Collectieblog

  • EYE Filmmuseum at the Cinema Ritrovato 2017

    woensdag 21 juni 2017

    The greatest archival festival of the world is about to begin again in Bologna, from June 24th on! EYE is presenting films under different sections of the festival this year.

    As the festival seems to expand continuously, the first screening actually takes place even before the festival begins: On Thursday 22nd, Donald Sosin accompanies Menschen am Sonntag on the Piazza Maggiore. The film is restored by EYE back in 1998, at the Immagine Ritrovata laboratory, curated by Martin Koerber. The festival is showing the digitally remastered DCP version by the Deutsche Kinemathek, as part of the “Sunday in Bologna” program curated by Neil McGlone and Alexander Payne.

    During the festival, four films from 1917 are being screened in the “Hundred Years Ago: 1917” program, curated by Karl Wratchko.

    On Thursday 27th, as part of the “Cinema Anno2; 1897” program, 16 Mutoscope&Biograph films from our collection are included. These films are screened from the 35mm duplication prints, that were made from the 68mm originals.

    There are other EYE films or EYE-related presentations to discover throughout the festival. Among those, the new Cineteca di Bologna restoration of the film La Tragica fine di Caligula Imperator (IT, Ugo Falena, 1917) for which EYE has lent its nitrate print that served as reference for the re-insertion of the intertitles. Around this film two events take place: a workshop launching the new research project: “Il cinema muto italiano e le altre arti” on Sunday, and also a round table discussion on Monday  morning.

    Another production where EYE has a strong presence is this year’s DVD; “I colori Ritrovati”, containing 36 colored non-fiction films from the 1910s, particularly dedicated to Kinemacolor, Pathecolor and Chronochrome. On this double DVD, seven films are from the EYE collection, including the Kinemacolor film Coronation Drill At Reedham Orphanage (GB, 1911), which is also part of the Kinemacolor screening on Tuesday.

    EYE is also the co-producer of the film Rêve au Tuschinski  by Jérôme Diamant-Berger (FR, 2017), featuring Max von Sydow. This film about the historical Amsterdam film theatre Tuschinski and its owner, will premiere on Friday within the section “Documents and Documentaries”.

    EYE will be represented by several staff members this year: our director Sandra den Hamer, vault manager Catherine Cormon, silent film curator Elif Rongen-Kaynakçi, programmer Leo van Hee and curatorial assistant Gerdien Smit will be in Bologna, along with many past and present student interns.

     

    Here is the full list of the compilation programs and the DVD, mentioned above:

    In “1897: year two of cinematography” (Mutoscope&Biograph program):

    Changing guard (Berlin), Albany day boats, Keystone express, Battleships 'Maine' & 'Iowa', A Pillow fight, Fort Hill fire station, Place de la Concorde, Harvesting corn, Threshing machine at work, The Haverstraw tunnel, The Crookedest railroad yard in the world, The Military review at Aldershot, Passage des portiques, Jumbo, horseless fire-engine, A Camp of Zingari gypsies, Les Parisiennes

    In 1917; Hundred Years Ago program:

    Das Bacchanal des Todes oder das Opfer einer grossen Liebe, (DE, Richard Eichberg, 1917, Central Film Vertrieb), Holland in ijs - 1917  (NL, Willy Mullens, 1917, Alberts Frères), De Petroleumbrand te Vlissingen, (NL, 1917, Kinematograaf Pathé Frères), Kanalen en windmolens (NL, 1917, Kinematograaf Pathé Frères [?])

    I colori Ritrovati DVD:

    Barcelone, principale ville de la Catalogne (FR, Segundo de Chomón, 1912, Pathé Frères), Parc national de Yellowstone, Le (FR,1917, Pathé Frères), Culture de caoutchouc en Malaisie, La (FR, 1912, Pathé Frères), Récolte du riz au Japon, La (FR, 1910, Pathé Frères), Grande fête hindoue du Massy-Magum, La (FR, 1913, Pathé Frères), Chenille de carotte, La (FR, 1911, Pathé Frères), Coronation Drill At Reedham Orphanage (GB, 1911, Urban Trading).

    Holland in Ijs - 1917Les Parisiennes (1897)

     

    festival, filmfestival, archief, filmrestauratie, dvd. Mutoscope & Biograph, 1897, Il Cinema Ritrovato, Cineteca de Bologna
  • FIAF Congress, Summer School and Digital-Born Film

    maandag 8 augustus 2016

    [Official 72nd FIAF Congress program]

    The 2016 Il Cinema Ritrovato festival was not the only filmic event in Bologna where EYE was present. Partially overlapping with the festival, the 7th FIAF Congress was held from June 22 – June 26. A great opportunity for the Cineteca Bologna to showcase its plans and ambitions, as an institution that joined the FIAF in 1989 and since then hosted the Congress in 1994. Moreover, it was host to the most recent FIAF summer school editions.

