part museum, the Cinemathque is above

all a welcoming space where people connect through

lms. Little by little, it is building its own identity via its

artistic choices, and has quickly succeeded in building a

regular audience. Through its educational centre, it has

developed an editorial line that reects current social

concerns. With 15 weekly screenings, presented as the

matic retrospectives, it oers an engaging image educa-

tion programme, representing a diversity of tastes and

the b

readth of lm history, curating cycles that whet the

appetite of lm lovers and the curiosity of young audi

ences (lm students in particular). The Cinémathèque

is not subject to any censorship. Its decisions are made

with caution and courage to stir debate, that is, to help

the wind blow but without causing storms.

This sustained pace is a strategic choice to assert

the Cinémathèque’s presence on the cultural scene.

Admittedly, this nancial eort is dicult to maintain,

as it doesn’t yet have the means to implement its am-

bitious policy. Its annual budget of 600,000 Tunisian

dinars, or 200,000 euros, barely allows it to operate. To

optimize resources, it reaches out to peer institutions

in order to create synergies, working relationships, and

solidarity. For example, a partnership with the Nation-

al Library of Tunisia made it possible to set up a conser-

vation space, inaugurated on 1 November 2019 during

the Carthage Film Festival. The Cinémathèque tunisi-

enne denes itself as a facilitator which promotes a

fertile chemistry in the social and cultural community.

In less than two years, it has taken up the challenge

of complying with FIAF’s ethical, technical, and artis-

tic standards, striving to earn its rightful place in the

global network of cinematheques.

New lm shelves for the Cinémathèque tunisienne at the National Library of

Tunisia

[fr]

Lancée depuis l’indépendance de la Tunisie, l’idée de

valoriser le patrimoine cinématographique n’a pu évo-

luer sous les régimes de Bourguiba et de Ben Ali. De

nombreuses générations de cinéastes, d’intellectuels

et d’opérateurs culturels ont porté, couvé, protégé les

valeurs fondamentales de cet ambitieux projet de Ci-

némathèque tunisienne, qui est resté de longues an-

nées à l’état d’embryon, de revendication théorique, de

rêve, prenant parfois la forme de tentatives dont la ré-

alisation s’est heurtée aux vicissitudes d’un système in-

capable d’assumer l’essence démocratique des images

en mouvement.

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Remis ociellement à l’ordre du jour en 2008 avec

la mise en place de la Cité de la Culture, le projet n’a pu

se concrétiser qu’en 2018, à la n des travaux de cette

monumentale infrastructure culturelle que le système

dictatorial avait surtout voulu ériger pour son prestige.

Mais comme l’histoire en a voulu tout autrement, c’est

dans le cadre de la transition démocratique que la Cité

de la Culture a nalement été inaugurée, en dédiant

un espace à la Cinémathèque tunisienne. Le fait de bé-

nécier d’une salle et de locaux pour accueillir le public

est certes un atout important et une reconnaissance de

la part de l’autorité de tutelle. Cependant, cet instru-

ment de travail pouvait très bien rester inopérant si le

cadre institutionnel n’était pas adapté et s’il n’était pas

assorti de mesures garantissant la viabilité du projet.

À ce titre, l’inscription de la Cinémathèque tunisienne

au sein du Centre national du cinéma et de l’image

(créé en 2011), constitue la pierre angulaire permet-

tant à cette structure de trouver le socle juridique qui

lui a toujours manqué. La Cinémathèque tunisienne

est désormais une direction faisant partie de l’organi-

gramme de ce centre dont les prérogatives statutaires

sont clairement dénies. Juridiquement, administrati-

vement, nancièrement la Cinémathèque tunisienne

dépend du CNCI, ce qui lui permet de se positionner

dans le nouvel écosystème audiovisuel tunisien, parti-

cipant ainsi à la cohérence d’une dynamique que toute

la corporation des cinéastes salue et soutient.

Consciente de son retard, la Cinémathèque tuni-

sienne mise sur ses ressources propres pour s’enraci-

ner de manière endogène dans son environnement en

se mettant au service de la société civile tunisienne et

du tissu associatif. Développant un programme de dé-

centralisation, elle participe à la diusion de la culture

cinématographique dans les régions. Espace muséal, la

cinémathèque se veut avant tout un espace convivial

où le lm sert de lien. Peu à peu, les choix artistiques

construisent son identité. En très peu de temps, la ci-

némathèque a réussi à déliser un public. À travers son

Pôle pédagogique, elle développe une ligne éditoriale qui

fait écho aux préoccupations sociales de l’heure. Avec

ses quinze projections hebdomadaires, présentées sous

la forme de rétrospectives thématiques, elle propose un

programme d’éducation à l’image non rébarbatif, mi-

sant sur la diversité des goûts et la richesse de l’histoire

du cinéma, concoctant des cycles qui entretiennent

l’appétit des cinéphiles et la curiosité des jeunes specta-

teurs (les étudiants en cinéma notamment). Pour rap-

pel, la cinémathèque n’est soumise à aucune censure.

Ses choix sont négociés avec autant de prudence que

de courage pour soulever des débats, c’est-à-dire faire

souer le vent sans provoquer de tempêtes.

Ce rythme soutenu constitue un choix stratégique

pour ancrer une présence sur la scène culturelle. Il

est vrai que cela constitue un eort nancier dicile

à maintenir, car la cinémathèque n’a pas encore les

moyens de sa politique ambitieuse. Son budget annuel

de 600 000 dinars tunisiens, soit 200 000 euros, lui per-

met tout juste d’assurer son fonctionnement. Pour op-

timiser les ressources, la Cinémathèque tend la main à

d’autres institutions homologues an de créer des sy-

nergies, de la complémentarité et de la solidarité. C’est

ainsi que le partenariat avec la Bibliothèque nationale

de Tunisie a permis de mettre en place un espace de

conservation, inauguré à l’occasion des Journées ci-

nématographiques de Carthage, le 1er novembre 2019.

La Cinémathèque tunisienne se dénit comme un ad-

juvant favorisant une bonne chimie dans l’espace so-

cial et culturel. En moins de deux ans, elle a relevé de

nombreux dés pour se conformer au normes éthiques,

techniques et artistiques de la FIAF, et mériter ainsi son

entrée de plain-pied et de plein droit dans le concert

des cinémathèques du monde.

Hichem Ben Ammar

Directeur de la Cinémathèque tunisienne

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02 News from the Aliates

> AMSTERDAM

EYE FILMMUSEUM

The 6th Eye International Conference hosts the 12th Or-

phan Film Symposium – “Water, Climate, and Migration”

The biennial NYU Orphan Film Symposium returns to

Eye Filmmuseum in Amsterdam 23-27 May 2020, combin-

ing forces with the annual Eye International Conference

o exp

lore contemporary archival and academic debates.

As always, both events assemble lm heritage profession

als, scholars, archivists, media artists, curators, collec-

tors, lmmakers, restorers, and others devoted to saving,

stu

dying, and screening neglected audiovisual media.

This edition focuses on “Water, Climate, and Mi-

gration,” by examining how neglected works have

represented these phenomena throughout the histo-

ry of moving images.

The conference begins with an evening screening

on Saturday, 23 May, followed by three full days and

evenings of symposium presentations and screenings.

Attendees are also invited to “Meet the Archive,” a public

programme highlighting recent projects from the Eye Col-

lection on Saturday afternoon, 23 May, and a programme

f g

uided tours, presentations, demonstrations, and discus-

sions at the Eye Collection Centre on Wednesday 27 May.

For more information:

www.eyelm.nl/conference & wp.nyu.edu/orphanlm

English translation Eye Collection Policy

An English translation of the new Eye Collection Policy

has been published on the Eye website. This document

sets out Eye’s Collection Policy for national and inter-

national fellow institutions, sponsors, the lm indus-

try, academics, and students. It describes Eye’s role in

preserving, digitizing, and restoring (analog and digi-

tal) lm heritage, and gives extensive insight into its

activities. You can download the Eye Collection Policy

here: https://www.eyelm.nl/en/le/58641/download

Gerdien Smit

Emil Jannings, Conrad Veidt, Wilhelm Dieterle, and Werner Krauß in Waxworks

by Paul Leni (1924)

> BERLIN

DEUTSCHE KINEMATHEK  MUSEUM FÜR FILM

UND FERNSEHEN

Berlinale Classics 2020 – Waxworks by Paul Leni –

World Premiere of the Digitally Restored Version

The Berlinale Classics series will celebrate its opening on

21 February 2020 at the Friedrichstadt-Palast with a scree-

ning of the 1924 silent lm classic Waxworks (

dir

: Paul Leni).

Accompanied by new music from the Ensemble Musikfa-

brik from North Rhine-Westphalia, with Swiss-Australian

ductor Elena Schwarz at the podium, this digital res-

toration under the aegis of the Deutsche Kinemathek and

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the Cineteca di Bologna will be shown onscreen for the

rst time at the 70th Berlin International Film Festival.

The new music for the lm, commissioned by broad-

casters ZDF/ARTE, combines ve acoustic instruments

(clarinet, trombone, viola, guitar, percussion) with two

keyboards and live electronics, in order to illuminate

Waxworks in all its arabesque richness.

No original German version of Waxworks survived.

The digital restoration used nitrate prints of the English,

French, and Czech language versions, as well as addi-

tional elements drawn from them. For the cooperative

project of the Deutsche Kinemathek and the Cineteca

di Bologna, L’Immagine Ritrovata digitized the lm in 4K

resolution and restored it in 2K. The colour concept as

well as the English title cards are based on a tinted and

toned nitrate print from the British Film Institute (BFI),

which served as the primary element for the restoration.

The digital restoration was funded by the German Com-

mission for Culture and the Media (BKM).

The world premiere of the digitally restored version

in Berlin is a cooperative venture between the Berlin

International Film Festival, the Deutsche Kinemathek,

and public broadcaster ZDF in cooperation with ARTE.

The lm will have its TV premiere on ARTE on Monday,

24 February 2020; the Blu-ray/DVD will be released at

the same time by absolut Medien.

Film:ReStored 04

The 4th edition of the Film Heritage Festival “Film:ReS-

tored” took place 24 -27 October at the Filmhaus in

Berlin. Film programmes, talks, and workshop reports

were dedicated to lm sound and were attended by

a large audience. From early experiments like sound-

on-disc, to colorful variable-density sounds and the

elaborate 4-track magnetic sound system, all the way

to experimental lm scores, this year’s festival oered

fascinating new and re- discoveries, not only for the

eyes, but also for the ears. Digital restorations of early

sound lms like Ariane (Germany, 1931) and The Chase

after Millions (Germany, 1930) had their premiere in the

frame of the festival. Workshop reports dealt with early

commercial and experimental lms, such as the works

of Hans Richter, which he re-edited himself with sound

after World War II, and presented technologies and

procedures of preserving and digitizing audio tracks.

International FIAF guests Anna Sienkiewicz-Rogowska

and Jakub Stadnik of the Filmoteka Narodowa—Insty-

tut Audiowizualny, Warsaw, oered insights into their

digitization projects and presented innovative sound

digitization techniques. As an example of a current

audio restoration, The Two Joans (Poland, 1935) was

screened, a lm which is a rare document of Polish po-

pular cinema between the wars.

The fourth day of the festival was dedicated to au-

dio descriptions for the visually impaired, taking into

account that these soundtracks become increasingly

requested for historical lms. The audience had the

opportunity to experience exemplary audio descrip-

tions of various classics, such as The Enigma of Kasper

Hauser (West Germany, 1974), or lesser-known works

like the anti-nuclear power docudrama Interim (West

Germany, 1985) from a new perspective.

Details regarding the 5th edition of “Film:ReStored”,

taking place at the end of October 2020, will be pub-

lished in due course.

Anke Hahn

Anna Sienkiewicz-Rogowska and Martin Körber at Film:ReStored 04

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Exhibition on Burn Marks — Film Posters from a Salt

Mine – 28 November 2019 – 31 May 2020

Numerous international lm posters from the rst

40 years of lm history were found in a salt mine in

Grasleben, Germany, in 1986, where part of the Na-

tional Socialists’ Reichslmarchiv (Film Archive of the

Third Reich) had been stored since World War II. We are

presenting two dozen extensively restored posters and

telling their history for the rst time.

Did a miner’s lamp in Grasleben really tip over in

June 1945, triggering the destruction of countless lm

materials? In a salt mine of all places, where these and

other cultural assets were supposed to be protect-

ed from the eects of war? Or had American agents

and special units already evacuated the storage area

two months before and then used the re to cover

their tracks? These questions can presumably never be

answered. What does survive are historical lm post-

ers into which the traces of time have literally been

burned. These works have come into the care of the

Deutsche Kinemathek in the interim, while further ma-

terials, documents, and objects are still slumbering in

the depths of the salt mine.

Why and how did the lm archives make their way

there in 1944-45, during the last months of the war?

And what happened at the mine after the war ended?

This exhibition tells these stories. It also addresses the

subject of protecting cultural assets and looks into the

painstaking eorts that are undertaken to keep his-

torical legacies from being forgotten. Find out more:

https://www.deutsche-kinemathek.de/en/visit/exhibi-

tions/burn-marks-lm-posters-salt-dome

Sandra Hollmann

> BLOOMINGTON

INDIANA UNIVERSITY LIBRARIES MOVING IMAGE

ARCHIVE / IU CINEMA

The Days of Silent Cinema:

Le Giornate del Cinema Muto at Indiana University

Indiana University Libraries Moving Image Archive and

the Indiana University Cinema hosted highlights of

Le Giornate del Cinema Muto, the silent lm festival

which is presented annually in Pordenone, Italy. The

satellite festival in Bloomington, The Days of Silent Ci-

nema: Le Giornate del Cinema Muto at Indiana Univer-

sity, took place in early November and highlighted six

special presentations from this year’s festival and one

from a previous festival.

Attending and presenting at the festival were Jay

Weissberg, festival director of Le Giornate del Cinema

Muto, as well as composer/musicians Neil Brand (UK)

and Philip Carli (US), and curator/scholars Maggie

Hennefeld (University of Minnesota) and Laura Horak

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(Carleton University), who presented two programs of

short lms highlighting the origins of European slap-

stick, titled Nasty Women 1&2.

All lm screenings were accompanied with piano

scores by Neil Brand or Philip Carli, with the exception

of full orchestral accompaniments for Alfred Hitchcock’s

The Lodger and the 1915 “vamp” melodrama A Fool There

Was, starring Theda Bara. Panel discussions with the

guest curators and musicians happened daily as well.

The festival was curated by Jay Weissberg, Rachael

Stoeltje, Laura Horak, Maggie Hennefeld, and Jon Vickers.

