Eye Filmmuseum Eye Filmmuseum

Collection Policy

Still from Le Dirigeable fantastique (FR, 1906) 1 Introduction 5 Pioneer: academic function, research, Profile / 5 and collaborations Collection / 5 International expertise centre / 39 Mission / 5 Collaboration in a national context / 39 Vision / 6 Networks / 39 Motto / 6 Partners / 40 Role and purpose of the Collection Policy / 6 Collaboration in an international context / 40 Academic function / 41 2 Management summary Master’s programme Preservation and Guardian / 9 Presentation of the Moving Image / 43 Guide / 9 Public lecture series This Is Film! Film Pioneer / 10 Heritage in Practice / 43 Ambitions / 10 Research group Moving Images: Preservation, Curation, Exhibition /43 3 Guardian: from -5° to 4k Research Labs programme / 43 Collections / 13 Eye International Conference and Meet Collection formation / 13 the Archive / 43 Archive function / 13 Publications within the Framing Film Museum function / 14 series / 44 Acquisition policy /14 Other publications / 46 Donations / 14 Research and projects / 46 Inventory awaiting registration / 15 The Sensory Moving Image Archive Vinegar syndrome / 18 (SEMIA) / 46 Preservation / 18 Eye Artist and Scholar-in-Residence Restoration / 19 programme / 47 Analogue photochemical restoration / 20 Eye Filmmuseum & Haghefilm Digitaal Digital restoration / 21 Film Restoration Traineeship / 47 Digitisation / 21 Oral History programme / 48 The Digital Archive / 23 Intake of digital files / 23 6 Ambitions Digital storage and digital sustainability / 24 Guardian / 51 Eye-D /24 Guide / 52 Collection Eye (CE) Catalogue / 24 Pioneer / 55 Collection Eye (CE) Online/ 26 Fiona Online / 26 Notes / 56 Certification / 26 The preservation of Expanded Cinema and 7 Appendices digital presentation projects / 26 Organogram Eye Filmmuseum 2018 / 60 Floor plan Eye Collection Centre / 60 4 Guide: ‘open’ and curated Who’s Who / 62 Priorities / 29 Curatorial vision / 29 Access to the collection / 30 Target groups (re)using the Eye collection / 33 (Re)use of the collection within Eye/ 33 (Re)use of the collection outside Eye / 36 Restoration projects / 37

Still fromCollection Les glaces Policy merveilleuses Plan (FR, 1908) 2 Table of Contents 3 Profile Centra, and UIP); filmmakers (Joris Ivens, 1 Introduction Johan van der Keuken, and Louis van Eye Filmmuseum is the Dutch national film Gasteren); and producers (Matthijs van institute and the only museum for film heritage Heijningen and Kees Kasander) to institu­ and the art of film in the Netherlands. Eye was tions and organisations, such as the Nether­ founded in 2010 by merging the Nederlands lands Film Academy; the Netherlands Film Filmmuseum (preservation, management, and Fund; and the Netherlands Institute for accessibility of film heritage), the Filmbank Animation Film (NIAf). Furthermore, the (management and promotion of experimental collection has been enriched through the films), the Netherlands Institute for Film acquisition and distribution of international Education (national film education) and Holland titles, including many Hollywood classics and Film (international promotion of Dutch film). work by distinguished independent film­ makers, such as Andrej Tarkovski, Agnès 2016 marked precisely seventy years since Varda, and Carlos Reygadas. In 1989, Eye Eye’s predecessor, the Dutch Historical Film acquired the Film International distribution Archive, had been founded. That same year, catalogue, consisting of many classics and Eye celebrated its fourth anniversary in the international arthouse productions. museum building on the northern bank of the IJ Aside from donations, purchases, and River, and the opening of the new Eye Collection exchanges, a significant portion of the Eye Centre in North Amsterdam, which was officially collection is comprised of films donated to launched by Minister of Education, Culture and Eye in accordance with the Netherlands Film Science, Jet Bussemaker. Fund deposit agreement.

Collection Mission Over the past seventy years, Eye has acquired an internationally recognised collection Eye is a guardian, guide, and pioneer in the spanning the entire history of film from the first world of film and the art of the moving image. silent films to the most recent Dutch releases. The collection includes approximately 50,000 Vision films (60% of which are foreign films), 7,000 photographs, 82,000 posters, and 7,000 music Guided by the ambition to present its collection scores. Eye also holds nearly 200 archives from in innovative ways, Eye has gained global filmmakers and organisations, about 1,500 recognition for its daring approach to presenting apparatus, and an extensive library collection. film and the moving image in a museum context. Eye preserves and presents film as art, enter­ tainment, cultural heritage, and social document Collection history and wishes to demonstrate how vitally important moving image is in experienc­ing and under­ The collection originally consisted of films standing the world. By connecting past, present, from the Uitkijk archive, compiled by and future film, Eye aims at providing the members of the Dutch Filmliga (1927-1933), necessary context and encouraging new and an association of cinephiles that screened different perspectives. artistic films and wrote about the art of film. After joining the International Federation of Eye creates educational programmes and Film archives (FIAF) in 1947, the Film­ promotes access to and appreciation of Dutch museum started collecting and preserving film culture internationally, from new film talent Dutch film productions. Since then, a number at international festivals to Dutch film history in of significant collections have been acquired, museums abroad. In addition, Eye fulfils a ranging from Dutch distributers (Desmet, pioneering role through innovative restoration,

Still fromCollection Le Mariage Policy de Rosine Plan (FR, 1925) 4 1 Introduction 5 preservation, and presentation. The latter is reflected in, among other things, Eye’s innovative The Collection department exhibition programme and through showing the vast potential of film as a ‘hybrid’ art form that The Collection department employs 31 (full refuses to be confined by the familiar walls of and part-time) staff members. Additionally, the cinema. roughly the same number of volunteers helps out at various departments. In addition to serving the general public, film professionals, academics, students, and the The Collection department is divided into four educational field both nationally and inter­ sections: Curators, Film-related Collections, nationally, Eye actively promotes knowledge Film Conservation & Digital Access, and Col­ dissemination, study, and research and aims to lection Management. Furthermore, curatorial stimulate debate on recent cinematographic and preservation staff work very closely with developments. the Information Management department and the Chief Curator. Motto Since 1 January 2017, the government has Eye is committed to keeping up with the latest granted Eye a structural subsidy of €3,250,036 technological and socio-cultural developments. a year for the management of museological It prioritises the development of new forms of cultural objects in accordance with the presentation for film and image culture and Heritage Act. This has been increased by an makes use of innovative methods of access, annual project subsidy of €1,000,000 intended restoration, and digitisation of the collection. for the digitisation of the collection. Eye also  The new Eye Collection Centre Furthermore, Eye aims to consolidate the receives a yearly subsidy of €5,326,166 from  Handing over the Eye Collection achieve­ments of the previous years: the artistic the Ministry of Education, Culture and Science Centre keys in 2016 and public successes, the Eye Collection as part of the Basic Infrastructure for Culture Centre’s state-of-the art facilities, and a struc­ 2017-2020. turally sound financial basis. Accordingly, Eye’s motto for the coming four years (2018-2021) is ‘to consolidate and innovate’.

Role and purpose of the Collection Policy

This document sets out Eye’s Collection Policy for national and international fellow institutions, including archives and museums, as well as sponsors, the film industry, academics, and students. It describes Eye’s leading role in preserving, digitising, and restoring (analogue and digital) film heritage and gives extensive insight into its activities. The Collection Policy is shaped by Eye’s mission to be guardian, guide, and pioneer.1

Collection Policy Plan 6 1 Introduction 7 Eye is guardian, guide, and pioneer in the are housed in the same building. The analogue 2 Management­ world of film and the art of the moving image. collections are stored in state-of-the-art clima­ Eye Filmmuseum collects, preserves, tised depots while the born-digital and digitised Summary digitises, restores, and provides access to a collections are safely housed in a sustainable collection that illustrates film art, culture, and storage environment. Digital material, including heritage relevant to the Netherlands. This accompanying technical and content metadata, document sets out Eye’s Collection Policy for is saved uncompressed in a sustainable fashion, national and international fellow institutions, which will enable Eye to produce copies including archives and museums, as well as according to new formats in the future. sponsors, the film industry, academics, and students. It describes Eye’s leading role in The Eye Collection Centre has a ‘digital street’ preserving, digitising, and restoring (analogue with various facilities including a sound restora­ and digital) film heritage and gives extensive tion and digitisation studio, a digital image insight into its activities. restoration studio, and a grading and scanning The Collection Policy is shaped by Eye’s suite. The type and condition of the film material mission to be guardian, guide, and pioneer. determine which trajectory a film follows: digitisa­ tion (creating a digital copy), photo­chemical Guardian preservation (creating an analogue film print), and/or a comprehensive (analogue, digital, or As guardian, Eye has both a museum function hybrid) restoration. Films are digitised on a daily and an archival function. As a museum, Eye basis to support (online) access, pre­servation, carefully selects and presents films and objects restoration, and exhibition/screening. that meet content, artistic, historical, cultural, and social criteria. The archival function focuses Guide on managing national film heritage. Due to its persistent efforts over the years to acquire the Activities in the fields of digitisation,​​ preserva­tion, widest possible range of relevant material, and restoration are only considered final once Eye has managed to build up an internationally the result is shown to an audience in a cinema, recognised collection. Covering a range of exhibition, or online. Eye uses two presentation areas – Dutch Film, International Film, Silent strategies: ‘open’ and curated. To reach the Film, Film-related Collections, Experimental widest possible audience, Eye provides ‘open’ Film, Expanded Cinema, and Animation, the access to the collection; the user is free to decide collection spans the entire history of film. Eye what to see and how to (re)use the material. intends to research and present both the film At the same time, a team of programmers and and film-related collections together, as they curators carefully select and present curated provide context and complement each other. material, which provides the user with context This applies to analogue and digital film, posters, and pathways to help appreciate these collec­ photographs, archives, apparatus, sound, sheet tions. music, books, journals, installations, and other objects. New deposits, donations, and acquisi­ Over the past decades, Eye has made great tions are continually added to the collection in efforts to digitise the collection and make it digi­ support of Eye’s ambition to acquire items that tally accessible through various channels. In enrich the collection’s focal points, fill gaps, and many cases, however, materials are protected create new opportunities for programming. by copyright, which restricts the free online access of film heritage. Meanwhile, large parts The opening of the new Eye Collection Centre in of the digital film collection in the public domain 2016 marked an important milestone. For the have been made freely available through internal first time in its history, the collection department and external online platforms. offices as well as Eye’s entire collection (with the exception of the flammable nitrate material)

