The Fédération Internationale des Archives du Film (FIAF), the Association des Cinémathèques Européennes (ACE), Cineteca di Bologna and L’Immagine Ritrovata are eager to announce that the ninth FIAF Film Restoration Summer School will take place during summer 2020 in Bologna, confirming the good results of their long lasting cooperation. The application process will close on the 16th February 2020.
Since 2007 these institutions have been promoting an ideal of shared knowledge in the field of film restoration offering the opportunity to specialists, film archive staff and students to experience the complete restoration workflow through the use of photochemical and digital technologies in a two-decade experienced film restoration laboratory.
National Audiovisual Institute Launches 4k Streaming Service
On 3 December, the National Audiovisual Institute (KAVI) in Helsinki launched a greatly expanded streaming service at elonet.finna.fi.
The key addition are 200+ Finnish feature films which are now available for streaming anywhere in the world for free. The bulk of these films are available at Ultra HD resolution but all feature titles are in at least HD quality.
The number of films available for streaming will grow in the coming years because in all, KAVI owns about 450 feature film titles. This number is about a quarter of all feature films ever produced in Finland.
Additionally, Elonet hosts thousands of advertising, documentary, and other short films. All war-time newsreels and the full series of 700 Finlandia newsreels are available for watching.
Elonet was originally launched in 2006 as a filmographic database. In 2018, KAVI built its own view to the national online finna service of archives museums and libraries, and this week, the elonet brand moved to Finna.
Call for Proposals for the 12th Orphan Film Symposium – Water, Climate, & Migration, hosted by the 6th Eye International Conference, 23-27 May 2020
The biennial NYU Orphan Film Symposium returns to Eye Filmmuseum in Amsterdam, 23-27 May 2020, combining forces with the annual Eye International Conference to explore contemporary archival and academic debates. As always, both events assemble film heritage professionals, scholars, archivists, media artists, curators, collectors, filmmakers, and restorers, and others devoted to saving, studying, and screening neglected audiovisual media. Presenters selected from this open call for proposals will offer three full days and four evenings of talks and special screenings of rare and restored films.
This edition focuses on the urgent but perennial subjects of water, climate, and migration, by examining how neglected works have recorded, represented, and imagined these phenomena throughout the history of moving images.
We invite proposals to present talks and screenings that address one or more of these intertwined concepts. The symposium seeks a range of historical and theoretical perspectives. Proposals might address questions such as these:
- Water. Why water? Because of Amsterdam! Because everywhere. Water is essential to life itself but also has destructive, even traumatic power, through its flooding forces — or its scarcity. Societies are shaped by their interrelationships with water — the Netherlands being a most conspicuous and visible example. For filmmakers, media artists, and documentarians, H20 has always been a subject with aesthetic attraction as well. What neglected films illustrate the significance of water in its many forms?
- Climate. How can the study of moving images inform our understanding of earth’s climate over time? Of perceptions and collective imagination of climate? What films have tackled this subject directly? Indirectly? How might media be used as evidence of historical climate change? Moreover, how are the practices and conceptions of preservation itself being reexamined in a time of climate change? What of the environmental impact on and of archives? And how does a growing awareness of living an Anthropocene epoch alter our experience of watching historical audiovisual recordings of planet Earth, its atmosphere, landscapes, oceans, shores, cities, farms, flora, and fauna.
- Migration – human, animal, other – remains a topic of news, policymaking, political debate, scientific study, social analysis, and historical research. Humanitarian crises of migration are prevalent in current discourse but have been so throughout the history of mass media. What previously overlooked films and media recordings help us understand issues of migration and our engagement with them?
We of course also welcome proposals that address perspectives not mentioned here.
We invite a variety of presentation formats: traditional illustrated conference papers; introductions to single films; performances, demonstrations, and interventions; and recent media productions using archival or found footage. We can consider a limited number of (live) video presentations for those who either don’t fly or who want to fly less. Presenters selected from this open call will discuss and screen rediscovered or recently preserved films from collections and archives around the world. The event showcases a diverse array of rare orphan films – silent, experimental, nontheatrical, sponsored, independent, scientific, documentary, educational, newsreel, fragmentary, amateur, industrial, personal, incomplete, and other moving images from outside of mainstream cinema.
Presentations of 10 to 30 minutes will constitute most of the programming. We can also accept proposals for longer time slots if the running time of a compelling screening or the nature of a collaborative presentation warrant more than half an hour. Evening screenings (with short introductions) may allow for longer films, including features. We may discuss with presenters appropriate alteration of a format or duration when this makes curatorial sense for the programme as a whole.
how to apply
- Proposals (500 words or less) for presentations should summarize the argument or rationale and identify AV materials by title, format, and duration. Include a short bio (50 words).
- E-mail a .docx attachment to email@example.com.
- Subject header: PROPOSAL for Orphans 2020.
- Proposals received by 19 November 2019 will receive full consideration.
travel grant programme
Eye and NYU Orphans have established a travel grant programme for speakers of the Eye International Conference. The grants, up to 500 euro each, can be used to partially offset registration and travel costs. To apply, please submit a brief essay (no more than 500 words) addressing the financial need for the award, as well as how attendance at the conference will contribute to your professional development. Email your application by 19 November to firstname.lastname@example.org, using the term “Travel Grant” in the subject header. The travel grant programme is only open for speakers of the Eye International Conference 2020.
The Orphan Film Symposium begins with an evening screening on Saturday, May 23 (preceded by “Meet the Archive,” an afternoon public programme highlighting recent projects from the Eye Collection). Three full days and evenings of symposium presentations and screenings, Sunday, Monday, and Tuesday. “Orphans 12” attendees are also invited to special activities at the Eye Collection Centre on Wednesday 27 May.
