We are happy to present a brief report of the ACE workshop, which took place during Il Cinema Ritrovato festival in Bologna and concerned the access, exhibition and distribution of film heritage in the 21st century.
The EU funding for film heritage screenings announced in March has been allocated.
This summer, European film classics will be screened in some of Europe’s most iconic cultural heritage venues. From tomorrow until the end of September, classic films from across the EU will be screened free of charge in a wide variety of venues in 13 EU countries – from small towns to capital cities – highlighting Europe’s rich and diverse cultural heritage. As part of the wider restoration and digitisation of heritage films, the event series “A Season of Classic Films” is supported by Creative Europe MEDIA programme.
June 6, The Yugoslav Film Archive (YFA) Day, was marked by first offering a review of the history of the institution, celebrating its 70thanniversary, followed by the Golden Seal Award ceremony, awarded to former students of the Prague Film Academy who became distinguished film directors – Lordan Zafranović, Srđan Karanović, Goran Marković, Rajko Grlić and Goran Paskaljević.
The festivities in the packed Makavejev Hall were attended by former YFA managers and guests of the festival – representatives of various film archives from the region and the world.
The Yugoslav Film Archive’s director, Jugoslav Pantelić, pointed out “the multigenerational effort on the part of those who created and create film art, and on the part of the Yugoslav Film Archive’s employees, which enabled us to feel proud today, seven decades since its founding”.
With an exhaustive overview of the history, funds and activities of the YFA, accompanied by words and images on the screen, Pantelić announced the release of a monograph on the YFA, as well as a new permanent museum exhibition, both scheduled for this fall. A video showcasing the current project of digitally restoring the Serbian film legacy, named “VIP Kinoteka”, was also screened.
The Nitrate Film Festival
Saša Erdeljanović, the manager of YFA’s archives, opened the Nitrate Film Festival, of which he is the director and the selector. The tagline of this year’s Nitrate Film Festival was “70 films for 70 years”. The festival featured films of various genres, including banned, recently unearthed, and newly digitally restored films. Also, for the first time, it featured 9.5 mm films shot in the 1920s and ‘30s, and a review of films about Serbia and Yugoslavia produced until 1941. This year the festival featured films from over 30 film archives around the world.
A special screening of Orson Wells’s The Other Side of the Wind opened the 21st Nitrate Film Festival after the Film Archive Day festivities. The festival ran June 6–16.
A panel discussion entitled “The preservation of cinematic cultural heritage and challenges of the digital age on the territory of former Yugoslavia” was held on June 7, 2019, as part of The Nitrate Film Festival.
Representatives from national film archives of the region joined the panel: Tatjana Rezec Štibilj from the Republic of Slovenia’s Film Archive; Ivan Nedoh from “Slovenska kinoteka”; Dinko Majcen and Mladen Burić from Croatia’s Film Archive, Andro Martinović from the Film Archive of Montenegro; Devleta Filipović from the Film Archive of Bosnia and Herzegovina; Vladimir Angelov from Macedonian “Kinoteka na Makedonija”; Ksenija Zelenović, representing of The Yugoslav Film Archive, and Jugoslav Pantelić, its director, who also moderated the discussion.
The participants welcomed and accepted in principle Pantelić’s proposal to establish closer co-operation among the Film Archives of the region. This would entail a Film Archive being able to carry out a digital restoration of a film made during the times of joint state of Yugoslavia, in case the original materials are being held in the archive of another ex-Yugoslav republic.
Besides sharing practical information, primarily in the field of digital restoration, another proposal made by the Yugoslav Film Archive was met with overall approval: that the archives and cinémathèques of non-EU countries of former Yugoslavia (Serbia, Bosnia and Herzegovina, North Macedonia and Montenegro), before using the technical support provided by European Commission through its TAIEX instrument, jointly determine the date, subject, and location of a meeting which would include interested professionals from these territories.
Representatives of all six states agreed to strengthen their mutual co-operation in terms of exchanging respective experiences and carrying out mutual projects.
Photo: third meeting of the CEN/DIN TC 457 in October 2018 in Berlin
The CEN TC457 project team is pleased to invite you to a presentation in Bologna on the progress of our work on the CEN Preservation Package aimed for the digital long-term archiving of films.
The 50 minute session will start with a 20 min presentation on the concepts and ideas for this digital long-term archive format followed by a panel and a discussion with the audience.
It will take place on Monday 24 June at 11:00 am at the DMS auditorium, Piazzetta Pier Paolo Pasolini, Bologna.
We are looking forward to see you there.
The films of the Mutoscope and Biograph are the oldest films in the Eye vaults. The collection of Mutoscope and Biograph films consists of 200 films of approximately one minute each. The films are quite rare, only the British Film Institute has a similar smaller collection.
The films were shot on a very large format that was quickly outdated, but which yielded spectacularly beautiful images: 68mm. Apart from the format, the material is unusual because it doesn’t have sprocket holes, so the image fills the entire width of the film strip. This produces an image quality that is comparable to IMAX – 8 to 16K in digital terminology.
Most 68mm films contain rare images from various locations in Europe, with an image quality that after 120 years is still one of the best that film can transmit.
In 2015, the South African artist William Kentridge donated 10 Drawings for Projection (1989-2011) to the Eye Filmmuseum. These ten short animation films marked Kentridge’s breakthrough on the international art scene. Illuminating the eventful history of South Africa, these films will be shown at Eye this summer as part of a larger installation. Also included in the exhibition is the film installation O Sentimental Machine (2015), featuring historical footage of Russian revolutionist Leon Trotsky. The exhibition takes place during the Holland Festival, for which William Kentridge is Associate Artist. Eye Filmmuseum, Amsterdam, 3 June – 1 September 2019.
Tuesday 25 June, 2–5 p.m., MAMbo, Museum of Modern Art, via Don Giovanni Minzoni 14
In 2008 ACE started the European Film Gateway (EFG) project, linked to Europeana, as the first project to make our film heritage available online. The project confirmed the importance of metadata, and highlights its interoperability. The second step for ACE was the EFG / World War I project, a curatorial project for our film collections online. At this stage, more than 53,000 videos (videos, not films!) are available.
In 2016 Fondazione Cineteca Italiana launched ‘The Film Corner. Online and Offline Activities for Film Literacy’, a co-financed Project within the frame of the Creative Europe Program, based on the creation of an online interactive platform especially devised for young people and their teachers.
The general framework of the project is provided by the “Framework for Film Education” edited by the BFI in 2015. Experts from different search fields have been contributing to designing and creating the platform content, which is dedicated to a cross-curricular approach that connects film to other subjects, languages and topics. The cross-curricular attitude is a core aspect of the platform, whose aim is to support teachers in working with their students, giving them skills and knowledge through an ancillary use of film.
Call for papers
The 16th BAAC annual conference « GLAMorous content and access » will be held from October 9th to 11th 2019 in Riga, Latvia, in the Freeport of Riga (Rīgas Brīvostas pārvalde) conference hall, Kalpaka bulvāris 12.
Audiovisual materials are being collected by different types of memory institutions, such as archives, museums, libraries, as well as broadcasting institutions and research institutes. Historically, different memory institutions use different practices and standards for description and cataloguing. New technologies are emerging for capturing metadata and descriptive information, and challenging traditional practices of archival description. Lack of universal cross-domain standards for description of audiovisual materials forms a major challenge for exchange of information.