Still fromCollection Calgary’s Policy Luck (CA,1926-1927)Plan 8 2 Management­ Summary 9 In working with the collection, curators and academic function considerably, due in part to While the budgeting of most ambitions falls programmers regularly discover unique items. the establishment of the Chair in Film Heritage within the financial framework of the Eye Policy Special presentations of these rare and unique and Digital Film Culture at the University of 2017-2020, Eye will need to seek additional items have been programmed throughout the Amsterdam (UvA), held by Eye Chief Curator, funding in anticipation of the new policy period world at film festivals, (film) museums, and Giovanna Fossati, whose dual role is unique 2021-2024 to be able to realise a number of cinemas. Also in its museum, Eye presents its within the film archival field and forms an ideal additional requirements. collection through a wide range of thematic link between the activities of Eye and the programmes and series, special events, and academic research at the University of Amster­ educational activities. Temporary exhibitions dam. In line with its academic policy, Eye aims contain (although not exclusively) items from the to provide scholars and students with optimal collection and are accompanied by related film access to the collection and expertise within the programmes and exhibitions of posters or film archive. Collaboration with the UvA focuses photographs from the collection that provide on the Master’s programme Preservation and context to the theme of the exhibition. In addition, Presentation of the Moving Image, the annual special film apparatus from the collection and Eye International Conference, the public lecture replicas of interactive pre-cinema apparatus are series on notable film heritage projects entitled displayed in a permanent exhibition. This Is Film! Film Heritage in Practice, and the academic book series Framing Film. Eye is also Pioneer involved in various national and international research projects that are necessary for the Eye plays a leading role in the fields of preserva­ continued application of innovative methods in tion, digitisation, and restoration of film heritage restoring, digitising, and providing access to the and closely collaborates with various partner collection. institutions and experts in the Netherlands and abroad. Eye actively shares knowledge in the Ambitions fields of information management, storage, digi­ tisation, collection management, and restora­tion Regarding its role as guardian, guide, and at both a national level, through specialised pioneer, Eye has formulated a number of ambi­ network organisations, and at an international tions. In terms of collection management and level, through worldwide networks of inter­ preservation, Eye intends to further expand its national film archives. digital ecosystem and monitor and test its policy and practice with respect to digital sus­tainability. The Eye Collection Centre serves as an inter­ In addition, Eye will make provisions to improve national expertise centre for research on and the nitrate film collection’s current storage reuse of the collection with its own Artist and capacity and conditions. In the coming years,  35mm nitrate film inspection Scholar-in-Residence programme and a Trainee Eye will further professionalise the restoration  Study area with programme in film restoration. In the public studios at the Eye Collection Centre and provide catalogue comput- research centre, the Eye Study, visitors can freely suitable training in new disciplines for its team of ers in the Eye Study  Filmstrips access digitised material as well as books, restorers. In terms of providing access to the journals, films, DVDs, posters, photographs, collection, Eye aims to undertake two large archives of individuals and organisations, restoration projects per year and present the full scripts, audio collections, sheet music, and film breadth of the collection in diverse and innovative apparatus. It is also possible to consult collection ways. Regarding research and development, specialists. The building is equipped with a Eye will invest in research across all collections, multifunctional cinema, which is regularly used occasionally working in partnership with external for expert meetings, press screenings, courses, researchers and/or guest curators. Finally, Eye lectures, and workshops. seeks to further develop as a leading centre of expertise using knowledge dissemination and Eye holds a strong position in the academic collaboration with fellow institutions and universi­ field. In recent years, Eye has developed its ties at home and abroad.

Collection Policy Plan 10 2 Management­ Summary 11 As guardian of film heritage in the Nether­ 3 Guardian: lands, Eye Filmmuseum has both a museum Animation collection and archival function. To fulfil its museum from -5° to 4K function, Eye makes choices based on The Animation collection contains nearly content, artistic, historic, cultural, and social 5,000 Dutch and non-Dutch titles, including criteria. The archival function focuses on the large and important collections of animated management of national film heritage, from films by George Pal and Gerrit van Dijk, and 1895 to the present. films from the Joop Geesink and Marten Toonder studios. Eye acquired the collection of the Netherlands Institute for Animation The collection consists of: Film (NIAf), when it was discontinued in 2013. The NIAf acquisition includes the important 210,000 cans of acetate film collection by animator Ton van Saane. In 30,000 cans of nitrate film stored in bunkers addition to fiction films, the animation collec­ in the dunes (near the coast of North Holland) tion also contains many commissioned films, 50,000 film titles, of which there are advertisements, and an important collection registered copies in the collection of animation cels.2 60,000,000 metres of film 8, 16, 35, and 70mm positive and negative film (black and white, and colour) Collection formation 2.5 petabytes of digital data 12,000 digital assets Archive function 82,000 posters 700,000 photographs In principle, Eye collects and preserves all Dutch 200 archives theatrical film productions. All con­tem­porary 27,000 books Dutch titles supported by the Netherlands Film 2,000 journals Fund are donated to Eye and integrated into the 1,500 pre-cinema and film apparatus collection. This includes documentary films and 4,500 (magic) lantern slides minority co-productions supported by the Hubert 7,000 musical scores Bals Fund.3 250,000 press cuttings Dutch experimental and artists’ film, indepen­ dent animated film, and graduation work by students from the Netherlands Film Academy Collections further supplement the collection. In addition, Eye collects film-related material of these pro­ The Eye collection consists of different collec­ ductions (posters, photographs, press materials) tions: Dutch Film, International Film, Silent Film, and paper archives from major filmmakers. Film-related Material, Experimental Film, Expanded Cinema, and Animation. While Eye makes distinctions between analogue and Dutch Film collection digital film and film and film-related material, its primary ambition is to approach the collection as With more than 20,000 titles, the Dutch Film an integrated whole. collection is Eye’s largest collection and an Eye has a team of curators, each specialised excellent reflection of the priorities and in a particular area of the collection, with the ambitions of the archive to document and exception of the International collection. In addi­ safeguard Dutch film culture as completely tion, Eye has a curator for the special amateur as possible. In addition, Eye aims to present film collection, which is part of the Dutch Film Dutch film culture in diverse and innovative collection. ways, in cinemas and online, nationally and internationally.