Rachael Stoeltje

> BOGOTA

CINEMATECA DE BOGOTA

A New Headquarters and a New Name

On 12 June 2019, the new headquarters of the Cinema-

teca Distrital opened its doors, now as the Cinemateca

de Bogotá. Three lm theatres, an expanded theatre,

several classrooms, a gallery, a specialized consultation

area, conservation spaces, a library, an early childhood

room, and a creation ecosystem have consolidated the

Cinemateca as the rst Cultural Centre of Audiovisual

Arts in Colombia.

Since its opening, activities focusing on audiovi-

sual heritage have been conducted, notably the rst

Restored Cycle, the Digital Preservation Laboratory,

the Hackatón “Pura Sangre Descartado”, the Cine-

matographic Image Digitization Workshop, and 16mm

screenings. It has also continued its own cycles and ex-

hibitions, such as Cinemateca al Parque, Cicla – Cita con

el Cine Latinoamericano, Muestra Afro, and Ciclo Rosa.

[es]

Nueva Sede y Nuevo Nombre

El 12 de junio la nueva sede de la Cinemateca Distrital abrió

sus puertas, ahora Cinemateca de Bogotá. Tres salas de

cine, una sala expandida, aulas múltiples, galería, área

de consulta especializada, espacios de conservación, bi

blioteca, sala para la primera infancia y un ecosistema de

creación, consolidan la Cinemateca como el primer Centro

Cultural de las Artes Audiovisuales de Colombia.

Desde su apertura se han realizado actividades

enfocadas al patrimonio audiovisual, destacando el

primer Ciclo Restaurados, el Laboratorio de preser-

vación digital, la Hackatón «Pura Sangre Descartado»,

el Taller de digitalización de imagen cinematográca

y proyecciones en 16mm. Se ha dado continuidad a los

ciclos y muestras propias como, Cinemateca al Parque,

Cicla – Cita con el Cine Latinoamericano, la Muestra

Afro y el Ciclo Rosa.

Henry Caicedo

BUDAPEST

HUNGARIAN NATIONAL FILM ARCHIVE

Budapest Classics Film Marathon

he 3rd Budapest Classics Film Marathon proved to be a

huge success. During the festival in September, the Hun-

garian National Film Archive presented more than 100 lm

ssics, many fully restored, including 21 recently res-

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tored Hungarian movies, and 20 lms from FIAF member

institutions. During the 8 days of the retrospective, 17,000

people attended screenings and cine-concerts at ve ve

nues in Budapest, as well as educational workshops on

lm identication, sound restoration, and professional

lectures. Besides screenings, audiences had the chance

to see Hungarian and foreign guest stars arriving in Bu

dapest at the invitation of the Film Marathon and recei-

ving an enthusiastic welcome from the public. This year



lm f

ans had the opportunity to meet in person Pierre

Richard, Udo Kier, Magda Vášáryová, Johanna ter Steege,

Oscar-winning director István Szabó, and Oscar-nomi

nated director of photography Lajos Koltai.

Restorations and DVD Releases

Within the long-term lm restoration and digitization

programme of the Hungarian National Film Fund – Film

Archive launched in 2017, eight outstanding works by

Márta Mészáros were restored during the course of 2019.

Örökbefogadás/Adoption was shown at the Berlinale,

the original uncensored version of Péter Bacsó’s A tanú/

The Witness was screened at Cannes Classics, and Is-

tván Gaál’s Sodrásban/Current at Venice Classics. In

2019, restoration of the ground-breaking animation lm

Fehérlóa by Marcell Jankovics was nalized; in 1984,

this work was voted among the world’s 50 best anima-

tion lms. This was restored thanks to the combined

eorts of the Hungarian National Film Fund and the

American company Arbelos. Furthermore, Béla Tarr’s

Kárhozat/Damnation and the Imre Gyöngyössy-Barna

Kabay lm Jób lázadása/The Revolt of Job, which was

nominated for an Oscar in 1984, were restored. Additio-

nally, in 2019 Hungarian Film Classics were screened at

prestigious festivals such as the Annecy International

Animated Film Festival, Il Cinema Ritrovato, the Lumière

Festival, and the “Toute la mémoire du monde” Festival.

Among others, the Hungarian National Film Archive

released the DVD Gems of Hungarian Animation, which

included 48 animated short lms. This publication se-

lected award-winning lms from the three decades of

the “golden age” of animation.

Sales Results

The distribution department of the Hungarian Natio-

nal Film Archive also closed a successful year. Over the

course of 2019, there were more than 1,500 screenings

in Hungary and abroad of restored Hungarian lm

classics. In the USA Ildikó Enyedi’s Az én XX. századom/

My Twentieth Century and István Szabó’s lms Me-

phisto, Bizalom/Condence, and Redl ezredes/Colonel

Redl were shown, courtesy of distributor Kino Lorber.

My Twentieth Century was also released in Japan and

Greece, and the lms of Márta Mészáros are soon ex-

pected to be released in France.

Tamara Nagy

> CANBERRA

NATIONAL FILM AND SOUND ARCHIVE

Australia’s The Sentimental Bloke,

Digitally Restored for its 100th Anniversary

The National Film and Sound Archive of Australia

(NFSA) has completed work on the 30th digital resto-

ration produced as part of its NFSA Restores program:

The Sentimental Bloke.

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One of the country’s greatest silent lms, and one

of the few that has survived in its entirety, will pre-

miere at the majestic Open Air Cinema in Sydney on 15

February 2020.

This digital restoration was an international eort,

utilizing multiple sources, including a digital scan of a

pristine ne grain print from the George Eastman Mu-

seum in Rochester, New York. Two DCPs will be avail-

able to exhibitors: a silent version, and one featuring a

new contemporary score, especially composed by ARIA

Award-winning musician Paul Mac.

https://www.youtube.com/playlist?list=PL03vmVO_

lQa3MzeMCEva621OG0CuFPz7y

[fr]

Restauration numérique du lm australien

The Sentimental Bloke pour le 100ème anniversaire

The National Film and Sound Archive of Australia

(NFSA) a terminé sa 30ème restauration numérique,

dans le cadre de son programme NFSA Restores: The

Sentimental Bloke.

L’un des plus grands lms muets du pays, et l’un des

rares à avoir survécu dans son intégralité, sera présenté

en première mondiale au majestueux Open Air Cinema

à Sydney le 15 février 2020.

Cette restauration numérique est le résultat d’un

eort international faisant appel à plusieurs sources,

notamment le scan numérique d’une copie impeccable

au grain n du George Eastman Museum de Rochester,

New York. Deux copies numériques seront disponibles

aux exploitants: une version silencieuse et une version

accompagnée d’une nouvelle partition exclusive, com-

posée par le musicien Paul Mac, lauréat du prix ARIA.

https://www.youtube.com/playlist?list=PL03vmVO_

lQa3MzeMCEva621OG0CuFPz7y

[es]

El Sentimental Bloke australiano,

digitalmente restaurado para 100º aniversario

The National Film and Sound Archive of Australia (NFSA)

ha nalizado su 30ª restauración digital producida como

parte del programa NFSA Restaura (NFSA Restores): The

Sentimental Bloke (Un Tipo Sentimental).

Una de las más grandes cintas mudas del país, y

una de las pocas que han sobrevivido en su totalidad,

será estrenada en el majestuoso Cine al Aire Libre de

Sydney el 15 de febrero de 2020.

Esta restauración digital fue un esfuerzo interna-

cional y utilizó múltiples fuentes, incluyendo el escaneo

digital de una copia prístina de grano no del George

Eastman Museum en Rochester, Nueva York. Dos DCPs

estarán disponibles para los exhibidores: una versión

muda, y una con una banda sonora contemporánea,

compuesta especialmente por el músico ganador del

premio ARIA, Paul Mac.

https://www.youtube.com/playlist?list=PL03vmVO_

lQa3MzeMCEva621OG0CuFPz7y

Miguel Gonzalez

> CHESTER HILL

NATIONAL ARCHIVES OF AUSTRALIA

Snowy Hydro 70th Anniversary

In September 2019, the National Archives of Australia

digitized 40 lms from its collection for Snowy Hydro

Limited to commemorate the 70th anniversary of the

Australian Government-owned company. It is res-

ponsible for the most signicant hydro-electricity and

irrigation system in Australia, built from 1949-1972 by a

primarily migrant workforce.

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The 16mm lms document the building of power

stations, tunnels, and dams during this 23-year period.

Original reversals, interpositives, and composite prints

were scanned in 5K on a Lasergraphics ScanStation.

The archive’s digitized footage has been highlighted at

the Snowy Hydro Discovery Centre’s state-of-the-art

immersive theatre experience for visitors to enjoy.

Rahnee Alvarez

A Trip to Mars (Himmelskibet, 1918, dir. Holger-Madsen)

> COPENHAGEN

THE DANISH FILM INSTITUTE

Stumlm.dk – Streaming and Film Archaeology Site

The Danish Film Institute has launched the streaming site

Stumlm.dk, where everyone can follow the digitization

of more than 400 works from the 1903-1928 period.

Running over the next 4 years, this lm-archaeo-

logical project will be both wide-ranging and unpre-

dictable. Some of the old reels have not been viewed

since the 1920s. As the lms are digitized, they will be

streamed on the site, accompanied by posters, photos,

thematic articles, scripts, and contemporary reviews.

Furthermore, an aliated research project will

delve into the exchange between Danish and German

silent lm culture from 1910 to 1930.

Anne Schwartz

A view of the workshop

> DHAKA

BANGLADESH FILM ARCHIVE

Workshop, “Enhancement of Quality of Collection

and the Storage of Film” held in Dhaka

A day-long workshop, “Enhancement of Quality of

Collection and the Storage of Film”, involving lm per-

sonalities, was held at the Seminar Hall of the Bangla-

desh Film Archive on 25 September 2019. Representa-

tives of the Bangladesh Film Producers Association,

Bangladesh Film Directors Association, Bangladesh

Film Journalists Association, and Bangladesh Cinema-

tographers Association, as well as a number of eminent

lm actors and actresses participated in the workshop.

The speakers praised the Bangladesh Film Archive’s

signicant role in preserving national history and heri-

tage through the preservation of lms. They expressed

their deep satisfaction with the preservation system,

especially the newly built lm vaults of the BFA. They

assured their thorough cooperation in collecting lms

from dierent sources.

The lm industry workers were informed of the up-

coming 77th FIAF Congress, which will be hosted by the

BFA in Dhaka 28 March-4 April 2021, in conjunction with

the celebration of the golden jubilee of the People’s Re-

public of Bangladesh.

The program was chaired by the Director General of

the BFA, Mr. Bidhan Chandra Karmakar.

Smita Barua

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> FRANKFURT

DFF  DEUTSCHES FILMINSTITUT & FILMMUSEUM

Hessian Film and Cinema Prize:

Honorary Prize of the Hessian Prime Minister

Volker Bouer awarded to DFF

The Honorary Prize of the Hessian Prime Minister Volker

Bouer was awarded to the DFF – Deutsches Filmins-

titut & Filmmuseum at the celebration of the Hessian

Film and Cinema Prize in the Alte Oper on 18 October.

Director (and CEO) Ellen Harrington, Board Chair Niko-

laus Hensel, and former Director Claudia Dillmann ac-

cepted the award with appreciation: “We are proud that

with the DFF, this is the rst time that an institution has

been honoured with the prize, and even better, that this

is happening in our 70th anniversary year 2019. The insti-

tution owes its dedicated work for cinema and the art of

lm above all to its highly motivated employees.”

Frauke Hass

> HELSINKI

KAVI  KANSALLINEN AUDIOVISUAALINEN

INSTITUUTTI / NATIONAL AUDIOVISUAL INSTITUTE

National Audiovisual Institute Launches

4k Streaming Service

On 3 December, the National Audiovisual Institute

(KAVI) in Helsinki launched a greatly expanded strea-

ming service at elonet.nna..

The key addition is 200+ Finnish feature lms, which

are now freely available for streaming anywhere in the

world. The bulk of these lms are available at Ultra HD

resolution, but all feature titles are in at least HD quality.

The number of lms available for streaming will

grow in the coming years, because KAVI owns about

450 feature lm titles in all. This number is about a

quarter of all feature lms ever produced in Finland.

Mikko Kuutti

> KYIV

OLEKSANDR DOVZHENKO NATIONAL CENTRE

New Publication:

VUFKU. Lost & Found. Hardcover book

(Ukrainian, English), 256 pages.

A new book has been published, the catalog of the

Dovzhenko Center’s research project, VUFKU. Lost &

Found, which collected unique archival materials, il-

lustrations, and documents of the 1920s. The history

of VUFKU (All-Ukrainian Photo Cinema Management)

is one of the most successful modernization projects

of Ukrainian culture to this day. The book aims not

only to present this forgotten phenomenon, but also

to explore dierent ways of dealing with the lost and

nding it. Specically for the publication, six well-

known writers (Oleksandr Irvanets, Tatiana Maliar-

chuk, Oleksii Nikitin, Anton Sanchenko, Natalka Sni-

danko, and Iryna Tsilyk) have created ctional texts

based on the plots of lost lms from the 1920s that

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have come to us in the form of so-called “libretto-ex-

panded synopsis”.

The book was awarded Special Distinction from the

jury at the IV Competition for the Best Book Design in

2019, among books about cultural studies.

The design and layout is by Aliona Solomadina; the

concept of publication, research, and selection of visu-

al material are the product of the teamwork of the de-

signer, together with creative director Olha Zhuk and

curators / editors Anna Onufriienko, Stanislav Men-

zelevskyi, and Oleksandr Teliuk.

The book was published with the support of the

Ukrainian Cultural Fund.

http://www.dovzhenkocentre.org/eng/product/58

Video review of the book: https://vimeo.com/355301475

Oleksandr Prokopenko

> LAUSANNE

CINEMATHEQUE SUISSE

Sta Announcement

Petra Vlad succeeds Nadia Roch as Head of the Non-

Film Department of the Cinémathèque suisse. Petra

Vlad is currently in charge of the graphic arts oce,

library, documentation centre, and photo library at

the Centre National du Costume de Scène in Moulins,

France. She will take up her duties on 1 January 2020.

Publications

The Cinémathèque suisse is dedicating a double DVD

box-set to the city of Lausanne, comprising 49 lms

and a 130-page booklet. Striking images, shot between

1896 and 1982, take into account the evolution of the

life of the city and its inhabitants.

A young visitor at the new Research and Archiving Centre in Penthaz last September

Events

Nearly 3,000 visitors discovered the new Research and

Archiving Centre of the Cinémathèque suisse in Pen-

thaz during an open house held last September. This

was an opportunity for a very wide audience to explore

a high-tech building and discover an exceptional col-

lection, unveiled exclusively to the participants of the

last FIAF Congress in April 2019.

[fr]

Personnel

Petra Vlad succède à Nadia Roch au poste de Chee

du Département Non-Film de la Cinémathèque suisse.