    This might seem like a strain for interested archivists, curators and other parties to divide their time over all these interesting events, but it actually helps to combine important yearly film preservation events like these. They attract more or less the same audience, so when these events coincide, attendees can kill two birds with one stone. Moreover, seeing films, joining tours through the Cineteca’s collections and the L’Immagine Ritrovata film lab, and theorizing at the same time can be inspiring. For Bologna and its Cineteca, it solidifies the city even further as an important site for film archiving and restoration.

    The congress consists not only of the conference, but also involves a symposium with a specific theme on which case studies are presented. This year, the theme was 'New life for cinema's past'. This is a very broad theme, which makes for a broad set of case studies from the partaking institutions and experts. It not only forms a platform for case studies from archives all over the world, but moreover workshops are held and ideas and projects are being discussed for future cooperation between archives, institutions and independent experts. Not only were there presentations and discussions about the many FIAF members’ restorations and changing workflows due to the expanding amount of born-digital films, EYE’s director Sandra den Hamer gave a presentation on the newly built Collection Centre. Other presentations concerned for example the rise of historical theaters and of film heritage screenings at a time when general theaters seem to be closing. Another session was that of The Reel Thing, which is a semiannual event curated by founders Grover Crisp (Sony’s Film Restoration & Digital Mastering) and Michael Friend (UCLA Film & Television Archive). EYE will be hosting The Reel Thing in the spring of 2017, more specifically from Sunday 28 to Tuesday 30 May. This follows up on the yearly EYE Collection Day on Saturday 27.

    Besides the film festival and congress, FIAF’s Summer School took place at the same time but went on after the festival, until July 15. This Summer School has been organized yearly  by FIAF since 1973 and has been hosted by many FIAF members, from the Reichsarchiv in Berlin to George Eastman House in New York. The course consists of three steps: starting with an online theory course in May, then having hands-on theory lessons at the Cineteca and attending the festival as well as the congress.

    [Photo by L’Immagine Ritrovata]

     Then, after the festival wraps up, restoration classes took place at L’Immagine Ritrovata. Participants from all over the world are selected, but all have a background in film archiving, be it as working in institutions such as film archives or studying in this specific area. Also, scholarships by FIAF and ACE are granted to eight participants yearly in order to help them with the program’s 3000 euro fee. This might be considered a high price, but with the extensive hands-on program and the involvement of many well-known archivists and technicians from the field, the Summer School is a steady vehicle of the training of new film archivists.

    EYE’s Film Conservation and Digital Access department was represented at this year’s Summer School by head of the department Anne Gant. Not only did she give a glimpse into an interesting case study that is the management of born-digital films, but it was also a good opportunity to interest young film archivists in EYE’s archive, museum, and the EYE Study for researching its collection. She made sure to not give a glamorous view of the life of an archivist, but rather show that it is often a matter of arranging, rearranging, conserving and maintaining objects: “only a small percentage of the items really get the big treatment of a full restoration” (Anne Gant, Summer School Presentation June 2016).

    Moreover, the large EYE vaults in which over 210.000 cans are kept are really breathtaking, but it is the growing digital-born collection that needs our attention just as much. This especially since we are still figuring out what standards to use and how to process everything efficiently. Although born-digital films still make out a small portion of EYE’s collection compared to the analog material, they require much work and the numbers are increasing at a fast pace:

    1 born-digital film in 2009
    88 born-digital films in 2011
    125 born-digital films in 2016


    This is not unique for EYE, and therefore other institutions and people like Anne Gant had to come up with digital workflows and plans to fit these into the collection more swiftly. Maybe more importantly, since EYE is to collect, protect as well as provide access to Dutch film heritage, criteria for filmmakers, distributors, producers and other people who submit their films to the archive are to be agreed upon so that the depositing runs smoothly. Dilemmas that were never there before, such as questions like: should I backup first, then harmonize/fix the data structure, and then back up again? Also, where before things could physically get lost because parts of a film were not put together on one shelve, now the problem gets more complicated if all metadata is not catalogued properly. This might be something often mistaken by people when thinking about digitization: it is not necessarily less labor-intensive.

    In her presentation, Anne Gant stressed that archives, although new to the digital born issue, need to see this issue as an opportunity. The archives should skill their employees so that they can deploy not only a Steenbeck viewing table, but also a digital scanner and know how to cope with difficult file systems. Needless to say, with the collection that EYE has, it will always be important to have specialists in analog film restoration, and no one can be an expert in both that and digital processes. Also, at some point in time it will be hard to find people that still know how to restore analog film, so we have a duty as film archive to maintain and teach this craft.

    Last but not least, as department of Film Conservation and Digital Access but also on an institutional level for EYE in general, new policies had to be developed. In this, we are working together with other film institutes since we are dealing with similar issues everywhere and benefit from each other’s experiences. If you are interested in how this is voiced by EYE, see the 2014-2017 Collection Policy here.

    [Both photos by EYE staff]

    FIAF, Bologna, Il Cinema Ritrovato, Cineteca de Bologna, restoration, L'Immagine Ritrovata, FIAF Summer School, born-digital film, collectie, collection, The Reel Thing, metadata, digitized, digitization, digitalisering, film labs, filmfestival