Rebranding: DFF – Deutsches Filminstitut & Filmmuseum

Press Release: Projects 2019 / New name – new design

A new name, a new brand identity, a new study center on Eschersheimer Landstrasse, innovative exhibitions and other exciting projects: 2019 will be a special year for an institution that goes back, at its roots, to the Deutsches Institut for Filmkunde (DIF), which was founded 70 years ago on 13 April 1949. Say hello to the new DFF – Deutsches Filminstitut & Filmmuseum.

2018, the first year for new director Ellen Harrington, was a successful one, with 201,000 visitors in the Museum on the Schaumainkai alone, and 365,000 visitors worldwide at our touring exhibitions and film programs. Right at the beginning, Harrington initiated a series of processes to analyze the impact of the institution. In addition to extensive visitor surveys, a working group started in February to draft a new mission statement; the group also developed the new name that presents this international film heritage institution as a unified entity- the DFF – Deutsches Filminstitut & Filmmuseum.

The new names stands, from now on, for the integrated organization that has emerged from the joining of the former DIF and the Deutsches (German) Film Museum, which opened in 1984. After the renaming of the Deutsches Institut für Filmkunde to “Deutsches Filminstitut” in 1998, the acronym DIF did not fit any longer, though it remained in use. With the merger of the Deutsches Filminstitut and the Deutsches Filmmuseum in 2006, its use repeatedly caused confusion. This is now a thing of the past. In 2019, the year of the 70th birthday of the institution, the DFF presents itself as a unified whole.

In addition to the new name and acronym, this naturally also includes a new corporate design: a new logo and a new graphic concept that represents the building and all its departments and activities as a whole. The aim was to make the brand more recognizable and understandable at a glance. With a clear, almost classical logo and
a fresh color concept, the Offenbach-based graphic design firm Urban Media Project has successfully implemented this requirement. Their clever brand design, which focuses on projection as a link between the analogue past and the digital present and future, will be widely presented in the coming weeks and help to advance the repositioning of the institution.

The tag line “Everything is film,” derived from the mission statement, punctuates the brand. It expresses the belief, from the point of view of our DFF experts, that ‘film’ encompasses and communicates the essential things in life and art – it creates a ‘cinematic world’ which touches our emotions, evokes our dreams, and shares visual beauty or even ugliness. Film inspires our imaginations with themes and images that entertain, shock and challenge us as human beings. Everything we see, hear and feel can remind us of a film, and serve as the inspiration for a new one. That is why, for us: Everything is film!

An appealing, responsive new website is currently being created, which will go online in the Spring; there visitors can intuitively discover the full range of DFF offers. Naturally, this will also include online ticketing for cinema-goers.

70 years of DFF – Our Anniversary Year in Brief:
The film installation ‘70 Years in 70 Minutes,’ opening on 25 March, presents German film since 1949 in a curated projection experience, and gives the starting signal for the celebrations marking the 70th anniversary of the house, which culminate in a ceremony with Minister of State Monika Grütters on Monday, 20 May. On the same day, the new DFF – Fassbinder Center, Frankfurt, will be opened – another highlight of the anniversary year. In the new study center on Eschersheimer Landstraße, the DFF will be able to concentrate its many collections, including the estate of Rainer Werner Fassbinder, which was taken over in 2018, and make them accessible to film experts and the public for research purposes.

Shortly thereafter, on 3 June, ‘Digital Revolution,’ an interactive exhibition dealing with the creative possibilities digitalization offers the arts will open, with a focus, of course, on the medium of film. The international artist Maximilian Schell, whose personal collection the DFF took over two years ago, is the subject of a major autumn exhibition that combines multimedia elements with scenic installations and invites visitors to immerse themselves in Schell’s artistic cosmos, including his interactions with many of the leading creatives of the 20th century across many fields.

First up, from February 1, there will be a visitor-oriented innovation in the opening hours: In future, the museum will change its evening schedule, and will be open until 8 p.m. on Fridays instead of Wednesdays.

Frauke Haß
Presse & Öffentlichkeitsarbeit / Leitung
Deutsches Filminstitut & Filmmuseum
Schaumainkai 41
60596 Frankfurt am Main
Tel: 069/961 220 307
hass@dff.film

www.dff.film

Call for Tender for a Project Expert for the preservation of digital cinema

The Secretariat of CEN/TC 457 would like to inform you that the third Call for Tender for preservation of digital cinema has been put on the Homepage of the DIN Standards Committee Entertainment Technology, Photography and Cinematography (NVBF).

https://www.din.de/en/getting-involved/standards-committees/nvbf/news/cft-preservation-of-digital-cinema-en-261552

The purpose of this call is to find a film archive representative – project team expert 5 – for the Project Team which will be in charge of the bulk of the practical work in this standardisation project.

The tasks of the project team expert 5 include:

  • Taking part in project team meetings (at least at 3 month intervals) to discuss results and next steps, to monitor progress and results, in order to ensure the agreed timeline
  • Evaluating standards and collecting requirements regarding film archives together with expert 4
  • defining the archive framework together with expert 2 and expert 4
  • Describes common workflows in film archive processing together with expert 3 and expert 4
  • Supports project group with requirements of film archives, especially make recommendations on legal deposit and workflow implementations
  • Supports PT leader and expert 3 and expert 4 in assessment of results of software development team according to the specifications
  • Discusses project results with experts from service providers and archives, gives feedback to the project team and delivers comments back to the project team
  • Supports project group with knowledge and descriptions of workflows in film archives
  • Dissemination of the progress and result to the archive and postproduction community
  • Taking part in the meetings with the development team, which will be held on a regular basis in order to discuss results with the development team, getting feedback on changes requested, identifying the effects on changes in the software to the draft and in order to ensure a good collaboration with the development team

The deadline for tenders is the 21st January 2019.