Still fromCollection La poule Policyaux oeufs Plan d’or (FR, 1905) 12 3 Guardian: from -5° tot 4K 13 The amateur and small-gauge film collection recognises a particular cinematographic or conditionally may later be disposed of by Eye was flooded with donations, ranging from and the Dutch East Indies film collection form contextual value. transfer to another archive or by destruction, if it old nitrate material and batches of more recent a significant part of the Dutch Film collection concerns a duplicate copy that is already part of analogue films – including those of the Cineco with nearly 2,400 titles, many of which are The museum function also partially applies to the collection. To guard against excess, Eye film laboratory (which filed for bankruptcy in 8mm or 16mm. 550 of these films depict daily the film-related collections, which include prioritised the deaccession of duplicates before, 2012), A-Film (the largest film distributor in the life in the former East Indies during the posters, photographs, magic lantern slides, film during, and immediately after the relocation to Benelux until its disbandment in 2015), and Twin interwar period. To give these unique films apparatus, and paper archives from Dutch the Eye Collection Centre, resulting in the Film (children’s films) – to numerous smaller the visibility they deserve, Eye regularly filmmakers and may be presented in connection disposal of 5,000 cans of film material. donations. Meanwhile, the complete collections provides access to important parts of its with or independent of the overall film collection. of merger partners Holland Film and Filmbank collection through in-depth programming and Inventory awaiting registration have been transferred to the Eye Collection exhibitions. A case in point is the 2013 In performing its museum function, Eye applies Centre for inclusion in the collection. In recent Looming Fire exhibition for which renowned the following criteria: The publicity surrounding the opening of the years, Eye has also been offered various found-footage filmmaker Péter Forgács drew • The object (film, photograph, poster, or archive) new Eye Collection Centre generated renewed archive collections and film apparatus. on several films from this collection to offer has an artistic quality and/or documentary interest in the archive. Following the opening, an extraordinary peek into everyday life in the value for the (history of) Dutch film culture; former colony. • The object is unique to the Netherlands or the world, shows originality, and/or has During the annual Home Movie Day, amateur exemplary qualities for film or cinema culture; and family films of all formats, including 8mm • The object shows extraordinary and 9.5mm material – the oldest small-gauge cinematographic quality, for instance through ! Eye Study  Vault format, which came onto the market in 1922 remarkable direction, editing, or camerawork. $ Vault – are shown on the big screen. Aside from $$ Eye Study highlighting a unique collection, the annual Acquisition policy Home Movie Day plays an important role in tracing unknown, but historically valuable, Eye aims to acquire titles and film-related items material. that enrich and complete the core collection and provide further opportunities of presenting special programmes. Therefore, Eye generally The Netherlands has no legal deposit legislation­ , only seeks to acquire film titles that are (at least) a legal obligation for copyright holders to submit cleared of rights and thus may be screened copies of their work to Eye. Consequently, the in-house. Acquisition involves old and recent Dutch collection lacks a number of significant titles in various analogue and digital formats. works. Using available resources and staff, Eye While some new and restored films can only be will explore all avenues to identify and acquire acquired digitally, other films are preferably these titles in the coming years. obtained on celluloid because of a special format (70 mm for example). In the coming years, Eye Museum function intends to give priority to the acquisi­tion of rele­ vant films and film-related material. Eye seeks to preserve and present a museum collection that reflects the most important artistic Donations developments in film history and culture; however, it does not intend to create a complete Apart from acquisition, the collection is conti­nu­ record of these developments. Completeness is ously supplemented by large and small dona­ not the goal. The collection takes shape through tions. Acceptance or rejection of a donation will careful selection and intentional acquisition. It be subject to a curatorial assessment against does not limit itself to national films and/or inter­ criteria in line with the acquisition policy. Only in national classics and oeuvres of renowned exceptional cases will a donation be accepted filmmakers but also focuses on works prone to without extensive assessment before­hand, for obsolescence – for instance, ‘orphan’ films and instance in the case of donations due to bank­ experimental productions in which Eye ruptcies. Items that have been acquired

Collection Policy Plan 14 3 Guardian: from -5° tot 4K 15 While Eye is pleased with the large number of least 2,000 remain unidentified. The identi­fica­ donations, it has seen its unregistered inventory tion as well as the careful selection of these grow exponentially. In the coming years, Eye films for preservation and restoration will be will need to catch up on more than 20,000 cans of undertaken in the coming years. On average, material, which need to be examined, selected, Eye receives 150 cans of nitrate film each year. registered, documented (by adding metadata), Therefore, within the Silent Film collection, the barcoded, and deposited in a vault. Registration activities mainly involve the registration of of this inventory – which also contains archives, nitrate film. posters, photographs, and other material – will  Roll of tinted nitrate film  Film studio be carried out by supervised volunteers.  Roller racks in a film vault Silent Film collection  Film vault Sovexportfilm donation: an example from The Desmet collection forms an important the inventory awaiting registration part of the Silent Film collection. Acquired in 1957, the collection contains the archives left One of the many interesting donations con­ behind by Netherlands’ first professional film cerns a batch of ten pallets from Sov­export­ distributor Jean Desmet (1875-1956). The film, the Soviet Union’s official film import film-historical significance of this collection and export company. Approximately 1,500 has been recognised worldwide: the Desmet cans in various batches were donated to Eye collection was included in the UNESCO’s in 1971 and 1993. Promoting Soviet film since Memory of the World Register in 2011. The 1945, when it opened an office in Amsterdam, collection comprises films, posters, photo­ Sovexportfilm ensured that Soviet films could graphs, and an extensive company archive. be seen in the Nether­lands. In the 1970s and It also contains many rare and unique items, 1980s, festival screenings and purchases by including: the only remaining copies of master­ the former Nederlands Filmmuseum and film pieces by D.W. Griffith and Louis Feuillade; distributors were often arranged through the films starring well-known actors of the period, Sovexportfilm office on the Bachlaan, in such as Léonce Perret, Francesca Bertini, Amsterdam. The company had close ties with and Lyda Borelli; and productions by Pathé, the Vereniging Nederland-USSR, where films Gaumont, Vitagraph, and Edison. of a blatantly propagandistic nature were In 2014, the material was presented in regularly screened. Over the years, never an exhibition dedicated exclusively to Jean returned Soviet-Union film copies kept accu­ Desmet: Jean Desmet’s Dream Factory. mulating, until the Sovexportfilm collection The Adventurous Years of Film (1907-1916). was finally donated to Eye where it now resides under the name ‘Sovexportfilm’. Among the extensive silent film collection, many masterpieces that had disappeared from An interesting addition to the existing collec­ view for decades have been found, including: tions of Soviet films in the Eye collection, the A munkászubbony / The Work Jacket (István Sovexportfilm collection contains feature Bródy, Hungary, 1915); films as well as docu­mentaries, promotional Opiumets magt (Robert Dinesen, Denmark, and propaganda films, and reportages of 1918); major events. The collection as a whole pro­ Fragments of Germaine Dulac’s first film, vides a unique impression of Soviet society Âmes de fous (France, 1918); and how a centrally controlled film industry A fragment of Fedora (Giuseppe de Liguoro, tried to influence perception abroad. Italy, 1916) with Francesca Bertini; Love, Life and Laughter (George Pearson, Great Britain, 1923); The inventory awaiting registration contains A fragment of Una notte a Calcutta (Mario nearly 30,000 cans of nitrate film of which at Caserini, Italy, 1918) with Lyda Borelli;

Collection Policy Plan 16 3 Guardian: from -5° tot 4K 17 Der neueste Stern vom Variété (Rosa Porten, eleven vaults, each measuring 300m2. There digital, and hybrid workflows), digitisation, and Germany, 1917); and are: five vaults for films (housing a total of restoration of both film image and film sound.5 Restoration plans Die Barfusstänzerin (Rosa Porten, Germany, 210,000 cans); two vaults for film-related 1918). materials (including 82,000 posters, 700,000 Restoration In the coming period, planned film restora­ photographs, and 27,000 books, journals, and tions include films by Eric de Kuyper, George Of Eye’s entire collection, the Silent Film press cuttings); and one two-stories high vault Unlike most art restorations where work is per­ Sluizer, and Henri Plaat. collection is the most widely circulated, due (the ‘high vault’) that, in addition to the larger formed on the original element, film restoration to its unique character but also because apparatus, houses both the film and film-related requires duplication of the original element, In collaboration with Stiftung Deutsche language is less of an obstacle. New Eye inventory awaiting registration. Because of the creating a new restored copy. When duplicating Kinema­thek and Deutsches Filminstitut restorations can regularly be seen at inter­ rapid growth of film-related material, Eye hopes a film to a new medium (analogue film or digital Frank­furt, Eye is working on the digitisation national festivals and fellow institutions. to put a ninth vault to use by 2021. This vault file), interventions are made regarding colour, and restoration of films by Hans Richter Furthermore, every fortnight, Eye presents a must in due course be equipped with special contrast, resolution, and sound. And while main­ (1888-1976). This German painter, graphic Cinema Concert in its museum – a programme roller racks. taining as much as possible of the original is artist, and filmmaker was influenced by in which silent films from the collection are essential, there is always a degree of inter­preta­ Dadaism, and had contact with the Dutch art screened accompanied by live music. tion by curators and restorers: the original can movement De Stijl in the early 1920s. In Climate control in the vaults never be entirely recreated. Film constantly 1921, he made his first abstract film, reinvents itself; materials, technology, and Rhythmus 21, now considered one of the Vinegar syndrome Eye keeps the temperature in four of the five screening conditions are different today com­pared classics of avant-garde film. In the early film vaults at +5°C with a relative humidity of to a hundred, fifty, or even twenty years ago. 1930s, Richter spent some time in the Inspections during the move to the new Collection 35%. The fifth film vault is climate-controlled Nether­lands where he made advertisements Centre detected the so-called vinegar syndrome at -5°C (below zero), at the same humidity. At Eye, the term ‘restoration’ indicates that for Philips. Original material from a number in many films and magnetic audio tapes. This This vault mainly stores negatives, master extensive research has been done to investigate of these films is held by Eye. syndrome affects the carrier and spreads a copies, and 70mm material. The temperature the historical, technological, and aesthetic pungent vinegar smell. As the syndrome is in the film-related vaults and in the ‘high characteristics of the original film and that the In collaboration with IdFilmCentre, a restora­ contagious, infected rolls must be quarantined vault’ is ideal for paper collections at +18°C necessary time (and money) to recreate the tion studio in Jakarta led by Dutch film director immediately. There are two methods of saving with a relative humidity of 50%.4 original aspects has been invested. If it is neither Orlow Seunke, Eye is restoring the Indonesian the image and sound material from destruction: possible to do extensive research into duplica­tion film Tjoet Nja Dhien (Eros Djarot, 1988), by either digitising the image and/or sound as nor apply a number of techniques, Eye speaks starring Christine Hakim. The film was shown quickly as possible or by making a new analogue Due to safety and environmental regulations, of ‘analogue or photochemical preservation’, if as part of the Un Certain Regard programme copy. The second solution is costly, the first the nitrate collection (approximately 30,000 the result is a new analogue film, or of ‘digitisa­ at the Cannes Film Festival in 1989. labour-intensive. Approximately 132,400 meters cans) is stored in three special bunkers in tion’, if the result is a digital copy. Regardless of of film and 93,000 meters of magnetic tape are Castricum, Overveen, and Heemskerk. These the choice for photochemical preservation, In 2018, the Russian propaganda film, Frag­ currently contaminated. The state of the material bunkers are expected to reach full capacity in digitisation, or restoration, all interpretations and ments of an Empire / Oblomok imperii (1929) and the growing number of contaminated the coming years as the nitrate collection decisions must be based on film-historical by Friedrich Ermler (Sovkino) will be restored. carriers require action. In the coming years, Eye continues to grow. The bunker in Castricum, knowledge. Eye has a nitrate copy of this film in the Film­ aims to inspect, select, and digitise or preserve where 7,000 nitrate cans are stored, no longer liga collection. The restoration will be carried this material. meets the current safety regulations and storage Prior to all restoration workflows (analogue, out together with the San Francisco Silent requirements and must be modernised very digital, and hybrid), restorers examine the Film Festival, the Russian film archive Gos­ Preservation urgently. To resolve these issues, Eye is aesthetic and technological quality of the work. filmofond, and the Swiss Film Archive. preparing another film vault for nitrate storage, They determine whether the film is complete, Analogue, digital, and hybrid film materials in Heemskerk. Until recently, some of the which versions exist, and which version is most Eye provides access to these film restorations make up the core of the collection. It is crucial analogue films that were transferred to the Eye suited for restoration. Eye often collaborates through screenings in the museum building that originals are appropriately preserved Collection Centre were stored in this vault. with international fellow archives to compare – such as those held on the annual Meet the against loss in secure and climatised vaults. As different source material (surviving film elements Archive – and at international festivals, for original heritage artefacts, these films frequently Eye chooses to store the born-digital films and may be found anywhere in the world), share instance through the Eye International depart­ serve as the basis for research and new digitised analogue films in the Digital Archive in expertise and bring together the best materials ment that promotes worldwide visibility of restorations. With the commissioning of the new accordance with current best practice and for a joint restoration. Dutch film and filmmakers. Collection Centre, Eye is able to preserve these standards. The preservation process entails a objects under the best conditions for as long as detailed documentation of activities and possible. The collection is located in eight of the interventions in the preservation (of analogue,

