As a follow-up of the European Year of Cultural Heritage 2018, the European Commission will support the restoration of at least 4 heritage films. The total available budget is 320 000 €.
This project is managed by Creative Europe MEDIA and we are now gathering proposals for restoration and digitisation of films with a recognised value and a potential to find audiences in various EU states.
The EC grant can cover either the full restoration process or part of it (the grant can be accumulated with other sources of funding). The expected final product must include subtitles in the 24 official EU languages. An audio description is also encouraged. The deadline for delivering the final product (a remastered version of the film ready to be screened) is 31.10.2019.
Basic info: title, year of production, director, genre, synopsis (or other very short description of the theme), language, copyright owner
Physical condition of the film – required scope of works and expected timeline of works, including whether the restoration has already started etc.
The budget of required works
Please explain why should Creative Europe support the restauration of this film – (maximum 10 lines):
– why it might be considered part of shared European film heritage?
– has it been previously exploited outside country of origin (cinema, TV distribution)?
– you may include any other relevant information, such as received awards etc.
We strongly recommend joint restoration projects of several European film archives and film heritage institutions.
The deadline for submitting proposals is 15th April 2019. The selection will be made until end-April.
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).
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.
26/02/2014 – This year’s FIAF Film Restoration Summer School will be held in Bologna from 28 June to 18 July.
Since 2007 Cineteca di Bologna – in collaboration with FIAF, ACE and the EU MEDIA Programme – has been hosting the FIAF Film Restoration Summer School. It is designed both for archivists and staff working at FIAF archives, and students. The main purpose of this training programme is to foster knowledge in the field of film restoration and conservation. Selected participants will meet meet experts from all over the world, as well as the Laboratory and Cineteca staff.
The programme is divided in 3 sections:
ON-LINE DISTANCE LEARNING
We are glad to announce that FIAF and ACE will grant a number of scholarships for the Film Restoration Summer School 2014:
FIAF grants 3 scholarships of € 1.000 each ACE grants 3 scholarships of € 750 each
4 May 2012 – The 5th edition of the Film Restoration Summer School / FIAF Summer School will take place in Bologna from June to July 2012. The project is organised and hosted by Cineteca di Bologna in collaboration with ACE and FIAF. The main objective of the Summer School is to teach and update participants on how to restore and preserve a film through the use of photochemical and new digital technologies. It is designed for both for archivists and staff working at FIAF archives, and students. For the Festival Edition 2012, ACE awarded a scholarship to five applicants.
Programme and timetable 2012 On-line Distance Learning: 9 May- 20 June (on Wednesdays) Theory Classes: Bologna, Il Cinema Ritrovato Film Festival, 23 – 30 June Restoration Practice: Bologna, 2 – 13 July During the internship, participants are supervised by international experts and laboratory staff to put into practice what they learned during their first week of theory.
Please find more information, the full programme and the list of the 36 selected participants here.
The final report of the Study on a Digital Agenda for European Film Heritage is available on-line. The Study was launched in January 2011 to assess the impact of digitisation for European film archives. It has been conducted by peacefulfish Productions Ltd, subcontractors were Red Cat Technologies, the University of Helsinki/IPR University Center and the external expert Nicola Mazzanti. Read the full report. More information on the DAEFH study
7 November 2011 – “Mania – The history of a cigarette factory worker” (1918) starring legendary Polish actress Pola Negri will be screened at Volksbühne Berlin on 8 November. In 2006, a copy was found in a Czech film collection and acquired by Filmoteca Narodowa (National Polish Archive). The heavily damaged film was fully reconstructed, digitally restored and sent on a world tour through the European capitals Warzaw, Paris, Madrid, London and Berlin. The music, composed just for this occasion, will be performed live by the Wrocław Chamber Orchestra Leopoldinum, conducted by Jerzy Maksymiuk.
“MANIA – World Tour of a Silent Film with Live Music” is a project of Filmoteka Narodowa as part of the Polish EU Council Presidency.
19 September 2011 – On 13 and 14 October, film makers, curators and historians, technicians, and producers, will meet at La Cinémathèque Française in Paris to discuss the transition from analogue to digital and its impact on the founding missions of cinematheques : to collect, conserve, restore and show. The symposium will focus on 4 topics:
28 April 2010 – The Schlemmer Frame Collection is the property of Edith Schlemmer, the former chief archivist of the Austrian Film Museum. Mrs. Schlemmer had received it in the 1960s as a donation from an anonymous collector, and decided to make it available to the Austrian Film Museum for purposes of research and publication.
This little treasure consists of 2254 frames and fragments of films, mostly silent and mostly from the period between 1910 and 1920, many of which are believed lost. The collection has now been digitized and ordered, with the aim of identifying and cataloging the individual items as well as preserving the original order. At present, 35% of the collection have been identified. The process of research and identification is ongoing and will presumably continue for several years. As a parallel endeavour, a visual database of these beautiful images has been created and can be accessed here.
Although many film archives are in possession of these types of collections, it is the first time that one of them receives such detailed attention from researchers. The aim of the Austrian Film Museum is to make these images accessible to the larger public, to enable everyone to enjoy the colors and photography of early cinema, to constitute a historical resource for archivists and researchers, and to enlarge the debate about open archives and “orphan” collections held in those archives.