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”.
The European Film Academy is proud to present the 8th Edition of the European Film Academy Young Audience Award, an event that this year involves 55 European cities from 34 different Countries.
Guys ages 12 to 14 will have the possibility to experience a very special day on the next 5th of May as a part of the European jury that will have to decide which of the three nominated movies deserves the Award.
EFA YAA – European Film Academy Young Audience Award will be held on Sunday the 5th of May in all 55 institutions, where young jurors will watch the nominated films. Afterwards, the secret vote will take place and it will be unveiled together with that of the other participants from all over Europe during an official ceremony in Erfurt (Germany). The announcement of the winner will be broadcast live on yaa.europeanfilmawards.eu.
At the end of March, the Cinemateca Portuguesa-Museu do Cinema hosted the second partner meeting for CINARTS, the fourth European Film Education project conducted by Cineteca di Bologna and co-funded by Creative Europe. The project is developed with Cinemateca Portuguesa, Hungarian Film Fund, CINEMATEK, Les enfants de cinéma and BAM! Strategie Culturali.
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.
One of the biggest film parties in the world, which screened nearly 500 titles last year, is coming back for its 33rd edition, taking place this year between 22nd and 30th June. Famous for its legendary evening screenings in Piazza Maggiore, the festival recently decided to add an extra day during only one cinema operates, showing the best of that year.
Here are some programmes and retrospectives to expect during the festival:
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 (email@example.com)
Juan Ignacio Lahoz Rodrigo, Filmoteca Valenciana – IVC (firstname.lastname@example.org)
As part of an initiative funded last year under the European Year of Cultural Heritage, the European Commission is gathering proposals for organising a series of at least 5 screenings between May–September this year.
The main event specifications are as follows:
1. The screening must take place in a culturally important location.
- The venue could be a cultural institution or heritage site which already hosts screening events (so that they have all the equipment and experience with handling them). The screenings could take place indoors or in an open air location.
- The institution managing the venue should be willing to take the bulk of responsibility for the event (in collaboration with the local film heritage institution, the Creative Europe MEDIA desks, and the contractor of the European Commission).
2. The screening may take place during local celebrations, especially linked to heritage (eg. the 100th anniversary etc.).
- The screening may be followed or opened by a networking cocktail, and/or discussion with a film/cultural historian (depending on the context). Of course, the bigger the outreach and audience of the screening, the better.
3. The heritage film to be screened has to be a non-national European film.
- It will be a film of your choice as your knowledge of the audience’s preferences will be relied on.
Proposals for different venues and concepts for these events are now being gathered.
Concrete suggestions of possible venues, possible dates and a rough estimation of costs are needed.
Please send questions and proposals directly to Ms Irina Sofletea (Irina.SOFLETEA@ec.europa.eu).
Deadline for sending in proposals is 20 March 2019.
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 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.
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