Collection Policy Plan 18 3 Guardian: from -5° tot 4K 19 Analogue photochemical restoration appliqué technique, using coloured adhesive Digital restoration Digitisation film directly on film strips) and work by Joost In a select number of cases, Eye may choose to Rekveld (recently restored by Eye). Digital image and sound restoration is performed Eye digitises films on a daily basis using the restore photochemically, if, for instance, a film is on a small number of films, in particular films Scanity, a scanner designed specifically for very fragile and the digitisation process may The acquisition of analogue abstract films that have been selected for screening at Eye archival films. Digitisation creates different types cause further damage to the original. This often remains a top priority in the coming years. and national and international festivals, or films of files: a series of uncompressed DPX files (one applies to old nitrate films or to carriers affected Eye is particularly interested in acquiring a that are being restored in collaboration with per frame) and uncompressed WAV files for by the vinegar syndrome. Occasionally, photo­ number of collections by artists working at other archives. sound. In addition, a ProRes file is produced, chemical restoration workflows are also adopted WORM Filmwerkplaats in Rotterdam, includ­ which serves as the basis for creating playable, for silent films to remain faithful to the original ing the films of founder Esther Urlus. Working Digital image restoration replaces missing or compressed files. The ProRes file is given a production and projection technique. Silent films exclusively with celluloid, this artist collective damaged details in the image with similar details basic colour correction and the image is cropped were not shown at the standard rate of 24 frames makes films that perfectly illustrate how from surrounding frames. Sometimes scratches so that the scanned frame can no longer be per second (typical for sound films), but at a know­­ledge of analogue techniques may be or stains run from frame to frame, so that no seen. Uncompressed files, however, retain the variety of rates (normally between 14 and 48 used creatively today. comparable details are available to repair the frame edges of the entire image which may be frames per second); restoring these films digitally damage; in which case, the scratches or stains useful in future restorations. may therefore interfere with the authentic Films by Peter Rubin have recently been are left untouched. projection speed of such films. added to the collection and will be restored in Films are digitised for various purposes, such as Finally, an analogue workflow is generally 2018. Performing at the famous Amsterdam In general, image restoration is only attempted access, preservation, restoration, and presen­ preferred for works where film materiality is MAZZO club in the 1980s, Rubin was one of if the intervention is invisible and no new digital tation. Restoration and presentation further emphasised. This is often the case with con­tem­ the first multimedia artists who experimented artefact is added to the image. Some damage require a number of additional, time-consuming porary, experimental filmmakers who embrace with audiovisual installations using several may be part of the film’s history; traces of the activities. Occasionally, a film is only digitised the use of analogue film for artistic purposes. slide projectors, Super8 and 16mm loops, production process, such as camera instability. for specific access purposes; for example, when In all these cases, Eye first makes a film-to- video projections, and spot lights in his per­ The restorer does not necessarily restore the a single film fragment is needed for reuse, or film copy (often a duplicate negative) followed formances, creating visual effects to music.6 image ‘as new’ (pristine restoration), but is limited when further research is required into what kind by either a digital scan or a new analogue to restoring the historical, technical, and of restoration practice is best suited to a particular projection copy. Seeking to engage new and young audiences aesthetic qualities of the film while maintaining film. in interesting ways, Eye has created the Eye the original characteristics of the film. on Art series, a biweekly avant-garde pro­ Occasionally, films are digitised in collaboration Experimental Film collection gramme that enables audiences to enjoy and The same general guidelines apply to colour with filmmakers who want to release their ana­ explore experimental work that intersects film cor­rection (grading) and sound restoration. In logue film digitally. In such cases, the costs are The Experimental Film collection contains and other arts using new and exciting forms colour correction, the original colours of a film shared between Eye and the filmmaker; with work by all major Dutch experimental of presentation. are restored using reference copies. If these are Eye preserving the uncompressed scans as a filmmakers. In addition, Eye aims to acquire not available, similar films will be studied to preservation element, while the filmmaker can titles that represent the canon of avant-garde estimate the original state of the colours. Where proceed remastering his or her film for a new film history, which will be integrated into its Regarding analogue restoration, Eye frequently possible, the filmmaker and/or cameraman is release. Once the remastered version is released, unique experimental film collection. Thanks works collaboratively with specialised labora­ consulted. Eye further receives a set of uncompressed files to the Filmliga collection, Eye holds a tories. Haghefilm Digitaal (and its predecessor (the Digital Cinema Distribution Master or DCDM) number of major titles from 1920s and 1930s Haghefilm) and Eye have worked together on In the coming period, Eye will primarily focus on for preservation purposes. international avant-garde, including films by numerous restoration projects since the 1980s. expanding knowledge regarding colour correction Fischinger, Richter, and Buñuel. In 2013, Eye In addition, Eye regularly collaborates with other and sound restoration, so that these activities focused on the work of Fischinger in the international film restoration laboratories when can eventually be performed in-house instead of Scan specifications exhibition Oskar Fischinger (1900-1967): specific expertise is required. These include being outsourced to external laboratories. Since Experiments in Cinematic Abstraction. Cineric in New York (United States) and the opening of the Eye Collection Centre, Eye Films may be digitised at 2K or 4K resolution. L’Immagine Ritrovata in Bologna (Italy). has acquired a Sondor Resonances scanner for These abbreviations represent two thousand The post-war Experimental Film collection the digitisation of soundtracks and ProTools or four thousand pixels per horizontal line has expanded considerably in recent years. software with which to restore them. Currently, respectively, and determine the amount of Since 2010, it also includes distribution Eye’s sound restorer is receiving additional detail copied. A 10-Bit logarithmic colour copies and original materials from the train­ing in current sound restoration. depth determines the amount and variation of Filmbank collection. These include abstract colours copied. Most films are digitised at 2K. films by animator José Vonk (known for her This is the minimum required resolution for

Collection Policy Plan 20 3 Guardian: from -5° tot 4K 21 theatrical release with no perceptible loss of a digital storage environment, a Media Asset detail. A 35mm camera negative is ideally Management system (Eye-D), and a catalogue digitised at 4K or higher resolution to ensure system (Collection Eye). the capturing of the finer details of the negative. Compared to 2k, digitising at 4K Intake of digital files generates a file that has quadrupled in size. For example, a 90-minute feature film will All supplied digital files are checked, normalised, result in approximately 1.5 terabytes at 2K 10 and transferred to the storage environment. Eye Bit and 6 terabytes at 4K 10 Bit. prefers to store digital material uncompressed and adds metadata on the technical details and content. Film-related collections, such as posters, archive documents, and publicity materials are digitised with an A0 scanner, and in high Digital rollout resolution when requested. In the past twenty years, the post-production In the context of the European research project of films has primarily shifted to digital. Regard­ A Million Pictures, the complete collection of less of being shot on film, the material is (magic) lantern slides has been digitised and usually digitised for editing, special effects, original descriptions have been added to the and colour correction purposes. Having catalogue. Funded by external subsidies, Eye adopted digital tools ahead of the film industry, also digitises and provides access to various film sound has been digital for some time seminal film journals. In March 2018, a further now. Over the past ten years, films have two journals from the library collection are being generally been digitally recorded, distributed,