Petra Vlad est actuellement responsable du cabinet

d’arts graphiques, de la bibliothèque, du centre de do-

cumentation et de la photothèque au Centre National

du Costume de Scène à Moulins (France). Elle entrera

en fonction au 1er janvier 2020.

Publications

La Cinémathèque suisse consacre un double coret

DVD à la ville de Lausanne comprenant 49 lms et un

livret de 130 pages. Des images saisissantes, tournées

entre 1896 et 1982, qui rentrent compte de l’évolution

de la vie de la cité et de ses habitants.

Evénements

Près de 3000 visiteurs ont découvert le nouveau

Centre de recherche et d’archivage de la Cinémathèque

suisse à Penthaz lors de portes ouvertes organisées en

septembre dernier. L’occasion pour un public très large

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d’explorer un bâtiment high-tech et de découvrir une

collection exceptionnelle, dévoilés en exclusivité aux

participants du dernier congrès FIAF en avril 2019.

Catherine Muller

> LIMA

FILMOTECA PUCP

News from PUCP

A new General Coordinator, Carlos Alberto Chavez

Rodriguez, a historian from the Ponticia Universidad

Catolica del Peru, has made his entrance at the PUCP

Film Library.

Dos Caminos (1972, 113 mins., b&w, dir. Salvador

Akoskin) was restored and exhibited; a competitive

fund was won (Ministry of Culture of Peru, “Econom-

ic Stimuli to Culture 2019”) to restore Luis Pardo (1927

feature, b&w, dir. Enrique Cornejo Villanueva).

Fondo Editorial PUCP edited “Hablemos de Cine”,

(Anthology) Vol. 3, by Isaac Leon Frías and Federico de

Cárdenas, and “El Cine de los maestros”, by Federico

de Cárdenas.

[es]

Noticias de la PUCP

Nuevo Coordinador General de la Filmoteca PUCP,

Carlos Alberto Chavez Rodriguez, historiador por la

Ponticia Universidad Catolica del Peru. Se restauro y

exhibio Dos caminos (1972, 113 minutos, b/n, de Salva-

dor Akoskin); se gano fondo concursable (Ministerio de

Cultura del Peru, “Estimulos Economicos a la Cultura

2019”) para restaurar Luis Pardo (1927, largo metraje,

b/n, de Enrique Cornejo Villanueva). Fondo Editorial

PUCP edito “Hablemos de Cine”, (Antología) Vol. 3, de

Isaac Leon Frías y Federico de Cárdenas, editores; y “El

Cine de los maestros”, de Federico de Cárdenas.

> LISBON

CINEMATECA PORTUGESA

Installation of New Compact Shelves

ANIM, the Cinemateca’s conservation centre, is cur-

rently installing new compact shelves in 5 of its 10

safety lm vaults. As a consequence, all print loans are

temporarily suspended until the end of December 2019.

The new shelves will also bring about a major re-orga-

nization of the safety lm collections, with the colour

and black & white masters being moved to more recent

and more ecient acclimatized vaults.

New Releases on DCP

On the digitization front, several new Portuguese lms

are now available in DCP format, including Francis-

ca (Manoel de Oliveira, 1981), presented in this year’s

edition of the Venice Film Festival, and The Arms and

the People (a collective lm about the Portuguese

Revolution, 1975), presented at the Lumière Film Fes-

tival. Upcoming digitization projects include Auto da

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Floripes (a 1959 amateur production which would ins-

pire Oliveira’s 1962 lm, Rite of Spring), and Acto dos

Feitos da Guiné (Fernando Matos Silva, 1980), a critical

reection on the crimes of Portuguese colonialism in

Guinea-Bissau.

Tiago Baptista

> LOS ANGELES

UCLA FILM & TELEVISION ARCHIVE

UCLA Film & Television Archive Joins UCLA Library

The UCLA Film & Television Archive is now part of the

UCLA Library. The move aligns the second-largest re-

pository of motion picture and broadcast program-

ming in the U.S. with the UCLA Library’s world-class

archival and research collections, and positions the Ar-

chive for greater integration in teaching and learning,

as well as expanded access through the Library’s ro-

bust digital platforms.

Library and Film & Television Archive materials al-

ready signicantly complement one another, and un-

derscore a shared commitment to documenting di-

verse communities:

• The Archive preserved and makes accessible on-

line all 21 seasons of In The Life, the rst natio-

nally broadcast news magazine advocating LGBT

visibility and equality. Enhancing the episodes

are synopses and transcripts, story research,

and publicity les in Library Special Collections.

• Library Special Collections holds photographs,

correspondence, audio recordings, and more

from the rst female member of the Directors

Guild of America in the Dorothy Arzner Papers,

while the Archive has restored several lms,

including The Wild Party and Working Girls.

“The UCLA Library and Film & Television Archive are

longtime partners with a shared vision of preserving

unique, historical materials and making them avail-

able to the UCLA and wider academic and lm pres-

ervation communities,” said Ginny Steel, Norman and

Armena Powell University Librarian and Interim Direc-

tor of the Archive. “Having the Archive as part of the

UCLA Library strengthens the impact of print, digital,

and audiovisual collections on teaching and learning.”

UCLA Film & Television Archive Receives $10 Million

to Support its Preservation Mission

UCLA Film & Television Archive has received a $10 mil-

lion endowment from the Patricia W. Mitchell Trusts

to preserve and share programing from the Archive’s

world-renowned television collection. In honor of the

endowment, the Archive’s television collection will be

named after pioneering television studio executive and

Columbia Pictures Television founder, John H. Mitchell.

The gift also endows the Archive’s full-time television

archivist position, likewise named to honor his legacy.

As a central component of a $20 million bequest to

UCLA from the trusts, the endowment will signicantly

enhance the Archive’s ability to acquire, preserve and

make publicly accessible historic television content. In

addition to funding the development of a state-of-the

art framework for the digital preservation and storage

of television collection holdings, the endowment will

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support the Archive’s public exhibition of TV, includ-

ing screenings, symposia and online initiatives where

visitors can access select materials for research and

enjoyment via the internet. Examples of the Archive’s

recent online projects include a site which oers free

streaming access to 20 seasons of the LGBTQ news and

entertainment magazine program, “In the Life” and a

portal dedicated to rare local news footage of former

Los Angeles Mayor Thomas Bradley.

Todd Wiener

> MILAN

FONDAZIONE CINETECA ITALIANA

Digitization of Films

Fondazione Cineteca Italiana (FCI) has been digitizing

several lm collections, mainly those in which Milan

plays a central role, such as those of Comerio Films and

other Milanese distributors from the 1920s such as Mila-

no Films. The Cineteca also continued the digitization of

materials of Raggio Film, the production company set

up by actress, lmmaker, and producer Elettra Raggio

(the stage name of Ginevra Rusconi, Milan 1887-1973).

Her paper archive, as well as lm fragments, were do-

nated to the FCI at the end of the 1950s. La morte che

assolve (1918, dir. C.A. Lolli), is the only surviving lm in

which Elettra Raggio acted; in this melodrama dealing

with family morals this great silent diva can be seen in

two roles, together with popular stage actor Ermete No-

velli. The 2K restoration was made by MicLab.

DVDs

La morte che assolve (1918) contains interesting ex-

tras, such as unpublished lm materials and an in-

depth introduction by Elena Mosconi, a silent cinema

scholar and professor.

The FCI also nalized the restoration of I Promes-

si Sposi (The Betrothed, 1921), an adaptation by Mario

Bonnard of Alessandro Manzoni’s novel. The DVD is for

sale online (www.cinetecamilano.it), along with the

following, all belonging to the “MIC Treasures” series:

1958 Nelo Risi: un poeta in AEM: digital restoration

of the industrial documentaries shot between 1931-1981

by Milanese poet and lmmaker Nelo Risi, with lively

animations by Mino Maccari. A joint project of FCI-Fon-

dazione AEM-Gruppo A2A. The section titles (such as

“Water equals Energy” and “A River of Light”) hint at

what this work is like, namely a universal history of

electrication, with many links to the Milanese munic-

ipal company AEM.

Franco Piavoli. Poesie in immagini. I cortometrag-

gi 1959-2016. Franco Piavoli (born 1933) is an outsid-

er and self-taught director and painter whose work,

thematically inspired by Lucretius, made of wonderful

meditative images not needing words or dialogue, has

been dened as “a poem, journey, concert on nature,

the universe, life itself”. The DVD contains his very rst

works shot with a 8mm Paillard camera and his lat-

est medium-length lm Festa (2016), shot digitally. It is

rounded o by two unpublished interviews.

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Piccolo Grande Cinema – Festival internazionale

delle giovani generazioni

The 12th edition of “Great Little Cinema – International

Festival for Young Generations” created and directed by

the FCI took place from 31 October to 9 November at

MIC-Museo Interattivo del Cinema, Auditorium G. Testo-

ri of Palazzo Lombardia (a Lombardy Region venue) and

in one of the three Cineteca lm theatres, Area Metro-

polis 2.0 of Paderno Dugnano (Milan). Over 11 days the

public attendance was beyond all expectation (6,000+

spectators, 2,800+ students), conrming the Festival’s

power of attraction for spectators of all ages.

The Festival staged 19 international premieres, 4

competition sections, 60 screenings, 100 shorts by

young lmmakers, 17 guests, 140 jury members, spe-

cial screenings and workshops, and festive moments

focused around the evocative power of the Moon.

Edition of the Cineteca Summer Camp

From 23 June to 13 July a lovely mountain location in

Trento Province was the setting for a unique cinema

experience, oering young people eager to have fun

and develop their creativity. 75 children and teenagers

(aged 8-14) had the opportunity, under the guidance

of Cineteca experts, to shoot, edit, and produce a

short movie inspired – once more – by the theme of the

Moon, in this case tied in with the 50th

anniversary of

the Moon landing.

Luisa Comencini

Image of Herman Costa from SCREENTEST by Frank and Caroline Mouris, 1975.

> NEW HAVEN

YALE FILM STUDY CENTER

Preservation of Screentest

The Yale Film Study Center has completed preserva-

tion of SCREENTEST, a short lm made by Frank and

Caroline Mouris in 1975. This live-action lm from the

Mourises, made with a grant from the A.F.I., features

nine creative artists donning costumes and taking part

in performances on screen, while the soundtrack is

made up of the artists’ multilayered commentary on

the lm. In the words of Frank Mouris, the lm captures

“the inventiveness that went into their visual image-

ry, the quickness with which they perceived and even

anticipated visual trends, and the devotion to their

own particular kinds of artistry, which bespoke a true

professionalism in this activity which they performed

mostly for themselves and their friends.” Working from

the best surviving 16mm print after the negatives were

lost, the Film Study Center has created new preserva-

tion negatives and prints, as well as digital elements,

for the lm.

Brian Meacham

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> NICE

CINEMATHEQUE DE NICE

The Cinémathèque de Nice in Moscow

On the occasion of the centenary of the Studios de la

Victorine, created in 1919, the Cinémathèque de Nice

had the pleasure of being invited by Gosmofond to

present at the Illusion cinema in Moscow a retrospec-

tive of lms shot in Nice and at the Victorine. From 28

October to 11 November, Moscow audiences were able

to discover some 15 lms, from Jean Vigo’s À propos de

Nice to André Téchiné’s L’Homme qu’on aimait trop, as

well as François Truaut’s La Nuit américaine, Et Dieu

créa... la femme by Roger Vadim, and Jacques Demy’s

La Baie des Anges. Some of these lms were also scree-

ned at the Dom Kino Cinema in St. Petersburg during

the International Cultural Forum in St. Petersburg.

[fr]

The Cinémathèque de Nice à Moscou

À l’occasion du centenaire des Studios de la Victorine

créé en 1919, la Cinémathèque de Nice a eu le plaisir

d’être invité par le Gosmofond pour présenter au ci-

néma Illusion de Moscou une rétrospective de lms

tournés à Nice et à la Victorine. Du 28 octobre au 11

novembre, le public moscovite a ainsi pu découvrir une

quinzaine de lms, d’A propos de Nice de Jean Vigo à

L’Homme qu’on aimait trop d’André Téchiné, en pas-

sant par La Nuit américaine de François Truaut, Et

Dieu créa… la femme de Roger Vadim ou encore La

Baie des Anges de Jacques Demy. Une partie de ces

lms a également été reprise au cinéma Dom Kino de

Saint-Pétersbourg à l’occasion du Forum culturel inter-

national de Saint-Pétersbourg.

Guillaume POULET

> OSLO

NASJONALBIBLIOTEKET / NATIONAL LIBRARY

OF NORWAY

Silent Film Screenings at Frogner Kino, Oslo

The National Library of Norway has begun a collabo-

ration with Frogner kino, a newly restored cinema in

Oslo from 1926. Over a period of three years, all survi-

ving Norwegian feature lms from the silent era will be

screened in this historic setting, with live music, and

in chronological order. The rst screening took place

on 11 November 2019, and included the lms Dæmonen

(fragment, Jens Christian Gundersen, 1911), Under for-

vandlingens lov (Halfdan Nobel Roede, 1911), and Re-

volutionens datter (Ottar Gladtvet, 1918) – the latter

with musical accompaniment written and performed

by Nils Petter Molvær and Jan Bang.

Eirik Frisvold Hanssen

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> PERPIGNAN

INSTITUT JEAN VIGO

The Jean Vigo Institute,

Winner of the “Cooperation in the Mediterranean”

Call for Projects of the Occitan Region

For almost 10 years, the cinematheque has been wor-

king for the recognition of amateur cinema. Through

the “Pyrenees-Mediterranean Film Memory” Project

and its dedicated website, a real local lm memory

is built with each deposit or donation. The Jean Vigo

Institute has just received the support of the Occitan

Region to carry out work to bring amateur archives

closer to Algeria and Tunisia. For two years, the three

lm libraries, accompanied by the Tunisian Federation

of Amateur Filmmakers, will discuss collection and

conservation practices. An inventory of lms on the

Mediterranean and a digitization programme will lead

us to the creation of a montage lm bringing together

the archives of the three lm libraries. Filmer en Mé-

diterranée (Filming in the Mediterranean) is the name

of this ambitious project, which will help to forge links

between the two shores of the Mediterranean.

[fr]

L’Institut Jean Vigo, lauréat de l’appel à projets

« Coopération en Méditerranée »

de la Région Occitanie.