This event is organized by Eye in collaboration with the Orphan Film Symposium, a project of NYU Tisch School of the Arts, Department of Cinema Studies, and its Moving Image Archiving and Preservation Program.
University of Amsterdam (UvA) and the Amsterdam School for Cultural Analysis (ASCA).
Registration is open for a full week of audiovisual archiving knowledge and experience sharing: both the International Association of Sound and Audiovisual Archives’ 50th Annual Conference and the Joint Technical Symposium, stewarded by the Coordinating Council of Audiovisual Archiving Associations, will be taking place at the Netherlands Institute for Sound and Vision in Hilversum from September 30 – October 5. We’re happy to announce that registration for both events is now open! Save your seat for both or either event at 2019.iasa-web.org and jts2019.com.
#IASA50: IASA will be returning to the country of its birth, as the association was established in 1969 in Amsterdam to function as a medium for international co-operation between archives that preserve recorded sound and audiovisual documents. The preliminary programme is available at http://2019.iasa-web.org/programme. Do visit the conference website for more information about the conference, such as the programme, venue, travel advice, social events, information on workshops and tutorials, professional visits and other details: http://2019.iasa-web.org/. Please note that the “early bird” registration rate ends on September 2, 2019.
#JTS2019: JTS is the international scientific and technical symposium dealing with matters of particular importance to audiovisual archives and archivists. It provides an opportunity for audiovisual archiving experts from different backgrounds to come together, share new and upcoming technical advances in our field, and take positions that go beyond the boundaries of specific formats or domains. It is an occasion to inform each other about what’s going on in our field and seek cross-fertilization. Organized every few years since 1983 by the various audiovisual archives associations now forming the CCAAA, it provides an opportunity for colleagues around the world and those interested in the field to meet and share information about the preservation of original image and sound materials. Keep an eye on the website for updates: jts2019.com
We look forward to welcoming you in The Netherlands!
Communications & Outreach
Netherlands Institute for Sound and Vision
Media Parkboulevard 1, 1217 WE Hilversum
Postbus 1060, 1200 BB Hilversum | beeldengeluid.nl
UPDATE 25 September: Extended until the end of the year (31/12). Moreover, the possibility will also be offered to those responding to answer in another EU language than the ones of the consultation (EN, FR and DE).
We would like to inform you about the targeted consultation on the exercise of rights of performers and producers in the audiovisual sector published on the Commission’s website. The consultation will be open until the 31st of December. Your contribution would be very welcome, and we ask you kindly to please forward this email to anyone else in your network who might also want to provide feedback.
The aim of this targeted consultation is to gather relevant data on current market practices and on the exercise of rights of performers and producers in the audiovisual sector. The Commission will analyse these data in preparation of a report assessing the possible need for an extension of the term of protection of the rights of performers and producers in this sector, as required by Article 3(2) of Directive 2011/77EU.
This consultation is addressed at those engaged in the management of rights in the audiovisual sector. It mainly concerns performers and producers who are holders of related rights and their contractual partners such as broadcasters, distributors, sales agents, online platforms and cultural heritage institutions.
Please do not hesitate to contact Ms. Caroline Colin, Policy and Legal Officer-Copyright Unit, European Commission (email@example.com) should you have any questions.
According to the ACE statutes, film archives in a European country may be admitted as members, under the precondition that they
- are members of FIAF or
- are public mission non-profit film heritage institutions that have signed a statement of adherence to the Code of Ethics of FIAF,
- be nominated by at least two members.
In practice, you should
- contact two ACE film heritage institutions in your area or that you otherwise know asking for nominations for membership. These institutions may submit their nomination via email.
- If you are a FIAF member, you may then apply for membership via email stating that you are a FIAF member.
- If you are not a FIAF member, print out and sign this statement, and send it in hard copy or as a signed PDF.
After receiving your application, the Executive Committee will process it. When the application has been approved, you will become an ACE member with full rights after paying the annual membership fee, currently 700€.
All application related emails and mail should be sent to the General Secretary of the ACE.
This information can always be found in the ACE menu at the top as “ACE Member Application”.
DFF – Deutsches Filminstitut & Filmmuseum and Filmoteca Valenciana – IVC are partners the EU project NEMOSINE, which aims to set new standards for the preservation of audiovisual heritage by developing innovative “smart packages”.
The packages will be equipped with the latest sensor technology to monitor decomposition processes and adsorb decomposition products such as acetic acid. The focus is on films, photos and audio carriers based on cellulose. Aim of the four-year project is to achieve more efficient long-term archiving and increase the life cycle of films and other audiovisual objects. http://www.nemosineproject.eu/
To get an overview of current archival preservation conditions, could you please answer the following questions: Under what conditions do you store and preserve your collections? Which packaging / cans do you prefer? How satisfied are you with the existing solutions? What requirements do you think a “smart package” should meet?
This link will take you to the questionnaire:
Completing the seven pages of the survey will take about one hour. You can save and pause at any time (just click on the button at the bottom of the page). Please answer the questions to the best of your knowledge. As a potential user of the innovative cans your feedback is important to us. Your answers will be treated confidentially.
Deadline is 20 March 2019. If you have any questions, please do not hesitate to contact us.
Thank you for your support!
With kind regards,
Kerstin Herlt, DFF – Deutsches Filminstitut & Filmmuseum (firstname.lastname@example.org)
Juan Ignacio Lahoz Rodrigo, Filmoteca Valenciana – IVC (email@example.com)
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.