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Journal of Film Preservation Director and Curator, Národní Filmov´Y Archiv (Montréal) (Praha) Journal of Film Preservation Contributors to this issue... Ont collaboré à ce numéro... Journal Han participado en este número... 73 04/2007 ANTTI ALANEN of Film Head of the FIAF Programming and Access to KAE ISHIHARA Collections Commission, Programmer at the Finnish Film Archive Film archivist, Head of Film Preservation Society (Helsinki) (Tokyo) Preservation RENÉ BEAUCLAIR JEANICK LE NAOUR Directeur de la Médiathèque Guy L. Côté, Responsable de la Cinémathèque Afrique (Paris) Cinémathèque québécoise (Montréal) ÉRIC LE ROY EILEEN BOWSER Chef du Service accès, valorisation et Film historian, Honorary Member of FIAF (New enrichissement des collections, Archives York) françaises du film-CNC (Bois d’Arcy) PAOLO CHERCHI USAI PATRICK LOUGHNEY Director, National Film and Sound Archive Senior Curator, George Eastman House - Motion (Canberra) Picture Department (Rochester) Revista de la Federación Internacional de Archivos Fílmicos JOSÉ MANUEL COSTA NWANNEKA OKONKWO Film archivist, Cinemateca portuguesa / Museo Head of the do cinema (Lisbon) National Film Video and Sound Archive (Jos) ROBERT DAUDELIN VLADIMIR OPELA Rédacteur en chef du Journal of Film Preservation Director and Curator, Národní Filmov´y Archiv (Montréal) (Praha) MARCO DE BLOIS PAULO EMILIO SALLES GOMES the by Published International Federation of Film Archives Conservateur cinéma d’animation, Film scholar and archivist (1929 -1977) (São Cinémathèque québécoise (Montréal) Paulo) CHRISTIAN DIMITRIU ROGER SMITHER Éditeur et membre du comité de rédaction du Keeper, Film and Video Archive, Imperial War Journal of Film Preservation (Bruxelles) Museum (London) CATHERINE GOUPIL SERGE TOUBIANA Chef de projet, Collection Eden Cinéma (Paris) Critique, Directeur général, Cinémathèque Fédération la de Revue Internationale des Archives du Film française (Paris) IVÁN TRUJILLO BOLIO 76 • FIAF 04/2008 Miembro del Comité Ejecutivo de la FIAF (México) Afrique Legal Deposit Film Preservation Society of Tokyo In Memoriam: Renée Lichtig Books & DVDs Journal of Film Preservation Technical Column / Chronique technique / Columna técnica Journal of Film Preservation 41 Saving Films in the Backstreets: The Film Preservation Society Half-yearly / Semi-annuel ISSN 1609-2694 (FPS), Tokyo Copyright FIAF 2008 Kae Ishihara FIAF Officers President / Présidente In Memoriam Eva Orbanz 50 Renée Lichtig (1921-2007) Secretary General / Secrétaire Éric Le Roy générale Meg Labrum Publications / Publications / Publicaciones Treasurer / Trésorier 53 Josef von Sternberg. The Case of Lena Smith Patrick Loughney Eileen Bowser Comité de rédaction Editorial Board 55 Jean Benoît-Lévy ou le corps comme utopie Chief Editor / Rédacteur en chef Catherine Goupil Robert Daudelin 57 Du praxinoscope au cellulo – un demi-siècle de cinéma d’animation EB Members / Membres CR Marco de Blois Mary Lea Bandy Eileen Bowser 60 Un siècle de cinéma suisse documenté Paolo Cherchi Usai Christian Dimitriu Christian Dimitriu Éric Le Roy Hisashi Okajima DVDs 63 Treasures III: Social Issues in American Film 1900–1934 Correspondents/Correspondants Antti Alanen Thomas Christensen Hervé Dumont 65 Norwegian classic on DVD: Bridal Party in Hardanger Ray Edmondson Steven Higgins Paolo Cherchi Usai Clyde Jeavons 68 Pasolini, Ray Paul Read Roger Smither Robert Daudelin Résumés 70 Science Is Fiction: Las películas de Jean Painlevé Eileen Bowser Iván Trujillo Bolio Robert Daudelin Christian Dimitriu 73 The Story of the Kelly Gang Ana Cristina Iriarte Roger Smither M. Beatrice Lenzi Ana Useros 76 Sacha Guitry, une vie d’artiste Sever J. Voicu Éric Le Roy Éditeur / Executive Publisher 81 Publications Received at the Secretariat / Publications reçues au Christian Dimitriu Secrétariat / Publicaciones recibidas en el Secretariado Editorial Assistants Catherine Surowiec 84 FIAF Bookshop / Librairie FIAF / Librería FIAF Baptiste Charles Graphisme / Design Meredith Spangenberg Imprimeur / Printer Artoos - Brussels Mais où est donc la version wolof ? Robert Daudelin Editorial Ousmane Sembene (1923-2007) a représenté à lui seul le cinéma africain pendant de nombreuses années. Son influence auprès de ses collègues cinéastes du continent a été immense et ses films ont imposé à l’extérieur l’idée même de cinéma africain. Écrivain important, on peut logiquement imaginer que ses livres – 9 romans et recueils de nouvelles publiés entre 1956 et 1987 – sont dans de nombreuses bibliothèques et universités, et que la Bibliothèque The Editor raises questions about Nationale de France, pays d’édition des livres de Sembene, conserve the heritage of African cinema. He précieusement l’ensemble de la production de l’écrivain. Mais qu’en est-il points out that Ousmane Sembene’s des œuvres du cinéaste ? books are preserved