Digital Cinephilia in the Archives: European cities from grain to pixel

Monday, October 22nd 2018

 

In the context of I-Media-Cities, the Greek Film Archive in collaboration with the Laboratory of Audiovisual Media of the Department of Communication and Media Studies, National and Kapodistrian University of Athens, organises the one-day conference “Digital Cinephilia in the Archives: European cities from grain to pixel“.

The Conference will be conducted in English.

To read the full program of the conference, please click here.

Venue: Greek Film Archive

Free admission

Budapest Classics Film Marathon 2018

RESTORED MASTERPIECES ON BIG SCREEN
4–9 September 2018

Claudia Cardinale (Once Upon a Time in the West, 8 ½, The Leopard), Klaus Maria Brandauer (Mephisto, Colonel Redl, Out of Africa) and Jean-Marc Barr (The Big Blue), as well as Katinka Farago, Ingmar Bergman’s legendary – Hungarian-born – colleague, are all coming to Budapest between 4–9 September. Hungarian film classics, 4K restored by the Film Archive and Hungarian Filmlab will be screened along with masterpieces restored by other major European archives. This is the first opportunity to see the magnificently restored Oscar-winning Mephisto, Zoltán Fábri’s and Sándor Sára’s films, Hungarian animations, beautiful documentaries on such defining female characters of the film industry as Hedy Lamarr, the select of Cannes Classics 2018 programme is on show. We can also learn about which movies inspired Wes Anderson to make The Grand Budapest Hotel.

http://filmarchiv.hu/en/film-marathon

https://www.facebook.com/events/440020356484872/

Photo: István Szabó’s Mephisto – Academy Award for Best Foreign Language Film, 1980 © Hungarian National Film Fund – Film Archive

 

The 5th Eye International Conference

hosts The 10th Women and the Silent Screen Conference

Save the date 25–28 May 2019

http://eyefilm.nl/conference

SISTERS

Sisters
Women and the Silent Screen (WSS), an international conference held biennially, brings together research focusing on all forms of women’s presence in the earliest decades of motion picture history. After its first edition in Utrecht in 1999, the conference is coming back to the Netherlands to celebrate its twentieth year. The theme of WSS X is Sisters, taken both literally and figuratively within a wide range of theoretical and historical angles.

General Assembly 2018

The next ACE General Assembly will be held in Bologna on 27 June at 2–5 p.m. in Sala Cervi at Cineteca di Bologna, via Riva di Reno 72. Members: do remember that this is an election year of the Executive Committee so it is important to be present to vote for your favourite candidates.

Meeting documents (agenda, minutes of GA 2017, activity report, results 2017, budget 2018, mission statements) are available in the members’ area.

Film Education and Film Heritage conference

Thursday, June 28th 2018

9.30 am – 1.15 pm / 14.30 pm – 16.30 pm

@ Cineteca di Bologna – Sala Cervi, via Riva di Reno 72

Alain Bergala, Jean-Michel Frodon, Gian Luca Farinelli and Madeleine Probst will hold multidisciplinary discussions with film experts, teachers, critics and educators, with the aim of establishing quality criteria for Film Education at a European level.
They will highlight, through practical examples and best practices, the important role played by Film Heritage in our cultural background, and how it contributes to making young audiences more attentive and aware when it comes to dealing with audio-visual contents.
The conference is co-organised by CinEd and FLICK; European projects co-financed by the MEDIA sub-programme of Creative Europe.

 

To read the full program of the conference, please click here.

Workshop by Cinematek and Moma

From Concept to Concrete: Achieving Interoperability Through Linked Open Data in Film Archives and Beyond

Thursday, June 28th, 11.30 – 13.30
@ MAMbo – Museo d’Arte Moderna di Bologna, Conference Hall, via Don Minzoni 14

Workshop promoted by Cinematek (Cinémathèque Royale de Belgique, Bruxelles), MoMA – The Museum of Modern Art, New York and supported by FIAF (International Federation of Film Archives) and IBC (Istituto per i beni artistici culturali e naturali della Regione Emilia-Romagna).

Participants:

  • Bram Biesbrouck (Republic of Reinvention)
  • Nicola Mazzanti (Cinematek)
  • Francesca Ricci (IBC), Thelma Ross (MoMA)

Why is interoperability so difficult for film archives to achieve? Efforts along these lines have often resulted in complete failure or imperfect results.
What if we just haven’t had the right solution until now?
Isn’t it worth taking a look if it means your institution can finally and more completely fulfill its goal to provide access to its collections, both film and film-related materials?
Linked Open Data may be the way forward and this workshop will present ideas, arguments, and concrete developments that should help you understand its potential as well as the resources available to help you start using it.

Film Storage and Preservation – ACE Session

Tuesday June 26th, 2018 – h 14.30

ACE Session at the FIAF Film Restoration Summer School:

Film Restoration

  • Thomas Christensen (Curator, DFI)
  • Mikko Kuutti (Deputy Director, KAVI)
  • Nicola Mazzanti (Director, CRB)

present their classic curriculum on film preservation from analogue preservation principles via Digital 101 aka the Pixel to zoological references in restoration.

The session will take place at Auditorium – DAMSLab
@ Piazzetta Pier Paolo Pasolini 5/b (via Azzo Gardino 65/a) – 40122 – Bologna – Italia

DAMSLab - Auditorium © Università di Bologna