Depuis bientôt 10 ans, la cinémathèque œuvre pour une

reconnaissance du cinéma amateur. À travers le pro-

jet « Mémoire lmique Pyrénées-Méditerranée » et son

site internet dédié, c’est une véritable mémoire lmique

locale qui se construit à chaque dépôt ou don. L’Insti-

tut Jean Vigo vient de recevoir le soutien de la Région

Occitanie pour mener un travail de rapprochement des

archives amateurs avec l’Algérie et la Tunisie. Durant

deux ans, les trois cinémathèques, accompagnées par

la Fédération tunisienne des cinéastes amateurs, vont

échanger sur les pratiques de collecte et de conserva-

tion. Un inventaire des lms sur la Méditerranée ainsi

qu’un programme de numérisation nous mènera à la

création d’un lm de montage réunissant les archives

des trois cinémathèques. Filmer en Méditerranée, tel est

le nom de cet ambitieux projet qui va permettre de tis-

ser des liens entre les deux rives de la Méditerranée.

Frédéric Borgia

(GUSTAV MACHATÝ, 1932)

VENICE CLASSICS AWARD

for Best Restored Film 2019



Czechoslovakia 1932

Director: Gustav Machatý Author of the original story and script writer: Gustav Machatý, František Horký

Photography: Jan Stallich Production design: Bohumil Heš Editing: Antonín Zelenka Sound: Josef Zora

Music: Giuseppe Becce Cast: Hedy Kiesler, Aribert Mog, Zvonimir Rogoz, Leopold Kramer

The donors of the restoration project were Mrs. Milada Kučerová and Mr. Eduard Kučera.

www.nfa.cz

Extase

Milada & Eduard Kučerovi

A1_Poster_Extase_ENG_2.indd 1 24.11.19 21:24

PRAGUE

NARODNI FILMOVÝ ARCHIV

Extase

The recent restoration of Extase (Gustav Machatý, 1932)

was for us an exceptional endeavour which wouldn’t

have been possible without the contribution and colle-

gial help of many institutions worldwide, most of them

FIAF members and aliates. The British Film Institute,

the Bundesarchiv, Cinémathèque16, Cinémathèque

suisse, CNC, the Danish Film Institute, Filmarchiv Aus-

tria, Filmmuseum München, Gaumont, and the Slovak

Film Institute have all contributed to the project, which

aimed to restore the original Czech version of the lm.

It is also thanks to them and the L’Immagine Ritrovata

lab that Extase received the Best Restored Film award

at the 76th Venice International Film Festival, and will

be available on a DCP from February 2020.

Mateˇj Strnad

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Films of Jan Krˇíženecký

After much waiting and anticipation, it is with great

pleasure that we can nally announce the release of

the DVD/Blu-ray The Films of Jan Krˇíženecký. This col-

lection contains all the preserved lms by Jan Krˇíže-

necký; made between 1898 and 1911, they are the rst

lms in the history of Czech cinema. Apart from the

lms proper, the Czech-English edition oers rich

supplementary audiovisual material, as well as texts

contextualizing Krˇíženecký’s lms in various aspects.

The approach to how the lms are being presented was

carefully reasoned. It was a conscious decision to “only

digitize” the oldest surviving lm elements, minimi-

zing any restoration attempts in order to present these

pioneering works in a form that brings their diversity

and materiality to the fore.

Jirˇí Anger

> ROCHESTER

GEORGE EASTMAN MUSEUM

Award Granted

The George Eastman Museum has received a grant

award of $340,615 from the National Endowment for

the Humanities for its Protecting the Nitrate Film

Heritage project. Funding will support environmental

upgrades at the Museum’s Louis B. Mayer Conservation

Center in Chili, New York, the repository of 24,000 reels

of 35mm nitrate-based motion picture prints and ne-

gatives, 40,000 nitrate photographic print negatives,

and 25,000 nitrate lm frame clippings. Project activi-

ties include the purchase of a back-up generator, the

installation of an energy recovery system, passive buil-

ding enhancements to increase energy eciency, and

an upgrade of electrical power delivery. The $730,000

project is underway and will be completed by Sep-

tember 2021.

Restoration of two Silent Film Classics

Additionally, the Museum’s Moving Image Department

has completed the restoration of two silent lm clas-

sics: Joan the Woman (Cecil B. DeMille, US, 1916) and

Sally, Irene and Mary (Edmund Goulding, US, 1925).

Both lms were scanned at the Museum’s Film Pre-

servation Services laboratory, and new 35mm preser-

vation lm elements and DCPs were created. Special

care was taken to reproduce the original Handschiegl

and tinting processes used in Joan the Woman, a pro-

ject supported by the Century Arts Foundation. Sally,

Irene and Mary is unique to the Museum and features

Joan Crawford in a career-making performance. This

project was supported by the Louis B. Mayer Foun-

dation. Prints and DCPs of both titles are available

through the Museum’s lm loan program by inquiring

at lmloans@eastman.org.

Caroline Yeager

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> SAN FRANCISCO

SAN FRANCISCO SILENT FILM FESTIVAL

25th Anniversary Celebrations

The San Francisco Silent Film Festival (SFSFF) cele-

brates its 25th anniversary in 2020! Running for 5 days

between 29 April and 3 May, SFSFF showcases silent ci-

nema as it was meant to be seen – on the glorious big

screen with LIVE music! Taking place just days after the

2020 FIAF Congress in Mexico City, you can y direct to

San Francisco to enjoy this incredible live cinema expe-

rience before returning home. FIAF Congress attendees

are eligible for SFSFF’s industry discount, making at-

tendance all the more aordable.

Industry Accreditation Form:

http://bit.ly/SFSFF_Accreditation

For further information please email

info@silentlm.org or visit www.silentlm.org

Stacey Wisnia

> STOCKHOLM

SWEDISH FILM INSTITUTE

Another Robert W. Paul Film Unearthed in Stockholm

In the frame of her current project, independent resear-

cher and historian Camille Blot-Wellens has identied

yet

another lm by British pioneer Robert W. Paul among

previously unidentied items in the Archival Film Collec

tions of the Swedish Film Institute. Spliced together with

a fragment of a Pathé 1906 lm was an almost com-

plete b&w and tinted nitrate print of the comedy Short-

igh

ted Sammy (1905), not existing in any other archive.

The plan is to make a photochemical preservation and

strike a new 35mm projection print in the coming year at

the Swedish Film Institute’s photochemical laboratory in

Rotebro. This is the third Paul lm recently identied in

Stockholm by Blot-Wellens, after The Fatal Hand (1907)

and A Collier’s Life (1904), both preserved in 2016.

Experimental Cinema for Kids

Repeating last year’s success (see FBO #16), the Swedish

Film Institute once again arranged a special Film Heri-

tage Day for kids on 6 October, with screenings of res-

tored lms, workshops, and guided tours to the archive

and the projection booth. Furthering the introduction

of heritage cinema to a younger audience, the Cine-

mateket on 10 November arranged a special screening

of classic experimental lms for kids, where program-

mer Stefan Ramstedt guided the young, captivated au-

dience through the history of art and experimental lm,

talking about and showing works by Joris Ivens, Len Lye,

Norman McLaren, Peter Kubelka, and others.

Jon Wengström

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Writer Helena Kadare and Co-Director Kristaq Mitro

> TIRANA

ARKIVI QENDROR SHTETËROR I FILMIT /

ALBANIAN NATIONAL FILM ARCHIVE

At the June 2019 ACE Meeting in Bologna,

the Albanian National Film Archive became

the Newest Member of the Association of European

Cinematheques (ACE).

A rarely seen Albanian war lm, Nusja dhe Shtetrrethimi

(The Bride and the Curfew, 1978), was selected for the

Viennale’s “O Partigioano” retrospective series. An emo-

tional 35mm screening at the Austrian Film Museum

reunited screenwriter Helena Kadare and co-director

Kristaq Mitro, 41 years after the Albanian premiere.

Archive director Iris Elezi was the keynote speaker

at the FIAT/IFTA World Congress in Dubrovnik.

AQSHF will digitize its photographic collection, af-

ter receiving the UCLA Library’s Modern Endangered

Archives Program (MEAP) grant.

Iris Elezi

> VIENNA

AUSTRIAN FILM MUSEUM

New Publication: Ruth Beckermann

– Filmmuseum Synema Publikationen

Edited by Eszter Kondor and Michael Loebenstein, this

rst English-language publication on Ruth Becker-

mann’s lmic oeuvre includes an original essay by Nick

Pinkerton, an in-depth conversation with the artist,

and a detailed lmography.

Viennese lmmaker Ruth Beckermann, who has

been making lms since the 1970s, has created an ex-

citing and widely recognized body of essay and docu-

mentary lms. Both deeply personal and political, her

lms discuss the complex relationship between history

and the present, while she also reects on her identi-

ty as a Jewish woman in post-war Austria and Europe.

Tropes of travel and migration feature heavily in her

work as means of experiencing the world and staying

alive, literally as well as artistically.

Andrea Pollach

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Amos Vogel Library

at the Austrian Film Museum

Amos Vogel (1921-2012) was one of the most important

personalities of American lm culture. Born in Vienna,

Austria, and forced into exile as a Jew in 1938, he later

became the founder and curator of Cinema 16 (1947-

1963), the largest lm club in the U.S.A. focusing on in-

dependent cinema; and founding director of the New

York Film Festival (1963-1968), focusing on the contem-

porary avant-garde; as well as the author of the inuen-

tial volume Film as a Subversive Art (1974), professor of

lm studies at the Annenberg School for Communica-

tion at the University of Pennsylvania, lecturer, critic,

and consultant at numerous international lm festivals.

In 2013 Amos Vogel’s personal library was returned to

Vienna, the birthplace of its founder, by his sons. Now,

the Austrian Film Museum is pleased to make the Amos

Vogel Library accessible to the public, thus providing

new insights into the ways of thinking and working of

this signicant and subversive pioneer of lm culture.

https://www.lmmuseum.at/en/library/amos_vo-

gel_library

Elisabeth Streit, Tom Waibel

Edith Schlemmer Celebrates her 50th Anniversary

as a Team Member at Österreichisches Filmmuseum

(Austrian Film Museum)

The Film Museum team congratulates Edith Schlemmer

on 50 years of dedicated service. Ms. Schlemmer o-

cially retired from her role as the lm archivist more

than a decade ago but has continued to serve the mu-

seum as a consultant in the lm collection until this

day, passing on her knowledge to several generations

of archivists and lm enthusiasts.

A trained technician at Listo Film labs, Schlemmer

was recruited by Peter Kubelka and Peter Konlechner

in 1969. She transformed the Film Museum’s sprawl-

ing collection of lms into a proper lm archive. Key

achievements include work on Peter Kubelka’s resto-

ration of Dziga Vertov’s Enthusiasm. In 1999 she was

awarded the Austrian Decoration for Science and Art

for her services to the public.

In the 1960s Ms. Schlemmer acquired a private col-

lection of 2254 frames and snippets of lms, mostly

silent and mostly from the period between 1910 and

1920, many of which are otherwise believed lost. She

decided to make it available to the Film Museum for

the purposes of research and publication, and it is

published online. Any identication tips are welcome!

https://www.filmmuseum.at/en/collections/special_

collections/schlemmer_frame_collection

Michael Loebenstein

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> WELLINGTON

NGA



TAONGA SOUND & VISION

New Oces

Ngaˉ Taonga Sound & Vision, the audiovisual archive for

Aotearoa New Zealand, moved into new oces wit-

hin the National Library Building in Wellington in Sep-

tember 2019. The move places Ngaˉ Taonga close to New

Zealand’s two other archival institutions, the National

Library and Archives New Zealand, and the proximity

of all three is expected to create opportunities for more

connections across the recorded heritage sector.

Ngaˉ Taonga Acting Chief Executive Honiana Love

said: “Ever since our previous building was assessed as

earthquake-prone, our priority has been to nd safe

and secure accommodation for our Wellington sta,

and we are very pleased that the risk has been removed

as completely as it can be.”

Fraser Pettigrew

> ZAGREB

CROATIAN CINEMATHEQUE

Film Curriculum

In autumn 2019 the Croatian Cinematheque began their

project Film Curriculum with a programme of Croatian

lms that are part of the curriculum at Zagreb Univer-

sity. The programme is being developed in cooperation

with university teachers of Croatian cinema, and is ai-

med at students, pupils, and all citizens interested in

Croatian lm history. Once a month, one feature and

one short lm will be screened in the Tuškanac cinema

in Zagreb. Each screening will be preceded by a brief

introductory talk given by a university teacher or some

other lm expert.

Juraj Kukocˇ

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03 News from the EC

> EC Meeting in Vienna

The FIAF Executive Committee (EC) met on 2 and 3 No-

vember 2019 in Vienna, Austria. All EC members were

present except Hugo Villa Smythe, who joined the

meeting by Skype to report on the preparations for the

2020 FIAF Congress. In attendance were FIAF Senior Ad-

ministrator Christophe Dupin and (for his item of the

meeting) P.I.P. Editor Rutger Penne. Here are some of

the highlights of the meeting.

The EC examined the applications for FIAF alia-

tion of 4 institutions – Arsenal – Institut für Film und

Videokunst e.V. (Berlin); Library and Archives Cana-

da (LAC, Gatineau); the Cinémathèque Robert-Lynen

(Paris); and the Cinémathèque tunisienne (Tunis), and

unanimously approved their admission as FIAF Asso-

ciates.

The EC discussed the cases of a handful of aliates

which have failed to communicate with FIAF and/or

pay their aliation fee for some time, and it was de-

cided to formally write those aliates to warn them of

their likely suspension should the situation not evolve

positively.

The EC decided to add a section on “lm restora-

tions undertaken by FIAF aliates” to the 2019 Annual

Reports, which will have to be submitted by all a-

liates by 28 February 2020 (guidelines will be sent by

the Secretariat in early January).

The EC decided to launch the new statistical survey

in January 2020, i.e., 3 years after the last one, once

the nal 2017 statistical report currently drafted by Ra-

chael Stoeltje has been nalized and sent to all a-

liates. Logged-in members of the FIAF community will

be able to retrieve the data from the last survey in the

new online form.

The FIAF Treasurer reported to the EC that the an-

ticipated nal nancial results for 2019 were good,

thanks in particular to the excellent ProQuest sales -

gures for the rst part of the year.

The EC approved the revised 2020 budget intro-

duced by the Treasurer. This included the budgeting of

additional funds for the Secretariat’s administrative

work (to allow the Senior Administrator to spend more

time on the new FIAF history project – see below), for

the Cataloguing and Documentation Commission (to

reect its increase in membership following the recent

development of its “documentation” mission), and the

upward reassessment of the PIP’s ProQuest income for

2020, based on the latest gures for 2019.

The EC agreed to nalize a proposal to revise the

FIAF Statutes and Rules in line with the discussions of

the Lausanne General Assembly. The proposal will be

submitted to the community ahead of the Mexico City

General Assembly.

The EC assessed the various nominations received

for the 2020 FIAF Award and selected one of the perso-

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nalities nominated. An ocial announcement will be

made as soon as we have found a date and event at

which this Award can be given.