 Before and after the digital restoration of Shoes (US, 1913) digitised: Nieuw weekblad voor de cinemato­ and projected as digital files (Digital Cinema grafie 1922-1964 (22,000 pages) and Kunst en Package or DCP). At present, around 130 Amusement 1920-1927 (8,000 pages).7 films are produced digitally in the Nether­ lands each year. The Digital Archive

Over the past fifteen years, a true digital In accordance with the Netherlands Film Fund ‘revolution’ has taken place in the film world, deposit agreement, the master elements of all confronting cultural institutions that collect, productions supported by the fund are donated archive, and present films (audiovisual archives, to Eye and integrated into the collection. These but also museums) with the intake of a rapidly include feature films (also co-productions), increasing amount of born-digital material. documentaries, experimental films, animated Meanwhile, over the past years, also a large films, filmic experiments, and both short and volume of analogue film material has been long productions. Agreements have also been digitised, particularly during the project Images made with the Dutch Film Academy regarding for the Future (2007-2014).8 the intake of films made as final graduation projects. Sustainable preservation of and permanent access to digital film objects require adequate The main reason for these collaborations is to registration and storage systems best suited to guarantee long-term preservation and sustain­ the nature of the material. Eye uses the Open able storage of Dutch audiovisual heritage. The Archive Information System (OAIS) reference sustainable storage of source materials enables model. This model provides a conceptual Eye to produce future copies and/or digital framework for an archival system dedicated to formats on whichever standard is pertinent. the intake, storage, and accessibility of digital information. The Eye Digital Archive consists of

Collection Policy Plan 22 3 Guardian: from -5° tot 4K 23 practices in the IT industry and international Standardisation of born-digital delivery standards of the FIAF (International Federation specifications of Film Archives).

Eye refers to the international standards of Eye-D the Society of Motion Picture and Television Engineers (SMPTE) and the International Launched in 2016, Eye-D is a Media Asset Organization for Standardization (ISO). Management (MAM) system that stores all of Standardisation is essential in guiding the Eye’s digital material, which can be delivered in digital submission procedure. All Dutch post- a variety of formats suitable for various pur­ production studios are asked to follow the poses. The access interface of Eye-D is user- submission guidelines for the Digital Archive, friendly and offers quick access to the collection which facilitates the delivery of digital material. for both internal activities (programming, In the completion phase of a film production, exhibition, and research) and external contacts the following digital elements must be (researchers, festival programmers, filmmakers, transferred to Eye: or customers of Eye’s Archival Sales depart­ ment. • An uncompressed master: Digital Cinema The system is linked to the Collection Eye Distribution Master (DCDM).9 (CE) catalogue, where all technical metadata on • A projection copy: unencrypted Digital the digital objects is directly linked to relevant Cinema Package (DCP) including any catalogue records. available subtitles.10 • A reference copy: a ProRes file. Collection Eye (CE) Catalogue

In addition, uncompressed files of film-related Collection Eye (CE) is Eye’s catalogue system material (photographs, posters, Electronic and contains information about every item in the

Press Kit, shooting script, etc.) are supplied collection. The catalogue comprises nearly ## Unknown nitrate film to Eye for completion of the preserved item.11 815,000 records of collection items and approxi­ # Digital storage mately 317,000 additional records, including % Film restorer at work ! Filmstrip The Moonshiner (US, 1920) 12 information about individuals and corporations. $ Scanity: the film digitisation scanner At the end of 2017, the Eye digital collection New records of analogue and digital material amounted to approximately 2.5 petabyte. Each are added or updated every day. In 2016, along year, it is estimated that 300 terabytes of new with the introduction of the new workflow for material is generated by means of digitisation born-digital material, a new registration model and Film Fund admissions. was developed to describe acquisitions of born- digital material and digitised analogue titles. Digital storage and digital sustainability In early 2018, Eye will start procedures to Data is stored on LTO tapes in a data robot, gradually upgrade CE. One of the objectives is which is a commonly accepted industry standard to integrate the BIBIS library catalogue in CE. In for archiving data. For back-up purposes, two the coming period, collection management will sets of LTO tapes are made and stored at be further optimised in accordance with inter­ separate locations. Maintaining compatibility national standards set by FIAF and Spectrum, across all major operating systems, the open- an international handbook for collection standard software (LTFS) ensures that, if management. Eye aims to improve the quality of necessary, the data tapes can even be read data by refining import guidelines and import outside Eye. After a number of years the data inspection, supplementing missing data (possibly tapes are migrated to new tapes and servers by using external sources), and adhering to and/or components within the robots are national and international standards, such as replaced. In this regard, Eye follows best the Common Thesaurus for Audiovisual

Collection Policy Plan 24 3 Guardian: from -5° tot 4K 25 Archives (GTAA), the Art & Architecture This certificate covers various areas: organisa­ digital presentation projects, Eye will turn to Thesaurus (AAT), and several ISO norms.13 tion, technology, processes, procedures, fellow institutions for specialist advice and documentation, finance, legal aspects, and collaboration where necessary. Collection Eye (CE) Online personnel. Becoming certified demonstrates that the repository is a reliable, digitally sustain­ Collection Eye (CE) has been available online able, and accessible archive and involves Expanded Cinema collection since November 2015. CE Online is primarily meeting the guidelines set by CoreTrustSeal. intended for national and international colleagues, Eye expects to become certified in 2019/2020. Filmmakers increasingly intersect film with who can now access the same information as other arts (fine art, media art, installation art, visitors consulting CE in the Eye Study. How­ever, The preservation of Expanded Cinema photography, performance, and music), while not all information is available online for public and digital presentation projects artists from other disciplines regularly use the access; personal information, for instance, is characteristics of cinema. In both cases, the inaccessible and images, such as photographs In the coming years, Eye would like to research medium of film requires examination by, for and posters, are not shown due to legal restric­ how non-traditional works such as Expanded instance: questioning time, space, and the tions.14 Cinema installations and online/on-site digital fixed position of the spectator; experimenting presentation projects can best be registered and with new narrative structures; and raising the Eye is currently investigating possibilities to preserved. Such works contain different issue of the single projected image. Works in improve CE Online while simultaneously upgrad­ components that often fall outside the traditional the Expanded Cinema collection explore and ing CE. Eye seeks to optimise the user interface categories of film and film-related collections. reflect on one or more of these aspects and for external (international) users, translate Dutch These include installations developed or offer an artistic and cinematographic answer terms into English, and make collection informa­ acquired for (temporary) exhibitions and to questions on the essence of cinema. tion available via Linked Open Data (LOD) to installations produced by Eye, such as the 360° promote the reuse of information and to make installation in the Panorama or The Scene Eye researches, collects, preserves, and data interchangeable with other platforms, such Machine (on-site installation and an online presents Expanded Cinema because Eye as the European Film Gateway (EFG) which is platform). Virtual Reality, Augmented Reality, recognises that important cinematographic part of Europeana.15 and Mixed Reality projects, such as the Eye developments regularly occur outside Walk, also partially fall into this category.17 the cinema. In 2012, Eye gave free rein to Fiona Online Expanded Cinema with the exhibition Eye aims to keep a record of the first presenta­ Expanded Cinema: Isaac Julien, Fiona Tan Since 2014, the CE catalogue has been linked to tion of these works, so as to maintain the possi­ and Yang Fudong. the Fiona application, which supports various bility of presenting them again. Eye policy processes regarding film screenings and exhibi­ will continue to focus on this issue and create tions. The online version of Fiona came into use conditions for optimal archiving of these pro­ in 2017 and creates an integrated workflow: Fiona ductions. To improve conditions, the descrip­tion Online helps programmers with film scheduling format in the catalogue will need to be adapted in Eye, and the projection booth uses this data and will be taken into account during the process for screenings. Copyeditors write descriptions of of upgrading CE. In the case of co-productions the films which link to the schedule in Fiona and or commissioned work, agree­ments must be are published on the website. The system also made with the makers as to which material archives Eye’s presentation history so that this needs to be provided for archiving. For a digital information is available for research. project, this only concerns the software (including content) written for the project, and not the off- Certification the-shelf hardware, unless it has been specially developed or modified for the project. With Eye’s mission is to safeguard the collection in a on-site installations,­ only unique elements, like sustainable and accessible manner. To maintain custom-made furniture or equip­ment, will be durability and integrity, Eye aims to make its secured. The non-unique, replace­able elements policy and practice transparent and measurable. are included with photographs and descriptions This is possible with a certification from the in the docu­men­ta­tion of the work. organisation CoreTrustSeal.16 In order to preserve Expanded Cinema and