in many libraries, yet we don’t know where all the En 1995, à l’occasion d’une journée d’étude au siège parisien de l’Unesco, original versions of the films are by Sembene nous confiait son inquiétude face au fait qu’aucune version en the man who for many years virtually wolof du Mandat n’existât, version qui devrait être considérée comme la represented African cinema all by version originale du film. himself. Sembene said that he did not know where the Wolof version of Mandabi (Le Mandat) was to be found. The Editor wants to call our African colleagues to the task of the inventory and recovery of African films, whether they are in FIAF archives, or in the hands of distributors and laboratories in other countries. At the same time, he calls all FIAF archives to assist in this task. Ousmane Sembene derrière la caméra. Qu’en est-il aujourd’hui ? A-t-on retrouvé une copie en wolof ? Ou l’enregistrement sonore d’origine ? Ce film, d’une importance majeure pour le cinéma africain – pour le cinéma mondial aussi – est-il de nouveau accessible ? Du fait du contexte de production, les Archives françaises du film à Bois d’Arcy ont en dépôt les éléments de tirage (bande son wolof) du Mandat, de La Noire de… et du court métrage Albourah... Mais où sont les autres 2 Journal of Film Preservation / 76 / 2008 El editorial plantea la cuestión del (Borom Sarrett, Ceddo, Moolaadé, et l’épisode censuré du film olympique acervo fílmico africano, destacando de Munich) : à New York, où Sembene avait un distributeur fidèle ? Dans que los libros de Ousmane Sembene un quelconque ministère de la coopération ? Dans les blockhaus du se conservan en muchas bibliotecas, pero no sabemos dónde están las redoutable CIO, dans le cas du film olympique ? Dans un laboratoire de versiones originales de las películas Paris, Rome ou Londres ? Et dans quel état ??? de quien por sí solo representó el Et l’exemple d’Ousmane Sembene, qui nous touche particulièrement cine africano durante muchos años. Sembene decía no saber dónde podría parce notre ami vient de nous quitter, doit sans doute être multiplié par encontrarse la versión wolof de dix, vingt ou trente. L’histoire du cinéma guinéen, brièvement rappelée Mandat. El editor alienta a los colegas plus loin dans ce numéro, est une autre illustration de cette situation africanos en la tarea de inventariar dramatique face à laquelle la communauté des archives du film doit y recuperar películas africanas que intervenir de toute urgence. se encuentren en los archivos de la FIAF o en manos de distribuidores o laboratorios de otros países y extiende el pedido de colaboración a todos los archivos de la FIAF. Touki Bouki, Djibril Diop Mambéty, Sénégal, 1973. Nous découvrons le cinéma africain au hasard des festivals ou des rétrospectives dans nos cinémathèques, beaucoup plus rarement sur l’écran des salles de cinéma de nos villes respectives. Les films africains nous rendent visite, puis disparaissent… Où vont-ils ? Qui se soucie de leur survie ? N’est-il pas temps de faire une enquête systématique qui réponde, dans la mesure du possible, à ces questions angoissantes ? Bien entendu, c’est d’abord à nos collègues africains de prendre une telle initiative, avec notre aide et notre solidarité. N’attendons pas un autre colloque de l’Unesco. Mettons-nous à la tâche. 3 Journal of Film Preservation / 76 / 2008 A Brief History of U.S. Copyright Registration and Deposit Procedures Patrick Loughney The U.S. tradition of protecting intellectual property dates to the period Legal Deposit of the American Revolution. On 2 May 1783 a resolution of the Colonial Congress was passed, “Recommending the Several States to secure to the authors or publishers of new books the copyright of such books.” The Dépôt légal term of copyright protection recommended in the resolution was “not less than fourteen years.” A second 14-year period of copyright protection was also recommended in instances where authors outlived the first Depósito legal term and to “their executors, administrators and assigns.” Following this recommendation of the Colonial Congress, 12 of the original 13 American colonies enacted laws to protect the rights of authors and publishers before 1787, albeit with wide variations in the number of years for which a work was protected. When representatives of the 13 colonies convened in Philadelphia during the summer of 1787, for the purpose of composing the U.S. Constitution, their common interest in clarifying the legal rights of authors and inventors was sufficiently strong that the protection of intellectual Afin de bien situer son propos, Patrick Loughney remonte dans le property was one of the first matters they addressed. Thus it is that temps jusqu’en 1783 alors que le Article No. 1 (section 8) of the U.S. Constitution specifies that one of the Colonial Congrès
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