The EC discussed an early draft proposal from seve-

ral members of the CCAAA Board for the creation of a

coordinator position within the Board to increase the

Board’s eectiveness between meetings. The EC ap-

proved such a proposal, which will be discussed at the

next CCAAA Board meeting in January 2020, in prin-

ciple.

The EC discussed the idea of making the back ca-

talogue of the Journal of Film Preservation freely avai-

lable to all as PDF les on the FIAF website again and

approved it unanimously. This decision should be im-

plemented by the Secretariat in the next few weeks.

The EC unanimously supported the new FIAF Histo-

ry Project led for FIAF by the Senior Administrator and

made possible by signicant funding from Tineke de

Vaal, widow of Jan de Vaal. It was decided that admi-

nistrative arrangements should be sought with the Se-

nior Administrator in the next few months to allow him

to spend enough time coordinating and taking part in

this project over the next couple of years.

The Senior Administrator reported on the rst round

of funding of the new FIAF Internship Fund in 2019 (with

three internships already completed), and introduced

the next round of funding. The EC expressed its sa-

tisfaction with the impact of this new Fund, and dis-

cussed how to promote it more to potential interns and

hosting FIAF archives.

The EC appointed a selection committee to exa-

mine the applications for funding from the 2020 Chris-

tian Dimitriu Fund, which was expected to be launched

in December 2019.

The EC discussed the progress made by Hugo Villa

Smythe and his team regarding the preparations for

the 2020 FIAF Congress. The EC noted the great rele-

vance of the Symposium theme proposed by the Fil-

moteca UNAM and hoped that the proceedings would

be published, perhaps on the model of the recent Hol-

lywood Goes Latin book.

The EC discussed the preparations for the 2021 FIAF

Congress in Dhaka and expressed its concern about the

lack of stability in the leadership of the Bangladesh

Film Archive, and therefore the diculty for the Senior

Administrator and the EC to have one long-term in-

terlocutor in Dhaka. It was decided that the EC should

convey this concern to our colleagues in Dhaka, and

that the EC and the Secretariat should work in close

partnership with the Bangladesh Film Archive on the

organization of the 2021 Symposium and in particular

on the choice of a topic for the Symposium.

The EC heard a progress report from György Raduly,

whose Hungarian National Film Archive was selected

by the last General Assembly to host the 2022 FIAF

Congress. The EC also received conrmation that there

is presently only one declared candidate to host the

2023 FIAF Congress – the Cinémathèque Québécoise.

The EC ocially noted that it had received two for-

mal invitations to host the 2024 FIAF Congress – from

the Film Archive (Thailand) and the Korean Film Ar-

chive. The EC concluded that both proposals seemed

very strong, but it declined to support one or the other

at this stage. The host of the 2024 FIAF Congress will

have to be chosen by the 2021 General Assembly.

> Next EC Meeting

The next EC meeting will take place 19-20 April 2020 in

Mexico City, on the eve of the 2020 FIAF Congress.

FIAF EC membership (2019-21)

The FIAF Executive Committee consists of Frédéric

Maire (Cinémathèque suisse, Lausanne), President ;

Michael Loebenstein (Österreichisches Filmmuseum,

Vienna), Secretary-General; Jon Wengström (Swed-

ish Film Institute, Stockholm), Treasurer; Cecilia Cen-

ciarelli (Fondazione Cineteca di Bologna, Bologna),

Vice-President; Michal Bregant (Národní Filmový Ar-

chiv, Prague), Vice-Treasurer; Iris Elezi (Arkivi Qendror

Shteteror i Filmit, Tirana), Vice-Secretary-General; Tia-

go Baptista (Cinemateca Portuguesa, Lisbon); György

Raduly (Hungarian National Film Archive, Budapest);

Chalida Uabumrungjit (Film Archive – Public Organi-

zation, Bangkok); Hugo Villa Smythe (Filmoteca de la

UNAM, Mexico City); Paula Félix-Didier (Museo del Cine

Pablo Ducrós Hicken, Buenos Aires); Brian Meacham

(Yale Film Study Center, New Haven); Shivendra Singh

Dungarpur (Film Heritage Foundation, Mumbai).

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04 News from the Secretariat

> FIAF Secretariat Sta

Our new accounting and HR assistant Elsa Deger-

man has now been with us for just over a year and

she seems to have adapted to the demands of the job

magnicently. Her integration into the FIAF team has

been excellent.

Other than that, we are still very happy with our

small pool of excellent freelance specialists (IT spe-

cialist, graphic designer, JFP editor, website develo-

per, training coordinator, French, Spanish and English

proof-readers/translators) who work with us on a pro-

ject by project basis. Our graphic designer Lara Denil

has come back from maternity leave after the birth of

her son Barnabé, and she has already been very busy

working on the layout of the latest issue of the JFP and

the forthcoming new edition of Harold Brown’s Physical

Characteristics of Early Films as Aids to Identication

and will soon start work on the 2020 FIAF Directory!

> FIAF Website / Social Networks

Among the new resources added to the website since

the last EC meeting, you can nd the videos of the

2019 Lausanne Symposium presentations and re-

lated documents when available; the new PACC e-re-

sources; pages; a reorganised, improved and bigger

section presenting FIAF archival documents. With EC

member Brian Meacham’s help, we have turned the

list of photochemical labs around the world into a

searchable database, which we will launch in the next

few weeks. In this fast-evolving eld, we will no doubt

need you help to update the data we have about pho-

tochemical labs worldwide.

We have been able to add a number of videos across

the website, thanks to our new professional Vimeo ac-

count, which is making streaming videos a lot easier.

We have also been working on several new online tools

– in particular regarding FIAF’s history – which will be

ocially launched early in 2020 (see “FIAF’s Historical

Archive” below).

As of 18 December, the FIAF Facebook account

now has 4841 “likes”, i.e. a 29.5% increase over the

last 12 months.

Film historian David Wood in the FIAF oce in July

> FIAF’s Historical Archive

We have kept cataloguing and digitizing more docu-

ments as part of our work on the FIAF paper archive.

We now preserve on our servers over 6000 photographs

and nearly 20,000 single les of archival documents,

many of which are accessible on the FIAF website. The

history section of the website has been restructured

and improved.

Thanks to an active campaigning of all aliates

which have once hosted a FIAF Congress, we have ma-

naged to repatriate vast numbers of photographs of

those congresses – especially for period after 1980-

2010, which was for some reason a particularly poorly

documented period.

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Building new archival shelves for the FIAF oce.

We are also paying particular attention to the pre-

servation of archival documents relating to the Co-or-

dinating Council of Audiovisual Archives Associations

(CCAAA) and its previous incarnation, the Round Table

Meetings on Audiovisual Records in the 1980s and

1990s, of which FIAF was one of the founder members.

By doing that, FIAF is also playing the role of custodian

of the CCAAA’s archive.

Although the project of an ambitious multi-thema-

tic FIAF timeline has been delayed, we have developed

several new tools which will be part of that timeline.

One is an online “memory” game introducing fty of

the most important personalities in FIAF’s history to vi-

sitors of the FIAF website. The game will be launched

early in the new year and will allow you to familiarize

yourselves with our pioneers. The other tool we have

developed with the help of French lm historian Sté-

phanie E. Louis is a comprehensive historical database

of FIAF aliation throughout FIAF’s history, providing

precise and correct aliation information about each

current and past FIAF aliate and its various aliation

categories from 1938 to the present day. This work was

based on extensive research in the FIAF archive – we

thoroughly checked the minutes of every FIAF Congress

and EC meeting since 1938, as well as aliates’ archi-

val les and successive FIAF Directories. In addition to

a very useful search engine (searchable by keyword

and/or date), this resource allows the user to visualize

the geographical evolution of the FIAF network via a

chronological map with a movable cursor. This new da-

tabase is currently being nalized and will be launched

before the Mexico City Congress.

In January and February 2020, we will welcome a

new intern, Barbara Robbrecht (the sixth one since

the start of our partnership with the Université Libre

de Bruxelles), who will help us catalogue and digitize

more documents, and will contribute to our online

historical resources.

Thanks to the FIAF archive inventory and associated

search engine, and more generally the increased avai-

lability of the FIAF archive, we have been welcoming

more and more researchers to the FIAF oce. Several

of them visited us during their summer holiday.

As we keep acquiring more archival collections, we

had to build new shelves to accommodate our ever-

growing paper archive in the FIAF oce. Space might

soon become a problem.

First meeting of the FIAF History Project steering committee in Lisbon last

September

> A new FIAF History Project

Another important new development as regards our work

on FIAF’s history has been the start of the FIAF History

Project, funded by the Jan de Vaal Fund over the next ve

years, thanks to the great generosity of Tineke de Vaal,

widow of FIAF pioneer Jan de Vaal. Tineke de Vaal, An

dré Stufkens (Joris Ivens Foundation, and an old friend of

eke’s) and Christophe Dupin convened a rst meeting

in Lisbon in September, to which we invited José Manuel

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Costa of the Cinemateca Portuguesa, former FIAF Pre-

sident Robert Daudelin (both old friends of Tineke de Vaal

wit

h a keen interest in FIAF’s history), and Tiago Baptista

(Cinemateca Portuguesa and an EC member). This group

met in Lisbon on 20 September for a full day of discussions

on the possible outcomes of the Project, and in particular

the publication of a book on FIAF’s history. Since then,

FIAF Honorary member Eva Orbanz and French academic

Laurent Le Forestier (who co-organized the FIAF Sympo

sium in Lausanne earlier this year) have both agreed to

n this initial steering group. It was decided that the

rst outcome of the Project should be the publication of

a comprehensive book documenting the rst fty years

of FIAF (from the late 1930s to the late 1980s). It was de

cided that the two future co-editors of the book would

e FI

AF’s Christophe Dupin, who has already carried out

extensive research on FIAF’s history, and André Stufkens,

who recently published a comprehensive monograph on

Jan de Vaal in the Netherlands. The book intends to be a

collective volume, and a call for contributions will be sent

to all in the FIAF community and beyond in the spring.

The project has since received the full support of the FIAF

Executive Committee.

> FIAF Publications

2020 FIAF Directory

We will be publishing the 2020 edition of the FIAF Direc-

tory in January. In order to do this we have had to ask

our 169 aliates to update their contact details elec-

tronically via an online form. The Directory will be pu-

blished in February and copies will be sent to each FIAF

aliate. The updated data will also be available via the

online search engine from early January.

Aliates’ Annual Reports

To this day we have received the 2018 Annual Reports of

143 out of 164 Aliates this year (including 87 Members

out of 89, and 56 Associates out of 75). Although this

gure is one of the highest in FIAF’s history, thanks in

particular to the Secretariat’s relentless campaigning

in the spring, it still means that 21 FIAF aliates have

not fullled this important FIAF duty again this year.

Don’t hesitate to consult this invaluable resource do-

cumenting the state of our worldwide community in

any given year (you must be logged in to access these

reports). Each Annual Report is available both indivi-

dually and in a full volume on the FIAF website.

The new Call for Annual Reports will be sent in ear-

ly January and will have to be returned to the FIAF

Secretariat by 28 February.

Camille Blot-Wellens delivers the Ernest Lindgren Lecture on Harold Brown at

the BFI on 10 December

Film Identication Book Project

Although we have not managed to publish the new,

expanded edition of Harold Brown’s book Physical

Characteristics of Early Films as Aids to Identication

in this calendar year as we had initially hoped (it was

probably a little too ambitious to think we could, consi-

dering the complexity of the project and the richness

of the information and illustrations added to the old

edition), the objective is now to release it in time for

the 2020 FIAF Congress. Although we missed the op-

portunity to publish it in the year of Harold Brown’s

centenary, 2020 will mark the 30th anniversary of the

rst edition – another appropriate date for the release

of the new edition! Camille Blot-Wellens, the editor

of the book, is currently working around the clock on

the completion of the book with our copy-editor and

proof-reader Cathy Surowiec and our graphic designer

Lara Denil. This beautiful new edition will no doubt be-

come a best-seller for FIAF for many years, in the same

was that This Film Is Dangerous has been for 18 years!

As part of the ongoing lm identication project,

and as a way of promotion for forthcoming book, Ca-

mille was invited to give the Jonathan Dennis Lecture

Harold Brown and lm identication to a packed audi-

torium at the Giornate del Cinema Muto in Pordenone

on 9 October. She also delivered the annual Ernest

Lindgren Lecture on the same topic at the BFI in Lon-

don on 10 December.

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Partnership with IUP

Indiana University Press is still distributing ve FIAF pu-

blications: This Film Is Dangerous, the Advanced Projec-

tion Manual, the FIAF Digital Projection Guide, the FIAF

Moving Image Cataloguing Manual, and Hollywood Goes

Latin. It will soon distribute the new edition of Physical

Characteristics of Early Films as Aids to Identication.

Once again, our partnership with IUP helps us raise awar-

eness about FIAF and its publications in North America.

Partnership with Technès:

Tales from the Vaults book

FIAF’s partnership with the international academic

project Technès is going to materialize into an import-

ant book, provisionally entitledTales from the Vaults:

an Illustrated History & Geography of Film Technolo-

gy. The project will involve all interested FIAF aliates,

which will be able to propose an object from their non-

lm collections with a special technical or technologi-

cal signicance, and write about it.

The editorial team will consists of the Benoît Tur-

quety (Université de Lausanne/Technès), Nicolas DU-

LAC (Université de Montréal/Technès), and Rachael

Stoeltje (IULMIA/FIAF), and myself as Associate Editor,

have been drafting a call for papers (the short version

can be found in the EC documents; the longer version

is still being nalized). The idea is to launch the Call for

Papers as soon as possible. It is hoped that most of the

writing can be done by the end of 2020. Various options

are being pursued re: the publication of the book (i.e.

published by FIAF only – with Technès funding – or in

collaboration with an established publisher). I remind

you that the GA-approved 2020 budget includes 5000€

towards this publication.

Future FIAF Publications

Other future FIAF publications are being discussed for

the next couple of years, in particular a volume of the

proceedings of the forthcoming Mexico City Sympo-

sium on the theme of “Preventing and managing natu-

ral and human-made disasters in lm archives”, on the

model of our recent Hollywood Goes Latin book, and

the volume about the rst 50 years of our Federation

(see also “FIAF History Project”). It is fair to say that

FIAF has developed a healthy publishing programme of

important books in our eld over the last few years.

> FIAF-Supported events and Projects

“Share That Knowledge” Project

You will remember that in Prague our colleagues gave

a presentation on their new “Share That Knowledge!

Finding Strategies for Passing on Knowledge Across

Generations of Archivists” project. They sought the

endorsement and support of FIAF, which the EC ap-

proved in principle. A number of FIAF and other ar-

chives have now signed up to the project, and they are

seeking funding from various sources. To help them

publicize the project, we have created a dedicated

page on the FIAF website.