Collection Policy Plan 26 3 Guardian: from -5° tot 4K 27 Activities in the fields of digitisation, preser­ This collection focuses on groundbreaking 4 Guide: ‘open’ va­tion, and restoration only become final cinema: innovative films of new talent once the result is shown to an audience in a (Nicolas Provost and Ruben Ostlund) and and curated cinema, exhibition, or online. Eye uses two new films by established filmmakers, whose presentation strategies: ‘open’ and curated. work is already part of the collection (Ulrich To reach the widest possible audience, Eye Seidl, Roy Andersson, Hou Hsiao-hsien). provides ‘open’ access to the collection; the user is free to decide what to see and how Eye has agreements with distributors, such they want to (re)use the material. At the same as MGM/UA and Granada, allowing Eye to time, a team of programmers and curators screen, distribute, and add titles from their carefully select and present curated material, catalogues to the collection. In addition, Eye which provides the user with context and actively acquires film classics and interesting pathways to help appreciate the collection. restorations from fellow archives. Recent In a world where users have access to large examples are Howards End (1992) and 2001: quantities of digital material from many A Space Odyssey (1968) on 70mm. (inter)­national heritage institutions, it is necessary to guide the user so that they can Titles from the International collection are enjoy the fullest possible range of what the frequently featured in summer programmes, collection has to offer. thematic programmes, and monthly series, such as Restored and Unseen, and Eye­ Priorities shadow, which combines films with provo­ca­ tive live concerts that complement the film. Currently, the Collection and Public & Presentation departments have a number of priorities in terms of content. Stemming from Curatorial vision Eye’s general mission, these principles are: In past years, Eye has invested a lot of time in • Presenting and contextualising film culture in making the collection visible in the Eye museum various and innovative ways. building and nationally and internationally. • Creating a broader perspective by presenting Eye will continue to present the collection world­ the work of forgotten filmmakers. wide and online and will further intensify its • Mapping out important technological develop­­ research into the collection. In the coming years, ments, genre cinema, Dutch film culture, etc. invest­ments will be made in autonomous research • Focusing on groundbreaking cinema: film­ across all collections. The largest collection, makers who blur boundaries and styles, break Dutch Film (comprising two-fifths of the entire the rules, and find their way independently col­lection), will receive a more collaborative through the (inter)national landscape of approach: curators from all collections (Silent cinema. Film, Experimental Film, Expanded Cinema, • Selecting and presenting work by talented Amateur Film, Film-related Collections, and young filmmakers and well-known masters of Animation) will work within the Dutch Film collec­­ cinema. tion, exploiting the widest possible range of • Presenting (highlights from) the collection. expertise.

One of the ambitions for the coming years is International collection the expansion of the curatorial team with the appoint­ment of an International Film curator and The International collection reflects Eye’s a curator of Contemporary Dutch Film. ambition to create a unique collection of work by prominent filmmakers from around the The curatorial team, together with external world and from milestones in film history. researchers and/or guest curators, will also

Still fromCollection La dentelliere Policy (FR, Plan 1912) 28 4 Guide: ‘open’ and curated 29 investigate lesser-known parts of the collection Netherlands’ most prominent screenwriter of  Foyer in the Eye Collection Centre  Stills from the Eye Collection in the in the coming period. The collection is, after all, films such as Turks fruit (1973), Soldaat van Foyer next to Cinema 1 rich and varied and full of untapped material Oranje (1977), and Zwartboek (2006).  Poster exhibition in Eye Filmmuseum waiting to be extracted.  Film apparatus in the Panorama The company archive of distributor and cinema owner Jean Desmet and accompany­ing Unique finds posters, photographs, and publicity material constitute the largest part of the silent film- Curatorial work often leads to unique finds related collection. Together with parts of other and restorations, such as Fietsen naar de archive collections (for example, the Geoffrey maan (Jef van der Heijden, 1963) and Donaldson archive), it provides a great deal Herwinnen door werk (Alex Roosdorp, 1945). of background information on silent film. In recent years, films long considered lost have regularly been discovered, such as the The integration between film and film-related American drama film Beyond the Rocks collections is reflected throughout the museum (1922); the British feature film Love, Life and building. Some examples are: the film Laughter (1923); the German film Gräfin apparatus in the Panorama; the changing Küchenfee (1918), starring Henny Porten; exhibition of posters in the hallways leading Robert Wiene’s directorial debut Die Waffen to the cinemas, which are thematically linked der Jugend (1912); and Dutch films such as with current programming; and the Eye on De Bertha (1913) and Bloedgeld (1921). Set, a changing exhibition of film-set photo­ graphs displayed on seven monitors above the foyer bar. Eye aims to present its collection as an organic whole, in which all collections complement and provide context to each other. This applies to Access to the collection analogue and digital films, posters, photo­graphs, archives, apparatus, sound, sheet music, books, Over the past decades, Eye has made great journals, installations, and other objects. Through efforts to digitise the collection and make it regular meetings and structural exchanges of digitally accessible through various channels. information between curators and programmers, The large-scale digitisation of the Images for the all aspects of the collection will have the chance Future project (2007-2014) has ensured that to be seen in various forms of presentation. 22% of the collection is now digitally available. During this project, almost 7,000 film titles from the collection have been digitised. Film-related collection Eye’s regular digital workflow will digitise about 200 titles a year. In addition, an average Eye’s film-related collection is large and of 150 born-digital films is acquired each year. diverse, including 700,000 photographs and However, copyrights restrictions form a major 82,000 posters as well as a number of high­ obstacle for all audiovisual archives wanting to lights from 1920s poster art. The paper make film heritage available online. The copy­ archives are a valuable source for research right and screening rights clearance for each and historiography and contain unique items individual film title is a time-consuming and costly regarding Dutch film production, distribution, task. Eye collaborates at a national and inter­ and exhibition. In addition, the institutional national level within the audiovisual field to find archives (NBB/NFC, Productiefonds/Fonds effective solutions to these limitations. voor de Nederlandse Film, NIAf) provide insight into the organisation and subsidising of Dutch film. An important recent acquisition is the extensive archive of Gerard Soeteman,

Collection Policy Plan 30 4 Guide: ‘open’ and curated 31 additional context. Currently, over 1,000 titles FORWARD system are posted on YouTube.18 Eye also posts weekly fragments or photographs on Face­ Orphan works are films of which the copy­right book, Twitter, and Instagram to draw attention holders are unknown or cannot be traced. to material from the collection. Recent legislation allows cultural institutions to publish these works. Sharing its knowledge The Collection department has its own Face­ and expertise in the field of orphan works, book page on which employees post news Eye had a crucial role in the three-year items about collection-related topics, high­ European FORWARD project that ended on light­ing special collection items (film, photo­ 1 February 2017. The project resulted in the graphy, or apparatus) and promoting activities development of a semi-automated system (lectures, presentations, or research projects) that is able to determine the legal status of in the Eye Collection Centre.19 European audiovisual works, including orphan works. Eye supports the plan by the A recent example of an innovative digital Association des Cinémathèques Européennes project that makes use of the collection is (ACE) to maintain, further develop, and make Jan Bot; Eye’s first algorithmic curator who the FORWARD system accessible to other generates short experimental films based on European film archives. the day’s trending topics, exclusively using material from the Bits & Pieces collection.20 The videos are streamed on the Jan Bot A substantial part of digital film in the public website and social media platforms.21 domain has now been made freely available. In the coming years, Eye aims to focus on making accessible Dutch film productions that Target groups (re)using the Eye collection are currently protected by copyright and to present these, if possible, free of charge in Apart from use for in-house activities (pro­gram­ innovative forms of presentation. In the past, ming, exhibition, education, etc.), the collection Eye participated in the VOD platform Ximon that is intensively (re)used by various (inter)national made Dutch films accessible for a small fee. target groups: the general public, academics Unfortunately, this platform has since been and colleagues from the archival and museum discontinued. Using today’s knowledge and world, educational users (facilitators and end more affordable technology, Eye aims to users), and the film industry. explore available possibilities for developing an Eye aims to encourage users to reuse the Online Archive Portal to provide additional and collection so that it reaches the widest possible curated access to Dutch films. audience, both inside and outside the museum.

(Re)use of the collection within Eye Digital presentations Eye exhibits films from the various collections The collection is made available on Eye’s throughout the year. There is ample opportunity own online platforms, as well as on external through summer programmes, thematic platforms, such as YouTube, Open Images, programmes, and special events (such as the European Film Gateway, NECSUS, and annual Film Ball and Museum Night) or through various social media platforms. a wide range of series: Cinema Concert; Eye on  Stills from Maudite soit la guerre Art; Cinema Egzotik; Eyeshadow; and Cinemini, (BE, 1914) Every week, Eye posts titles from the collec­ a series specifically intended for toddlers and  Stills from La poule aux œufs d’or tion on YouTube and on the website, where infants. (FR, 1905)  Stills from L’album merveilleux accompanying articles, blogs, film descrip­ (FR, 1905) tions, and thematic dossiers provide

