Le projet Balkans’ Memory, sauvegarder et valoriser la mémoire audiovisuelle est mené par l’Ina, en association avec le Centre audiovisuel croate, le Centre des archives du film d’Albanie et la COPEAM. Son objectif est de poser les premiers jalons d’une politique ambitieuse de sauvegarde et de valorisation du patrimoine cinématographique et audiovisuel dans la région des Balkans.
La conference final rassemble les décideurs régionaux et les principaux acteurs dans le domaine de la protection du patrimoine audiovisuel et cinématographique.
Téléchargez le programme en pdf
En svaoir plus sur Balkans’ Memory
15 August 2014 – In connection with the policy report »Towards an integrated approach to cultural heritage”, the Commission has published an overview of activities and funding programmes related to cultural heritage, including film heritage: Horizon2020, Europeana, Creative Europe and the Structural & Investment Funds, ERASMUS etc. It encourages cultural institutions to seize these opportunities and to work closely across Europe to ensure that cultural heritage contributes to more sustainable growth and social cohesion.
Europe as a political body needs to recognize the value of cultural heritage, beyond economical and financial legislations. It is a powerful instrument to build a shared identity and a sense of belonging amongst and between European citizens, as stated in the declaration “ A new narrative for Europe”.
Read the Mapping Report
Communication – Towards an integrated approach to cultural heritage for Europe
Declaration – A new narrative for Europe
Pour sa première édition, le festival propose plus de 40 séances à travers trois sections de programmation (Hommage à la Film Foundation de Martin Scorsese – Restaurations et incunables – Les débuts du cinéma sonore 1900-1932), ainsi que des ateliers, conférences, tables rondes, ciné-concerts et démonstrations. De nombreuses restaurations sont présentées en France pour la première fois: All That Jazz de Bob Fosse (1979), Au feu les pompiers ! de Mi los Forman (1967), Chantage d’Al fred Hitchcock (1929), Le Cadavre vivant de Fedor Ozep (1929), Déchéance de Clarence Brown (1925), L’Évadée d’Arthur Ripley (1946), Je suis un fugitif d’Alberto Cavalcanti (1947), Le Joli Mai de Chris Marker et Pierre Lhomme (1962), M de Joseph Losey (1951), Misère au borinage de Joris Ivens et Henri Storck (1933) ou la version sonore de Solitude de Paul Fejos (1928). En partenariat avec Fonds Culturel-Franco Americain
Dossier de presse
3 September 2012 – This year’s Cinema Expert Group – Subgroup Film Heritage takes place at the Cinematek in Brussels on 16 October 2012. The Cinema Experts Group is annually organised by the Audiovisual and Media Policy Unit of the European Commission, where experts from all over Europe meet to discuss best practices and policies related to film heritage. Attendance to the meeting is by invitation only. Agenda updates and related documents are available on http://ec.europa.eu/avpolicy/reg/cinema/experts/index_en.htm
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.
For further information, please contact Elena Tammacaro.
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 Executive summary available in en, fr, de More information on the DAEFH study
Organized by the Filmoteca Española, the conference took place on 7 – 8 June 2010 on the occasion of the Spanish EU Presidency. The following conclusions are based on the presentations by the speakers who constitute a highly representative body drawn from film archives, universities which offer courses related to the film heritage, and institutions dedicated to training in the areas of the conservation and diffusion of cultural heritage within Europe as a whole.
The Conference participants, all representatives from film archives, European universities and training institutes
- The creation, in various European countries, of University M.A courses and other introductory training modules designed to provide training related to the Film Heritage, particularly in conservation and restoration.
- The holding of specialised conferences, seminars and other modules of ongoing education, largely organised through the initiative of film archives.
- That the impact of new technologies calls for the redefining, with an eye to the future, of the occupations and profiles related to the Film Heritage and its conservation and diffusion.
- Closer ties between film archives and training centres in order to agree on supply and match it to demand, with a view to a future market of diversified work, and the need to establish broader professional and occupational categories.
- Therefore, the formulation of, on the one hand, a referential table of professional tasks and profiles and, on the other, a White Paper on existing training with recognised results.
- That the conservation and valorization of the Film Heritage receive European Union and Member State recognition and support equal to that given to other cultural areas, such as Fine Arts and Libraries.
- The establishment at a trans-national European level of an initial training born of an agreement between Universities and Archives, with additional periodic ongoing education initiatives, which would take into account, on the one hand, the array of professional tasks and levels required, and on the other, their place within a broad and high-level training format which responds to the express ambition to put the film heritage on a level footing with other cultural sectors.
- An increase in European Union support through the diversity of its programmes and other Community instruments, taking into consideration its trans-national sphere of activity and its principles of subsidiarity.