In the autumn, FIAF also provided support to two

lm heritage events involving FIAF colleagues from

FIAF archives:

FIAF sponsored a lecture by Anna Sienkiewicz-Ro-

gowska and Jakub Stadnik of FINA in Warsaw as part

of the “Film:ReStored 04” festival in Berlin at the end of

October (see also the News from the Aliates section).

On 6 December, as part of the 6th International Is-

tanbul Silent Cinema Days, a round-table discussion

took place in Istanbul on the preservation of, and ac-

cess to, the silent lm heritage. The guest speakers

were Iris Elezi (Albanian Film Archive), Iga Harasimowicz

(Filmoteka Narodowa) and György Ráduly (Hungarian

Film Archive). The meeting, organized with some FIAF

nancial support, was attended by those working in

local archives and repertory programming. The conver-

sation, which was moderated by Elif Rongen-Kaynakçi

(Eye Filmmuseum) concentrated mainly on the redisco-

very of lost lms made possible by improved communi-

cation between European lm archives and emphasized

the importance of collaborations to restore and digitize

those lms. Furthermore, information was exchanged

about national initiatives of streaming media platforms

as a new way to reach audiences.

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Christophe Dupin with Wolfgang Klaue at his home in August

> FIAF Representation

Since the last FBO, the Senior Administrator has repre-

sented FIAF in the following places:

• Visit of the Cinémathèque tunisienne and mee-

tings in Tunis with colleagues from various FIAF

archives (early July);

• Visit of the DFF – Deutsches Filminstitut & Film-

museum in Frankfurt (1 August);

• Visit of FIAF Honorary Member and former FIAF

President Wolfgang Klaue in Berlin (6 August);

• Visit of ECPAD, FIAF Member in Ivry-sur-Seine, in

the outskirts of Paris (12 September);

• The Senior Administrator gave a presentation

on “lm canons in the 1950s” at a symposium in

Paris on 11 September;

• Christophe Dupin attended the Giornate del

Cinema Muto for three days in early October,

where he had several appointments with FIAF

colleagues;

• He delivered a presentation on former FIAF

President Michelle Aubert’s contribution to our

eld, at a Symposium in Paris (10 October);

• He attended, along with PIP Editor Rutger

Penne, a meeting with ProQuest in Cambridge

(UK) on 21 October;

• The Senior Administrator and the FIAF Pre-

sident both spoke at a special tribute to Freddy

Buache at the Cinémathèque suisse in Lau-

sanne on 19 November;

• Christophe Dupin gave a short lecture on

Harold Brown as part of the Ernest Lindgren

Annual Lecture at the BFI in London on 10 De-

cember (see also “Film Identication book”).

Visit of ECPAD in September

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05 Journal of Film Preservation

We were very pleased at the reception accorded our

celebratory issue No. 100, in which we reprinted ar-

ticles from earlier issues of the Journal. Several people

have commented on how interesting they found it.

We have consequently decided to make republishing

a more regular part of our programme: as you will have

seen, Issue #101 contains the text of – together with a

commentary on – the 1934 report by the British Kine-

matograph Society that underpinned Ernest Lindgren

and Harold Brown’s development of the National Film

Library / National Film Archive. Next year’s Spring issue

(#102) will reproduce a 1940 article on cataloguing to-

gether with commentary by Thelma Ross, the present

Head of the Cataloguing and Documentation Commis-

sion. We hope that aliates will nd this new strand in-

teresting, and we very much welcome suggestions for

other historical articles (and possible commentators).

Lara Denil working on the layout of the latest issue of the JFP in the FIAF oce

Also in preparation for Issue #102 are an article on

the video collections of the Bibliothèque nationale de

France, several texts on stills collections and digitisa-

tion, a discussion of the uncertain nature of archival

collecting, and the rst part of a comprehensive Oral

History interview with Robert Daudelin. These last two

are examples of another recent policy decision: that

of always trying to include one or two longer articles

than we have heretofore considered. We will also pub-

lish contributions from our colleagues in Barcelona,

Frankfurt, Helsinki, and Montevideo about their past

or present work, and will present a new cinematheque

being built in Istanbul.

We are always happy to receive suggestions for fu-

ture articles from aliates, and particularly urge you

to suggest books and DVDs produced by you or in your

countries that we can consider for review.

Elaine Burrows

JFP Editor

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06 News from the P.I.P.

> P.I.P. Contributors

Free-lance Indexers Volunteer Indexers PIP Staff

PIP Contributors

Individual Persons Indexed Journals

The P.I.P. is currently indexing a total of 147 lm jour-

nals. 58 of these titles are indexed by volunteer indexers

(39 in total, who are mostly working for FIAF aliates),

while an additional 43 are done by 11 free-lancers, who

are paid for their work. Besides the editing of all the

indexing contributions we receive, Associate Editor An-

thony Blampied and I are also indexing 46 journals

from scratch ourselves.

Currently we are looking to expand our network

of contributors in France, Italy, and Latin America. In

France we are looking for extra volunteer indexers to

take over a number of French journals which we are

already indexing. In Italy we would like to increase our

urnal coverage, and therefore we are searching for a

new free-lancer with Italian as a mother tongue and

an excellent written knowledge of English. One of our

top priorities for the following months is to recruit new

contributors in Latin America. With the help of Biblio

ci, the network of lm documentation specialists in the

pani

sh-speaking world, we aim to identify interesting

lm journals and to nd qualied persons to do the work.

> Indexing Workshops

We are planning an indexing workshop to be held du-

ring the 2020 FIAF Congress in Mexico in collaboration

with Biblioci and the Filmoteca de la UNAM.

> FIAF Databases:

New Pricing for FIAF Aliates

As announced in the previous FBO, in 2020 we are in-

troducing a new pricing model. FIAF aliates can now

subscribe to the FIAF Databases (which includes access

to the International Index to Film Periodicals and the

Treasures from the Film Archives) at a considerably

lower price.

FIAF Membership PIP Discount

Category A: 3,050€ 300€ 150€/title indexed (free

when indexing 2 titles)

Category B: 2,250€ 300€ 150€/title indexed (free

when indexing 2 titles)

Category C: 1,850€ 150€ 150€/title indexed (free

when indexing 1 title)

Category D: 1,250€ 150€ 150€/title indexed (free

when indexing 1 title)

Category E: 650€ 90€ 90€/title indexed (free

when indexing 1 title)

Rutger Penne

P.I.P. Ed it or

r.penne@afnet.org

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07 News from the Commissions

CDC members Anna Fiaccarini and Rutger Penne discuss the project of a new International Directory of Film and TV Documentation Collections with FIAF web

developer Jean-Pascal Cauchon in the FIAF oce.

> Cataloguing and Documentation

Commission (CDC)

The CDC projects are now organized in two “depart-

ments”: one that addresses cataloguing of moving

images and one devoted to cataloguing, preservation,

and access needs of documentation, with a task force

and rapporteur assigned to each project.

The CDC recruited several new members to full

its Documentation remit. Mats Skärstrand is now a

Full Member, and rapporteur for a project on the cata-

loguing of lm-related documentation. Mats has been

on the CDC as a Corresponding Member for a number

of years, contributing to projects such as the Manual.

Murchana Borah and Nancy Kauman are now Corres-

ponding Members who will be working with Mats. Cor-

responding Member Dawn Jaros was recruited to assist

the CDC in a new project addressing the preservation

of lm-related documentation. Additional Correspon-

ding Members who have joined us recently include Sa-

rah Clothier, as part of the LoD task force, and Georg

Eckes and Michael Campos-Quinn, as part of the Trea-

sures from the Film Archives task force.

The Treasures Task Force, led by Rutger Penne and

Adelheid Heftberger, nalized a survey for users and

non-contributors to gather quantitative and qualita-

tive data in order to help make decisions about the

best way forward. Peter Bubestinger, CEO of AV-RD (a

rm specializing in “developing Free Software/Open

Source solutions for professional user-cases”), was

approached to do a consultancy based on the “Requi-

rements for the Treasures Project” document, which

was nalized mid-September. He has agreed to deliver

a report by early 2020. A new update of the Treasures

from the Film Archives database (with a total of 60,848

records) was published in October on the FIAF website

and the Ovid and ProQuest platforms.

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The Special Collections Directory Task Force, led

by Anna Fiaccarini, is revising and updating the former

“International Directory of Film and TV Documentation

Collections” with a new design and search interface,

to be hosted on the FIAF website. The nal title is “In-

ternational Directory of Film-Related Collections and

Libraries”. The task force has worked on a “controlled

list” of typologies of documents for inclusion in the

new database, and developed a rst draft of the

search interface. This new dataset and search inter-

face project was presented to FIAF’s website program-

mer (Jean-Pascal), who will be working on the develop-

ment of an online tool.

CDC member Laurent Bismuth and TC member

Caroline Fournier are working together on the conti-

nued development of a “user-friendly” Preservation/

Restoration Report, based on CWS (Cinematographic

Works Standards aka EN 15907) and The FIAF Moving

Image Cataloguing Manual. A modied report is being

tested in the course of two restoration projects. Should

the tests prove successful, a new draft of the report

would be submitted to all members during the 2020

CDC meetings in Bologna. If approved, this “Research

and Analyze” part of the Preservation/Restoration Re-

port will be achieved, and the Task Force will turn its

attention to the second part of the report, which will

be dedicated to laboratories’ actual work, and how to

document it usefully by gathering information about

processes and devices.

The Moving Image Cataloguing Manual Task Force,

led by Natasha Fairbairn, launched a Survey and Open

Forum to gather feedback about the Manual and pro-

posed improvements; they are available on the FIAF we-

bsite. Issues and topics arising in the Open Forum will be

collated into regular Question & Answer digests by Ste-

phen Danley, to be made available via the FIAF website.

The Linked Open Data Task Force, with rapporteur

Adelheid Heftberger, has formed a working group with

six members from dierent domains: Eleonore Ems-

bach, Anna Bohn,

Raymond Drewry, Paul Duchesne, Mark J. Williams,

and Georg Eckes. They will dedicate their time and ex-

pertise in order to develop two specic tasks: ontolo-

gies for the audiovisual domain (collect, present, and

create) and using Wikidata as a source for identier

(both pull and push). The second task should result in a

paper for lm archives on how to engage with Wikida-

ta on a practical level.

If you are interested in being involved with the

CDC, please do not hesitate to contact Thelma Ross at

thelma_ross@moma.org.

Members of the CDC:

Thelma Ross (Head), Adelheid Heftberger (Deputy

Head), Rutger Penne (Ex-ocio), Laurent Bismuth,

Natasha Fairbairn, Anna Fiaccarini, Maria Assunta Pi-

mpinelli, Mats Skärstrand

> Technical Commission (TC)

TC Membership

In October Céline Ruivo went on sabbatical, and Anne

Gant has stepped in as TC Coordinator. During the sab-

batical of Céline, Caroline Fournier (Cinémathèque su-

isse) has agreed to join the TC. The TC added two new

corresponding members: Simon Lund (Cineric lab, New

York) and Katerina Kampoli (ECPAD, France).

The Digital Statement

In an eort to speed up the completion of the Digital

Statement, the TC has agreed to work simultaneously

on the remaining parts. It is no surprise that the

conclusion of the group is that it is dicult to write by

committee. So the remaining parts are being prima-

rily generated by various experts, using existing docu-

ments, with the TC as the reviewing body.

Since June 2019 (the date of the last report), the

TC has been working on the Digital Statement Part II,

which deals with scanning. This is being sent to the

Corresponding Members for comment in the coming

weeks, with a goal of publishing in January 2020.

Part III (a discussion of restoration ethics) is being

simultaneously pursued by Uli and Caroline, with re-

quested passages from a variety of colleagues.

Part IV (sound) will also be generated from docu-

ments and discussions with sound experts, including

Jean-Pierre Verscheure.

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Additional projects

Uli: A project on lm defects has been initiated

through the BA thesis project of HTW student Jonas

Trenkler, supervised by Ulrich Ruedel and Oliver Han-

ley in Berlin in coordination with Camille Blot-Wellens.

The project aims to document and classify lm “de-

fects” and their historic, material, and photographic

process genesis through investigation and documen-

tation (e.g., photographically, microscopically) of

nitrate elements, historic contemporary literature,

and expert interviews with lm restorers, to more

restoration-ethically guide decision-making on their

(non)-removal in digital restoration.

Camille: The project of the new, expanded edition

of Harold Brown’s Physical Characteristics of Early

Films as Aids to Identication is delayed, but all the

texts and illustrations have been ready since the Sum-

mer. The texts need to be revised by Cathy Surowiec,

who is now working on them. We hope that it can be

ready in the rst part of 2020, but given the complexity

of the layout (there are hundreds of illustrations), I pre-

fer not to indicate any exact deadline. This project was

presented in the frame of the Jonathan Dennis Memo-

rial Lecture I was asked to deliver during the last Porde-

none festival. I was also invited to Berlin at the end of

November to present the project during an event orga-

nized by the Bundesarchiv with the support of the ACE.

To end this year of the commemoration of the cente-

nary of Harold Brown, the BFI invited me to give the

Ernest Lindgren Memorial Lecture in early December at

the National Film Theatre, where I naturally also men-

tioned the publication.

Camille is also at the FIAF school in Mexico right

now as a trainer.

Members of the TC:

Anne Gant, Eye Filmmuseum, Amsterdam, Acting

Head; Camille Blot-Wellens, Consultant, Stockholm;

Caroline Fournier, Cinémathèque suisse, Lausanne; Ti-

ago Ganhão, Cinemateca Portuguesa / Museu do Cin-

ema, Lisbon; Rodrigo Mercês, Cinemateca Brasileira,

São Paulo; Davide Pozzi, L’Immagine Ritrovata, Bolo-

gna; Ulrich Ruedel, HTW / University of Applied Sci-

ences, Berlin; Céline Ruivo, Cinémathèque française /

Musée du cinéma, Paris (currently on sabbatical leave).

PACC meeting in Pordenone

> Programming and Access to Collec-

tions Commission (PACC)

In early November, following a discussion with the FIAF

EC, Massimo Benvegnù decided to step down from his

duties as Head of PACC, as he felt he was no longer able

to commit his time and energies to the required degree.

The Commission members and the EC respect Massimo’s

dicult decision and wish to thank him for his eorts in

reviving the Commission, successfully recruiting several

new, active members, and spearheading a number of

important PACC projects during his tenure. Massimo will

continue to contribute to the work of the Commission

as a corresponding member, and will remain involved

in discussions on particular topics relevant to his expe-

rience and practice as a lm programmer.