Collection Policy Plan 32 4 Guide: ‘open’ and curated 33 The Education department uses the collection pre-cinema apparatus are waiting to be dis­ as teaching material for almost all educational covered (Eye Explore); to find these, children activities and provides a wide range of guided from the age of seven can take part in a treasure tours, interactive programmes in the cinemas, hunt (Eye Explore More). In the Arena, there are and workshops. This includes the History ‘listening benches’ where a lively story is told Repeats workshop in which students make about the creation of five films (Eye Listen). videos inspired by films from the collection. The Panorama on Eye’s ground floor houses the permanent exhibition which displays apparatus Virtual Reality, Augmented Reality, that mark important moments in film history. and Mixed Reality Some major items include a mutoscope, a magic lantern projector, and the Kinamo – a compact In recent years, developments in the fields camera used by film pioneer Joris Ivens to film of Virtual Reality, Augmented Reality, and the famous documentary De brug (1928). Mixed Reality have rapidly progressed. In The Panorama also houses the 360​​° instal­ 2017, Eye created a compact VR installation lation, a space where visitors are surrounded by to allow visitors to participate in these nearly one hundred thematic film fragments developments.­ from the collection. There is also an interactive installation­ which utilises green screen technology There is endless experimentation with to allow visitors to star in a film scene from the storytelling on a ‘screen without frame’. One collection. example of this is the Eye Walk, a tour Eye created for children over the age of seven. There are also four so-called Pods (mini-cinemas This innovative video tour contains fragments with three seater sofas) in the Panorama, which of films from the collection and has won show several hundreds of films from the collec­ several awards, including the New Media tion in their entirety. In the coming years, Eye Awards (Best of Industry in the Museums aims to expand the number of screened films in category) and the Highly Commended Prize the Pods and place one or more Pods in locations 22 awarded by MuseumNext. outside Eye. In 2018, the first Pod has been % Cinema Concert placed in the Amsterdam Public Library. # Presentation of Jan Bot during the Eye In due course Eye hopes to be able to employ International Conference 2017  360° installation in the Panorama VR technology to find new and exciting ways  Péter Forgács – Looming Fire exhibition to present and experience the collection and Eye Move: a new on-site presentation will create conditions to optimally archive its own (co)productions. In the coming years, Eye will replace the current 360° installation in the Panorama with a new immersive and interactive installation. Eye’s temporary exhibitions, such as Jean Under the working title Eye Move, an Desmet’s Dream Factory: The Adventurous extensive new piece de résistance is being Years of Film, 1907-1916 and Péter Forgács – worked on which will allow visitors to explore Looming Fire, are comprised, almost exclusively, the Eye collection in a different way. Like the of items from the collection. These exhibitions 360°, this new installation will provide high- are accompanied by a film programme and tech access to the Eye film collection. Visitors a display of posters or photographs from the will play a leading role through movement. collec­tion that tie in with their theme. To search the collection, visitors will no longer enter search terms as a word tag like in In recent years, through a permanent exhibition traditional search engines; instead, they will known as Eye Discover, it is possible to access ‘act’ in a direct, intuitive, and physical way: material from the Film-related Collections. Spread the body will act as a ‘game controller’ of the throughout the building, replicas of interactive search engine.

Collection Policy Plan 34 4 Guide: ‘open’ and curated 35 In Eye Move, the visitor will determine the (now known as the International Film Festival In order to enhance visibility of the Eye common denominator of scenes or shots Rotterdam, IFFR) were housed in the Neder­ collection, Eye International has film market shown on the walls. Using gestures and lands Filmmuseum. This collection contains booths at various international film festivals. postures, the visitor literally controls the dozens of copies of notable arthouse films, narrative and determines what kinds of film mainly from Asia, Russia, and Europe as well Since 2017, the annually released Eye Inter­ fragments are being accessed. These could as many modern classics. Ten to fifteen films national film catalogue has included a film feature, for instance: close-ups or wide shots per year were added to the collection during heritage section highlighting the most recent (the visitor moves his/her hands close together the 1990s and 2000s. The Filmmuseum restorations. The English-language magazine or far apart); the colour red (the visitor selects maintained a close relationship with the IFFR SEE NL, which Eye International publishes in red on a colour wheel); and quickly edited during this period and the work of a number collaboration with the Nether­lands Film Fund, scenes (the visitor quickly claps his/her hands). of directors was closely followed and often often focuses on the Eye collection, heritage A visitor’s pose can also be translated via acquired. The Distribution collection includes activities in the Eye Collection Centre, and image recognition into, for example, a romantic works by Manoel de Oliveira, Zhang Yimou, events and programmes related to the collec­ pose from a well-known film. Eye Move will and Hou Hsiao-hsien. The collection reflects tion. use the latest techniques and software in the the history of arthouse film in the Netherlands field of image recognition and image analysis, between 1970 and 2010. Along with the In 2018, one of the projects promoted by Eye and will be developed in close collaboration archival collection, the distribution collection International abroad was the restored work of with the NWO project The Sensory Moving provides an excellent starting point to follow Dutch film director George Sluizer. This Image Archive (SEMIA) of which Eye is a developments in cinema. Asia, the Middle restora­tion project resulted in the release of a partner (see page 46). East, Russia, and Latin America are regions DVD box containing Sluizer’s entire oeuvre.26 that Eye would like to particularly focus on in the coming years. At a time when demand for (Re)use of the collection outside Eye analogue film copies is declining, the International distributors regularly release Eye Distribu­tion collection represents a large films on DVD and Blu-ray. Restored versions of The collection can also be seen through various cultural capital for Eye to research, preserve, J’accuse (Abel Gance, 1919) and Man with a channels outside the museum. digitise, and – rights permitting – present.23 Movie Camera (Dziga Vertov, 1929) were recently To promote the screening of short films, released by Lobster Films in France. In 2018, Eye initiated the Short Film Pool, a distribution Milestone Films in the United States will release plat­form through which subscribed film theatres The Archival Loans department lends films to the restoration of Shoes (Lois Weber, 1916) and have access to more than 500 digital short films, film festivals, (film) museums, and cinemas. Filibus (Mario Roncoroni, 1915). documentaries, and animations. The selection Around 750 copies are sent around the world includes films from the Filmbank and NIAf each year.24 Restoration projects collec­tions, as well as titles from independent producers and films produced for the annual Archival Sales handles requests from museums, 2015 and 2016 were eventful years, primarily NTR KORT! series. The Short Film Pool also production companies, TV channels, news­papers marked by the relocation of the collection to the offers specially curated programmes, from com­ and magazines, web and app designers, artists, new Eye Collection Centre. In the future, Eye pilation programmes of film festivals to educational academics, and private individuals. Eye delivers intends to present two major restoration projects programmes with free teaching material. approximately 900 film files, 400 photographs, per year. In this context, ‘major’ means a famous, and 100 posters to external parties every year.25 classic film, a prestigious presentation, or an Dutch cinemas and film theatres can programme important international collaboration. These films from the Eye distribution collection. This restoration projects generate attention for the distribution collection has more than 1,000 titles Eye International collection as a whole and can lead to new co-­ and contains both classic and contemporary productive restorations, which may increase the film. About 1,100 bookings are made every year. The Eye International department is respons­ number of restoration projects in the future. ible for the promotion of restorations at major international film festivals, such as Cannes Thanks to new film-historical insights and Distribution collection Classics and Berlinale, and at film heritage technical developments, films continue to be festivals, such as Il Cinema Ritrovato in presented in different ways. Each screening of a In the late 1980s, the collection and activities Bologna, Le Giornate del Cinema Muto in restored film creates a new chapter in the history of the Film International distribution branch Pordenone, and the Festival Lumière in Lyon. of film.

Collection Policy Plan 36 4 Guide: ‘open’ and curated 37 Eye plays a leading role in the fields of three decades, Eye, together with partner 5 Pioneer: academic preservation, digitisation, and restoration of laboratories, has developed many new film heritage and closely collaborates with analogue and digital techniques to restore function, research and various partner institutions and experts in films to their full glory. The results have been the Netherlands and abroad. The opening of presented to the public in the Netherlands collaborations the Eye Collection Centre in 2016 has further and abroad. helped secure Eye’s international reputation as evidenced by a number of new in-house programmes and projects: the Eye Artist and International expertise centre Scholar-in-Residence programme, the Film Restoration Traineeship programme in The Eye Collection Centre functions as a centre colla­boration with Haghefilm Digitaal, and of expertise where scholars, journalists, film­ various (inter)national collaborative projects makers, students, and other film professionals in the fields of restoration, research, and can work with the collection. In the Eye Study, knowledge enhancement. the public research centre, visitors may consult (digitised) materials, such as books, journals, films, DVDs, posters, photographs, personal and International appreciation institutional archives, scripts, audio collec­tions, sheet music, and film apparatus. It is also possible The Eye restoration of Beyond the Rocks to consult experts who work in the Eye Collection (Sam Wood, 1922) was shown worldwide Centre, such as curators, information specialists, after its premiere at the Cannes Film Festival and restorers. The building is equipped with a in 2005; the restoration of Nicholas Ray’s multifunctional 35-seat cinema room, which is final film experiment We Can’t Go Home regularly used for expert meet­ings, press screen­ Again (1972) premiered at the Venice Film ings, lectures, and work­shops.27 Festival in 2011. In recent years, Eye has put together a variety of film programmes that Collaboration in a national context have been circulated worldwide, for example, excerpts from the Jean Desmet collection Eye works closely with various partner institu­ (1907-1916) and compilations of early coloured tions and specialised network organisations in films. In addition, restorations of films by Dutch the fields of preservation, digitisation, restora­ experimental filmmakers, such as Johan van tion, and presentation of film heritage. der Keuken, Frans Zwartjes, and Joost Rekveld, are regularly shown inter­nationally. Networks