In light of Massimo’s resignation, the FIAF EC ap-

pointed Mateˇj Strnad of Národní lmový archiv, Prague,

as the new Head of PACC. For the position of Deputy

Head the members armed the nomination of Chicca

Bergonzi of the Cinémathèque suisse, Lausanne. Pe-

ter Bagrov of the George Eastman Museum, Roches-

ter, previously a corresponding member, will assume

a full member position. The remaining full members

currently serving on the commission are Elaine Burrows

(Consultant, London); Oliver Hanley (Filmuniversität

Babelsberg, Potsdam); David Kehr (The Museum of Mo-

dern Art – Department of Film, New York); and Brian

Meacham (Yale Film Study Center, New Haven).

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The extended Commission lineup and its compo-

sition as a whole will be the subject of further dis-

cussions in tandem with specic work-plans and the

division of tasks among the current membership. Ne-

vertheless, the Commission wishes to preserve conti-

nuity in many of the projects initiated in the last 12

months, at least one of which, a major revision of

PACC’s e-resources page on the FIAF website, already

bore its rst fruit this autumn.

The revamped page now features around 60 additio-

nal links to valuable archival resources that have been

made available by both FIAF and non-FIAF institutions

around the world. New to the page is a section compri-

sing 30 catalogues and databases of archival lm and

lm-related collections that can be accessed online.

Another new section gathers a similar number of links

to online video platforms where lms from the aliates’

collections can be freely viewed online. Additionally, the

already existing collection of collection policy docu-

ments published by FIAF aliates has been expanded.

Each section is prefaced by a concise editorial state-

ment highlighting the importance of the resources from

the perspective of programming and access.

PACC will continue to add to the existing sections of

its e-resources page on a regular basis, and is already

tentatively working on new sections to make an even

wider range of resources available. The Commission

would like to extend its thanks to those aliates that

have already contributed feedback, corrections, and

additions since the revamped site went live in Sep-

tember, and we would like to take this opportunity

to encourage all aliates and casual readers alike to

keep us updated on any new activities, publications,

and projects that benet the community so that we

can feature these on the page.

PACC has also continued to investigate the relations

between FIAF members and rights-holders and distribu-

tors, focusing especially on certain distributors’ pricing

icies when it comes to screening heritage/back-cata-

logue lms in FIAF members’ own venues. Once sucient

a has been collected from the aliates, the Commis-

sion will be in a much better position to assess the situa-

tion, and will discuss the suitable options for joint nego-

tiations, most probably during the 2020 FIAF Congress.

e wi

sh to thank all those who have responded to our di-

rect e-mail inquiries, shared their individual experiences,

d pr

ovided us with valuable information in the process.

Additional topics covered at the most recent PACC

meeting, which took place during the Giornate del Ci-

nema Muto festival in Pordenone in October, included

the decline in the number of lm prints being screened

at archival lm festivals and, in direct relation to this,

the increasing need for projection training coordina-

tion; nitrate shipping training and certication; and

the FIAF Pool 2.0, i.e., an infrastructure to inform each

other of recent digital restorations available through

the aliates using contemporary communication me-

dia. Considering the recent membership changes wit-

hin the Commission, ongoing discussions in the upco-

ming months will reveal which of the ideas outlined

above will develop into projects with dedicated time-

lines and outcomes.

PACC has also been receptive to the concerns of the

FIAF community as to the diculties in approaching

certain member archives about accessing lm ele-

ments from their collections. We are pleased to report

that the FIAF EC has reached out to the members in

question and the initial response has been reassuring

and hopeful.

Anyone who is interested in becoming involved in

the work of PACC, or who would like to put forward

suggestions or comments, is very welcome to contact

Mateˇj Strnad at matej.strna[email protected].

Members of PACC:

Mateˇj Strnad, Národní lmový archiv, Prague (Head);

Chicca Bergonzi, Cinémathèque suisse, Lausanne (De-

puty Head); Peter Bagrov, George Eastman Museum,

Rochester; Elaine Burrows, Consultant, London; Oli-

ver Hanley, Filmuniversität Babelsberg, Potsdam; Da-

vid Kehr, The Museum of Modern Art – Department of

Film, New York; Brian Meacham, Yale Film Study Cen-

ter, New Haven.

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08 Training & Outreach

The FIAF Training and Outreach Program has been

ocially running now for three years. Our Training

and Outreach Coordinator David Walsh has now

been in place since October 2016. All our past trai

ning events can be consulted on the FIAF we

bsite.

Here are some highlights of our new projects and

initiatives since the Spring.

> Recent Training and Outreach

Initiatives

Biennial Audio-Visual Archival Summer School

(BAVASS), Indiana, May 2019

This two-week intensive summer school was hosted

by the Indiana University Libraries Moving Image Ar-

chive under the expert hand of its director, Rachael

Stoeltje. This event is intended as the rst edition of

a multi-strand summer school to be held every two

years as a complement to the biennial Restoration

Summer School staged by the Cineteca di Bologna

and L’Immagine Ritrovata in association with FIAF.

The Indiana event was able to take advantage of a

large pool of experienced internal trainers augmented

by outside experts to cover a wide range of topics, in-

cluding lm handling, audio-tape digitization, digital

infrastructure and workows, photograph conserva-

tion, cataloguing, etc. The valuable support given by

Indiana University in making their sta and premises

available hugely added to the success of the School,

which was attended by 50 students in a complex in-

terlocking timetable of lectures and practical ses-

sions. An in-depth article on the School by Rachael

Stoeltje was published in the October 2019 issue of the

Journal of Film Preservation.

Nepal

The work supported by the British Council to assess

the lm archive situation in Nepal and to produce a

proposed course of action has continued, albeit with

some diculties. Following the visit to the Nepal Film

Development Board and to Nepal TV by David Walsh

and Shivendra Singh in March, further attempts

to gather information were hampered by a lack of

communication from the Film Development Board

contact. This was resolved by the local British Coun-

cil oce stepping in, and a provisional action plan

as well as a proposal for future training in 2020 have

been created and are currently being considered by

the Film Development Board and the British Council.

Although the Film Development Board are now plan-

ning to build improved storage for their lm collection

and have sought our advice on the specication, the

primary problem as we see it is that a lm archive as

an entity does not exist. The report urges the setting

up of an archive as a priority.

[Sensitive content has

been redacted]

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Guidance for Planning and Building Film Stores

It has become apparent that there is a worldwide need

to oer some key points of guidance for archives plan-

ning lm storage. Too often such projects are subject

to local government practices for funding and procure-

ment, and archives struggle with dening their needs

and creating a set of basic specications. David Walsh

is currently talking to various experts in environmen-

tally controlled building design in the hope of coming

up with a brief set of specications as a starting point

for any storage project. He is also investigating a col-

laboration with Bath University in the UK to oer lm

storage design as a project for Masters students in

their MSC courses.

North Africa

In July the Senior Administrator was invited to Tunis

to visit the Cinémathèque tunisienne and show FIAF’s

continued support to this institution, which was inau-

gurated last year and is still in development. He took

part in several meetings with the representatives of se-

veral FIAF archives on both sides of the Mediterranean,

during which initial plans for future short thematic

training events for North African were drafted.

David Landolf leading the training workshop on small-gauge lm equipment

in Caen

Francophone Workshops fort the FIAF,

FCAFF and Inédits Networks

After two workshops, held at the Cinémathèque des

Pays de Savoie et de l’Ain (4-5 April) on the theme of

“FFmpeg and other open source software for audio-

visual archives”) and in Bern (15-16 May) on “mainte-

nance and use of small-gauge lm equipment”), a new

workshop on “maintenance and use of small-gauge

lm equipment” was led by David Landolf in Caen,

Normandy, as part of the Inédits Annual Meeting in

November.

In total, this programme, initiated in 2017 and sup-

ported by FIAF, has so far given birth to 6 thematic

workshops on 5 dierent themes. A total of 60 parti-

cipants have been taught by 4 dierent trainers in 3

dierent venues.

Film Preservation and Restoration School, Mexico,

22-26 October 2019

The Cineteca di Bologna and L’Immagine Ritrovata in

Bologna in collaboration with FIAF organized this Pre-

servation and Restoration School convened by UNAM

in Mexico City. FIAF’s David Walsh and Camille Blot-

Wellens were among the trainers. FIAF oered two

scholarships for the School. To complement the trai-

ning on high-level restoration techniques provided by

the experts from L’Immagine Ritrovata, Camille Blot-

Wellens and David Walsh dealt with some of the issues

around lm technology, preservation, and access,

while Walter Forsberg, an independent expert, provi-

ded some excellent advice on the use of open-source

and low-cost tools for managing digital material.

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FPRWI 2019: the group photo

Assistance to the Archivo de Imagenes

en Movimiento – Archivo General de Puerto Rico

On his way to the Mexico event, the T&O Coordinator

paid a two-day visit to this FIAF aliate at their re-

quest to oer advice, assistance, and training. This is

an example of a national lm archive with severe un-

derstang, there being only a single person to cover

every activity. David Walsh has since completed a re-

port for the Director of the Archivo General.

Film Preservation & Restoration Workshop India,

Hyderabad, 8-15 December 2019

The 5th Film Preservation & Restoration Workdhop In-

dia, oganized by the Film Heritage Foundation in col-

laboration with FIAF, took place 8-15 December in Hy-

derabad, once again drawing together a large training

faculty from around the world, including a number of

colleagues from FIAF archives. This year the workshop

oered two streams, one for beginners and one for

more experienced participants, and featured as before

lectures and a lot of practical work. 38 students fol-

lowed the basic course and 37 the advance course, for

a record total of 75 students – from India (53), Afgha-

nistan (10), Sri Lanka (8), Bangladesh (2), and Nepal

(2). FIAF gave 5 scholarships to students, from Sri Lanka

(Dammith Fonseka, Hewage Ravindra Priyantha Lal,

Kohilawaththe Gedara Gamini Rupasinghe, and Sasika

Ruwan Marasinghe) and India (Ranjita Ganesan). The

whole event went very smoothly, and initial feedback

from both the advanced and basic course participants

was extremely positive.

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> Future Training and Outreach Initiatives

2020 Programming Winter School

The 5th FIAF Programming Winter School will take place

at the Cinémathèque française in Paris 2-3 March 2020,

in the 2 days preceding the Toute la mémoire du monde

festival. Christophe Dupin and Samantha Leroy are na-

lizing the 2-day programme, which will include sessions

on programming specialized collections, the challenges

of sub-titling, developing audiences, and programming

in new cinémathèques, as well as our usual portraits of

experienced programmers. Registrations will open in

early January – check the FIAF website.

Short Technical Training Events

Unfortunately we have not been able to stage such an

event this year, despite our eorts to nd a suitable

venue and host institution (and despite the apparent

need for such training). It remains our ambition to put

on at least one of these events in 2020. In May 2019,

David Walsh, Iris Elezi, and Christophe Dupin discussed

the project of a workshop in Tirana for lm archive

colleagues in the Balkans. The initial plan of holding

it in November 2019 had to be postponed, but we are

hoping the workshop can take place in 2020.

Projection Workshops in Europe

Following several requests for projection workshops in

Europe, the Training and Outreach Coordinator and the

Senior Administrator have started discussing the pos-

sibility of organizing analog lm projection workshops

on the European continent, perhaps on the model of

those organized by AMIA in the U.S.

Francophone Workshops

Discussion are under way with the FCAFF and Inédits

networks for further short thematic workshops in 2020.

Digital Archives Summer School

FIAF will support the Digital Archives Summer School

held at the Filmuniversität Babelsberg KONRAD WOL

(Potsdam, Germany) from 14-18 September in 2020.

More information will be available in January 2020.

Pablo Insunza Rodríguez at the Cineteca di Bologna and Francisco Ramirez

Vasquez at the Cinemateca Portuguesa.

FIAF Internship Fund

Following the successful launch of the FIAF Internship

Fund last autumn, which saw the completion of the

rst two internships (Or Kellerman at Eye Filmmu-

seum and Pablo Insunza Rodríguez at the Cineteca di

Bologna), three more internships were approved by the

selection committee in June, in the rst of two rounds

of funding in 2019. Claudio Santancini (Austrian Film

Museum), Francisco Ramirez Vasquez (Filmoteca de la

UNAM), and José Tomaz Antonio Zita (INAC, Mozam-

bique) all carried out their internship at the Cinemate-

ca Portuguesa over the Summer.

A new round of applications was initiated in late

September. Three applicants were selected by the Se-

lection Committee appointed by the Executive Com-

mittee: Svitlana Vedeneeva (Oleksandr Dovzhenko Na-

tional Centre) for an internship at the Jugoslovenska

kinoteka; Lilia Ben Achour (Cinémathèque tunisienne)

at the Institut Jean Vigo; and Hsin-Ning Chang (Taiwan

Film Institute) at the Korean Film Archive.

Eight colleagues from FIAF archives have now been

supported through this Fund. We would like to encou-

rage more archivists to apply for funding, and more

FIAF archives to welcome them, as the experience

seems incredibly vaulable to all involved. The next

round of funding will take place in April 2020.

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09 FIAF Congresses

> 2020 FIAF Congress in Mexico City

The 2020 FIAF Congress will take place in Mexico City

20-24 April 2020 and will be hosted by the Filmoteca de

la UNAM. The 2020 FIAF Congress website is now avai-

lable here. You will nd all the practical information

you need, and can now register online. Congress News-

letter #1 and Congress Newsletter #2 can be down-

loaded from the FIAF website.

The theme of the Symposium will be “Prevención y

manejo de desastres naturales y humanos en los archi-

vos fílmicos” (“Preventing and managing natural and

human-made disasters in lm archives”). The Call for

Papers can be downloaded in ENGLISH, FRENCH, and

SPANISH. Deadline for submissions is 6 January 2020.

The 2020 Christian Dimitriu Fund provides funding

assistance to FIAF aliates to attend the 2020 FIAF

Congress in Mexico City. This Fund is intended to en-

courage a diverse range of FIAF representation at the

annual Congress and to provide assistance to aliates

who may otherwise be unable to attend due to nan-

cial constraints. The FIAF Executive Committee has

agreed to allocate grants of between 500€ and 1,000€

for the Mexico City Congress. Note that the Fund does

not cover the entire cost of the trip of a FIAF aliate’s

representative to the FIAF Congress – the aliate’s -

nancial contribution must at least match the amount

awarded by FIAF. Funding will be disbursed as an ex-

pense reimbursement, upon presentation of ight or

hotel receipts.

Information about the Fund and the funding ap-

plication form can be found on the FIAF website (you

must be logged in to access that page).

> 2021 FIAF Congress in Dhaka

The 2021 Congress will take place in Dhaka (Bangla-

desh) from 28 March to 4 April 2021 and will be hosted

by the Bangladesh Film Archive. The FIAF Executive

Committee and Senior Administrator are monitoring

the preparations of this Congress closely. The topic

of the Dhaka Congress Symposium is being discussed

with the hosts and will be communicated to aliates

in the Spring.

A video presenting Dhaka and the Bangladesh Film

Archive is available on the FIAF website.

> Further FIAF Congresses

The 2022 Congress will be hosted by the Hungarian

National Film Archive in Budapest. More details will be

available nearer the time of that congress. The host of

the 2023 Congress will be announced at the end of the

General Assembly in Mexico City in April 2020.

The main venue of the 2020 FIAF Congress

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10 CCAAA and Audiovisual

Archiving Associations

> CCAAA

The Co-ordinating Council of Audiovisual Archives As-

sociations (CCAAA) has been active on a number of

fronts in the past six months. As the current Chair, re-

presenting FIAF, please see the following report of ac-

tivities:

World Day for Audiovisual Heritage

27 October was the World Day for Audiovisual Heri-

tage. Again this year the CCAAA provided a poster,

an ocial statement, and oversaw the list of events

worldwide on its website. 86 institutions have posted

information about their celebrations this year.

Archives at Risk Project

The CCAAA Board launched an Archives at Risk (A@R)

planning and research project. This involved hiring an

outside consultant, with the rst task of conducting

interviews with members of all CCAAA organizations

to determine the denition of Archives at Risk, and

what the goals should be moving forward. Secondly,

the consultant is working on an environmental scan

of the world in this area and providing research fee-

dback. The last step will be nal reports with options

of the way forward. The Consultant is working CCAAA

Chair Rachael Stoeltje at each step, and the nal re-

ports will be completed and sent to the Board at the

end of December 2019.

July and September Conference Calls

In addition to the March annual meetings, this year we

held two additional online board meetings in July and

September to discuss projects and issues.

Joint Technical Symposium 2019

The Joint Technical Symposium took place in Hil-

versum, The Netherlands, 3-5 October, in conjunction

with IASA’s 50th anniversary conference, and was at-

tended by over 200 people. The programme consisted

of 2 full days of presentations and one day of shared

workshops with IASA. In addition to the general confe-

rence, we awarded inaugural JTS awards to those who

have made a dierence in our technical elds. The in-

dividuals were nominated by CCAAA organizations and

a committee selected the nal winners: Dietrich Schül-

ler, Reto Kromer, Kate Murray, The Irish Film Archive,

The Reel Thing, and Barbara Flueckiger. The 2019 Team

that made JTS 2019 were Sound and Vision’s Erwin

Verbruggen and Rasa Bocyte, AMIA’s Laura Rooney,

and, representing FIAF and CCAAA, Rachael Stoeltje.

It was a rather full 18 months of work for everyone in-

volved, but it was a success in the end.

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CCAAA Chair Rachael Stoeltje visits the FIAF oce after the JTS in Hilversum.

Future

From 1 January 2020 Toby Seay will replace Rachael

Stoeltje as Chair of the CCAAA Board, representing

IASA. The Board will have a conference call in Janua-

ry to discuss the next steps and the future of the or-

ganization, and will meet again in person at UNESCO

Headquarters in Paris on 23-24 March.

Calendar of CCAAA Associations’ Main Events

The 23rd SEAPAVAA Conference took place in Nou-

méa, New Caledonia, 25-30 June 2019. The topic of the

conference was “Memory, History, and Archives”.

The 50th IASA Conference took place from 30 September

to 3 October 2019 in Hilversum, The Netherlands.

The 2019 ICA Conference took place 21-25 October

2019 in Adelaide, Australia.

The 2019 FIAT-IFTA World Conference was held in Du-

brovnik, Croatia, 13-16 November 2019.

The 2019 AMIA Conference took place in Baltimore,

Maryland, USA, 12-16 November 2016.

ARSC’s 54th Annual Conference will take place 20-23

May 2020 in Montréal, Québec. The Call for Presenta-

tions is open until 4 January 2020.

FIAF’s 76th Congress will take place in Mexico City 20-

24 April 2020.

The next SEAPAVAA Conference, on the theme of “AV

Archiving in Changing Times: Successes, Failures, and

Challenges”, will take place at the Grand Mercure hotel

in Da Nang, Vietnam, 8-12 June 2020. The deadline for

the submission of proposals is 3 February 2020.

For the rst time in more than 25 years the FIAT/IFTA

Executive Council and the IASA Board have decided

to join forces in 2020 and organize a joint conference

with an integrated programme. The 51st IASA Confe-

rence will also be the 44th FIAT/IFTA World Conference.

Together with our host RTÉ, a long-standing and ac-

tive member of both organizations, we are bringing

together the two leading associations in broadcast,

media, sound, and audiovisual archiving. This joint

Conference will take place 26-29 October 2020 at the

world-famous Trinity College, Dublin.

AMIA will celebrate its 30th anniversary conference in

El Paso, Texas, 11-14 November 2020. Watch for the Call

for Proposals in February.

The 2020 ICA Congress, on the theme “Empowering

Knowledge Societies”, will take place in Abu Dhabi 16-

20 November 2020. The deadline for the submission of

proposals and papers is 1 February 2020.

FIAT-IFTA's 2019 World Conference in Dubrovnik

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11 Supporters

> NEW FIAF SUPPORTERS

FIAF has welcomed a new Supporter (non-prot) since

the last FBO: the University of Zürich. This brings the

total of FIAF Supporters to 55 (36 commercial compa-

nies, 13 non-prot organizations, and 6 individuals).

The Department

With the three perspectives of lm analysis, lm histo-

ry, and lm theory, which inform the Film Studies cur-

riculum, the teaching and research activities at the Zu-

rich department stand in a liberal arts/cultural studies

tradition. Taking into account their development from

the 19th to the 21st century, lm and cinema are exa-

mined as (audio-)visual phenomena in the context of

their social and artistic practice, with a view to theore-

tical discourses, and in relation to other constellations

and forms of the visual and the acoustic.

The department is now one of Europe’s teaching and

research centers in the eld of lm studies. It oers a

home base as well as a site of exchange to numerous

scholars at the doctoral and post-doctoral levels. The de

dicated administrative sta and a well-equipped library

and v

ideo collection ensure excellent working conditions

for research and teaching on the Oerlikon Campus,

where the department has been located since 2010.

Curriculum

Film Studies is oered as a rst minor (60 credits) wit-

hin a Bachelor’s degree programme. Students acquire

fundamental knowledge, approaches, and methods

in lm analysis, lm theory, and lm history. They are

equipped with the ability to critically investigate issues

of lm aesthetics and pertinent scholarly positions in

the eld. Beyond providing an overview of the subject

area, the programme aims to advance students’ com-

petence in methodical, scholarly thinking.

The study programme focuses on the theory, aes-

thetics, and history of the medium of lm and the ins-

titution of cinema, from the beginnings to the present.

Cinematic works are analyzed and contextualized

culturally and historically.

The Department of Film Studies also oers three

study programmes leading to a Master of Arts. Film

Studies can be chosen as a rst minor (30 credits) wit-

hin the Master’s degree programme of the Faculty of

Arts and Social Sciences. In addition, there are two op-

tions for a major in Film Studies: the specialized Mas-

ter’s programme “Theory and History of Film” (90

credits), in combination with a rst minor (30 credits)

oered by the Faculty of Arts and Social Sciences, or

the “Master of Arts in Film Studies” oered by the

Swiss Cinema Network (120 credits).

A Master’s programme can be followed by doctoral

studies, which focus on an independently conducted

research project (dissertation) and lead to the doctoral

degree (PhD). It is possible to write a PhD thesis in En-

glish. However, to pursue doctoral studies and partici-

pate in academic life, candidates must have sucient

knowledge of German.

Restoration

The Chairperson, Prof. Dr. Barbara Flueckiger, is specia-

lized in exploring the interaction between lm technolo-

gy and aesthetics. Numerous projects in the eld of lm

archiving and restoration have followed this approach.

While the goal of AFRESA (2008–2011) was to de-

velop an integrated system for the digitization, pre-

liminary restoration, and automatic registration of

archival lms, Film History Remastered (2011–2013)

investigated the eects of digitization on our percep-

tion of lm history. DIASTOR (2013–2015) was a colla-

borative applied research project which built on the

insights of the two former ones. Its goal was to help in-

dustry partners to develop scientic workows for the

digitization and restoration of historical lm material,

based on material and aesthetic investigations.

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Four interrelated projects deal with the specic

subject of color in lm. The ERC Advanced Grant pro-

ject FilmColors. Bridging the Gap Between Technology

and Aesthetics (2015–2021) explores the more than 200

lm color processes which have been developed since

the invention of lm. FilmColors is based on a truly in-

terdisciplinary research design, with a novel methodo-

logy which explores the interaction of technological

advances and limitations with lm color aesthetics,

therefore identifying diachronic patterns of stylistic

means. In order to achieve this, the visual analysis and

annotation software VIAN has been developed which

allows crowdsourcing of color analyses of large groups

of lms. The tightly related projects Film Colors. Tech-

nologies, Cultures, Institutions (2016–2020) and Autono-

mous Film Colors in Animation and Digital Productions.

An Intercultural Comparison (2019–2023) both make use

of the VIAN application as well as of extensive histori-

cal research to connect various aspects of lm colors

– from technology and aesthetics to narration, percep-

tion, and the aective eects of color, as well as their

cultural and institutional development in lm history.

Finally, ERC Proof of Concept: Development of a New

Versatile Archival Film Scanner (2018– 2020) aims at de-

veloping a multi-spectral and versatile core lm scan-

ner unit which adapts the spectral distribution and the

directional arrangement of its illumination system. This

approach leads to better results in terms of both the

accuracy with the original colors and the potential to

digitally reconstruct faded colors.

Many of the results of these four projects are publi-

shed on the Timeline of Historical Film Colors, created

and curated by Barbara Flueckiger since 2012. This

online platform provides comprehensive information

about historical lm color processes invented since the

end of the 19th century, including specic still-photo-

graphy color technologies that were their conceptual

predecessors.

Aolternstrasse 56

8050 Zürich

Switzerland

T: 41 44 634 35 37

F: 41 44 634 49 10

info@wi.uzh.ch

www.lm.uzh.ch

> NEWS FROM FIAF SUPPORTERS

CENTRO DE PESQUISADORES DO CINEMA BRASILEIRO

Film Classic Returns to the Screen

The Center for Researchers of Brazilian Cinema (CPCB)

has among its objectives Film Preservation. The Center

began its Film Restoration Program in 1999. The rst title

restored was Watson Macedo’s classic Aviso aos Nave

gantes, 1950. The centenary of the director’s birth is 2019.

To celebrate both anniversaries, the CPCB held ses-

sions with Aviso aos Navegantes followed by a panel

discussion on the restoration of the lm and the work

of Macedo, the pioneer of Chanchada, an important

movement in Brazilian Cinema. The events took place

at the Brasília Film Festival (November) and the Rio

Film Festival (December).

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HUNGARIAN FILMLAB

In the framework of the ongoing 10-year digital lm

restoration project of the Hungarian National Film

Fund, Hungarian Filmlab is constantly working clo-

sely on restoration projects with the Hungarian Film

Archive. This year we have nished the digitization

and restoration of 42 Hungarian features. Béla Tarr’s

world-famous 439 minutes of Sátántangó (1994) were

scanned in 4K on our Northlight II scanner. This feature

was invited to Berlinale 2019 and the Shanghai Inter-

national Film Festival, screened together with Márta

Mészáros’s Holdudvar/Halo (1969).

We are not only producing digital copies, but also

preserving lms on colour or black & white 35mm lm

prints, such as Körhinta / Merry-Go-Round (Zoltán

Fábri, 1956), screened at Cannes Classics 2017.

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> Current FIAF Supporters

COMMERCIAL COMPANIES

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info@ctmgroup.fr

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DANCAN cinema services

[email protected]

www.dancan.com

technicalsupport@dft-lm.com

www.dft-lm.com

www.digitalvision.world

pierre.boustouller@eclairgroup.com

www.eclair.fr

info@lmfabriek.nl

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info@gallerysytems.com

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atoscan@gaumont.fr

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contact@gaumontpathearchives.com

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benjamin.alimi@hiventy.com

thierry.delannoy@hiventy.com

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THE HUNGARIAN FILMLAB

restoration@lmlab.hu

www.lmlab.hu

archiving@imagica.jp

http://www.imagica.com

info@immagineritrovata.it

www.immagineritrovata.it

info@imageretrouvee.fr

www.imageretrouvee.fr

info@kem-studiotechnik.de

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prog[email protected]

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Eastman kodak CY

christian.richter@kodak.com

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lmsdujeudi@lmsdujeudi.com

www.lmsdujeudi.com

contact@lobsterlms.com

www.lobsterlms.com

contact@memnon.com

www.memnon.com

oce@noa-archive.com

http://www.noa-archive.com

ORWO – FILMOTEC

lmotec@lmotec.de

www.lmotec.de

contact@pathe.com

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www.prasadcorp.com

info@r3storestudios.com

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info@rosbeektechniek.nl

www.rosbeekcinematech.com

SD Ciné Serve

serge.doubine@orange.fr

www.audioplus.fr

www.skinsoft.fr (Français)

www.skinsoft.org (English)

info@stilcasing.com

www.stilcasing.com

www.subti.com

federico@subti.com

info@tuscancorp.com

www.tuscancorp.com

NONPROFIT ORGANIZATIONS

MUSEE DU LOUVRE

info@louvre.fr

www.louvre.fr/lms

BROOKLYN ACADEMY OF MUSIC / BAM CINEMATEK

info@bam.org

www.bam.org

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CENTRO DE PESQUISADORES

DO CINEMA BRASILEIRO

contato@cpcb.org.br

www.cpcb.org.br

ddulchinos@eidr.org

www.eidr.org

info@cinemamuseum.org.uk

www.cinemamuseum.org.uk

t_asst@lm-foundation.org

www. lm-foundation.org

THE FILM AT LINCOLN CENTER

dsullivan@lmlinc.com

www.lmlinc.com

info@focalint.org

www.focalint.org

ulrich.ruedel@htw-berlin.de

http://krg.htw-berlin.de/

cwalk@ucsd.edu

tisch.preservatio[email protected]

www.nyu.edu/tisch/preservation

RAINER WERNER FASSBINDER FOUNDATION

info@fassbinderfoundation.de

www.fassbinderfoundation.de

info@wi.uzh.ch

www.lm.uzh.ch

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INDIVIDUALS

JON GARTENBERG

jon@gartenbergmedia.com

LAURENCE KARDISH

laurencekardish@verizon.net

ADRIAN WOOD

adrian@inkullamedia.com

RICHARD J. MEYER

meyerhar@aol.com

RAY EDMONDSON

ray@archival.com.au

JORG HOUPERT

j.houpert@cube-tec.com

FIAF Bulletin Online #18 - 12/2019

Editor: Christophe Dupin

Editorial assistant: Christine Maes

Graphic design/layout: Lara Denil

Proof-reader: Catherine A. Surowiec

Published by FIAF

Rue Blanche 42

1060 Brussels

Belgium

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