Eye has won several international awards for Netwerk Digitaal Erfgoed (NDE) its restoration work, including the Jean Mitry Award (for innovation in the field of colour Netwerk Digitaal Erfgoed (Digital Heritage preservation in nitrate film), the Film Preser­va­ Network) is made up of five institutions, each tion Honors, and the Prix Henri Langlois. representing a distinct domain within the In 2017, Eye was awarded the annual San heritage field. Together they represent a system Fran­cisco Silent Film Festival Award in of national facilities and services for improving appre­cia­tion of its contribution to the preser­va­ the visibility, usability, and sustainability of tion and restoration of film and the sharing of digital heritage. Over the past few years, Eye know­ledge through presentations held in San has actively contributed to various projects Francisco over the years. within the NDE programme. In the coming period, Eye aims to focus on linked open data In the 1990s, Eye was one of the first archives and rights management of digital objects.28 to use digital techniques for the digitisation and restoration of film images. In the past

Still fromCollection Visions d’art: Policy 3. PlanLa fée aux étoiles (FR, 1902) 38 5 Pioneer: academic function, research and collaborations 39 Culturele Coalitie Digitale Duurzaamheid world. The company has been a partner in Eye’s had only four members. Today, 164 institutions (UvA). Giovanna Fossati, chief curator at Eye, was (CCDD) Short Film Pool distribution platform from the (89 active members and 75 associates) from appointed to this professorship. The combined beginning and their most recent collaborative 75 countries are affiliated with the organisation. function of professor and chief curator is excep­ Culturele Coalitie Digitale Duurzaamheid (Cultural project is the Eye Filmmuseum & Haghefilm FIAF is an important consultative body in the film tional in the international film archival world, and Coalition for Digital Durability) is a knowledge Digitaal Film Restoration Traineeship. archival world and promoter of various inter­ forms an ideal link between Eye’s restoration network in which eleven cultural heritage institu­ When requested, Eye will also store nitrate national partnerships. FIAF works with three practices and academic research at the UvA. tions work together to ensure sustained access material for Haghefilm Digitaal. specialised expert committees engaged in the Through its academic policy, Eye seeks to to digital objects. The CCDD pools know­ledge in development and application of both theoretical provide researchers and students with optimal the field of digital sustainability into a single The Netherlands Institute for Sound and and practical standards. Eye is represented on access to the collection and expertise within the knowledge network. The CCDD chair­person is Vision two of these committees. Anne Gant (head of film archive. also on the Netwerk Digitaal Erfgoed (NDE) Film Conservation and Digital Access) is a Collaboration with the UvA focuses on the governing board. In the coming period, Eye will Eye and the Netherlands Institute for Sound and member of the Technical Commission, and Master’s programme Preservation and Presen­ continue to work actively within the CCDD by Vision in Hilversum closely collaborate in many Massimo Benvegnú (Programming staff) is head tation of the Moving Image, the annual Eye Inter­ sharing knowledge and contribut­ing to various areas, such as access to digital collections, of the Programming and Access to Collections national Conference, the public lecture series projects in the area of digital​​ sustain­ability. Eye joint educational projects (for both primary and Commission.31 This Is Film! Film Heritage in Practice, and the director Sandra den Hamer acts as chairperson secondary education), and various academic academic book series Framing Film. In addition, and represents the CCDD on the NDE board.29 activities. Eye and the Netherlands Institute for ACE Eye and the UvA jointly participate in various Sound and Vision have been partner institutions national and international research projects.34 AVA_Net in the Master’s programme Preservation and Eye is also a member of the Association of Presentation of the Moving Image (P&P) at the ­European Film Archives and Cinémathèques Master’s programme Preservation and AVA_Net is an independent network organisation University of Amsterdam since 2003. The two (ACE), an affiliation of 44 national and regional Presentation of the Moving Image for audiovisual archives in the Netherlands. institutions collaborate on numerous research film archives and cinémathèques from across The network reflects all sectors in which AV projects, including the NWO SEMIA project and Europe. Founded in 1991, ACE aims to safe­ As co-founder and partner, Eye has been involved heritage is managed and made available. Two the MediaNow project, which develops open- guard, promote, and make accessible European in the organisation and implementation of the of its core tasks include collecting and exchang­ source search algorithms that enable a search film heritage and is the initiator of various English-language dual Master’s programme ing knowledge within and between the sectors. of large-scale media archives. projects, such as the European Film Gateway. Preservation and Presentation of the Moving Its ultimate goal is to contribute to the safe­ Continuous communication takes place Eye supports ACE’s plan to maintain, further Image at the University of Amsterdam since 2003. guard­ing and (re)use of audiovisual heritage in between Eye and Sound and Vision to avoid the develop, and provide access to the FORWARD On average, sixteen (inter)national students the Netherlands. Director of Collections Frank overlapping of collections, especially in the field system for other European film archives. Eye participate in lectures and practical workshops Roumen is on the AVA_Net Domain Council. of Dutch documentaries. director Sandra den Hamer is the President of given by Eye staff. Every year, Eye offers at least This council is composed of the most relevant the ACE board.32 three internships at various departments, giving organisations for AV collection management Collaboration in an international context students the opportunity to gain practical work institutions and advises on the formulation and Network for Experimental Media Archaeology experience for four months under the guidance coordination of activities for the entire AV domain Eye is a member of a worldwide network of inter­ of experienced curators, restorers, and digital in the Netherlands.30 national archives, including the Inter­national Eye is a member of the Network of Experimental film specialists. The fifteenth anniver­sary of the Federation of Film Archives (FIAF) and the Media Archaeology (NEMA). This international programme was celebrated in 2018.35 Partners Association of European Cinémathèques (ACE); network promotes new forms of collaboration alongside other renowned film institutes, such between universities and heritage institutions with Public lecture series This Is Film! Haghefilm Digitaal as the British Film Institute, the Deutsches regard to obsolete media technologies. The net­ Film Heritage in Practice Filminstitut, and the Cinémathèque Française. work aims to encourage historians, archivists, and Eye has been outsourcing its analogue preserva­ The collections and archives are connected and curators to engage and experiment with appa­ra­ Eye and the University of Amsterdam annually tion projects to Haghefilm Digitaal for many complement each other. Through these net­works, tus collections from museums and archives.33 present a public lecture series on remarkable years. Haghefilm Digitaal is the only company in Eye users have worldwide access to a broad, film restoration and heritage projects for a wide the Netherlands that has an analogue film international collection. Academic function audience. In a series of six lectures entitled This labora­tory with the latest equipment. The lab Is Film! Film Heritage in Practice, various recent develops, duplicates, digitises, and (digitally) FIAF Eye holds a strong position in the academic field. restoration projects and presentation forms of restores almost all film formats. In recent years, In recent years, the academic role has been film heritage are addressed, ranging from pre- Eye and Haghefilm Digitaal have jointly completed Eye has been a member of the International further strengthened, partly due to the establish­ cinema to recent experimental films and Holly­ several restoration projects and presented the Federation of Film Archives (FIAF) since 1947. ment of the Chair in Film Heritage and Digital wood classics. Apart from regular film projection results at prestigious film festivals around the When it was founded in 1938, the organisation Film Culture at the University of Amsterdam in cinemas, the lectures also cover film

Collection Policy Plan 40 5 Pioneer: academic function, research and collaborations 41 installations and exhibitions of film and film apparatus. International experts, curators, and Collaborations with educational Eye staff contribute to each lecture in the pro­ programmes gramme. This Is Film! enables Eye to provide insight into the behind-the-scenes work of film In addition to the Master’s programme archives and museums.36 Preserva­tion and Presentation of the Moving Image at the University of Amsterdam, Research group Moving Images: Eye also collaborates intensively with other Preservation, Curation, Exhibition universities and colleges, including the Reinwardt Academy, the Vrije Universiteit At the Eye Collection Centre, international guest Amsterdam, the Research Master’s Cultural speakers lecture on issues regarding the pre­ Leadership at the University of Groningen, serva­tion and presentation of, and research into, the University of Bologna, the University of archival films about three times a year within the Zurich, and the Master’s programme Digital ASCA (Amsterdam School for Cultural Analysis) Audiovisual Restoration at the Sapienza research group Moving Images: Preservation, University in Rome. Collaboration can vary Curation, Exhibition. This research group meets from internship pro­gram­mes to various every six weeks and is led by chief curator research and presentation projects. Giovanna Fossati and Eef Masson, coordinator of the Master’s programme Preservation and The following institutions participate in the Presentation of the Moving Image at the Uni­ver­ Research Labs programme: the Rietveld sity of Amsterdam. Academy, St.-Joost Academy, Sandberg Institute, the Royal Academy of Art, Piet Research Labs programme Zwart Institute, the University of Amsterdam, University of Leiden, VjAcademy, and HKU With the annual Research Labs programme, University of the Arts Utrecht. Eye seeks to encourage the development of the next generation of talented curators and artists. Students from art academies and universities Eye is also involved in student graduation put together a programme containing their own projects, which use the Eye collection as a  Eye International  Oration Film Heritage work and films from the Eye collection. The starting point. A recent example of this type of Conference 2017: The Beyond the Digital Turn by thematic programmes consist of a mix of per­ collaboration is the MEDIATED REALITY Reel Thing with Michael Giovanna Fossati Friend and Grover Crisp " This Is Film! Film Heritage formances, lectures, film, video, music, dance, project, a machine that develops and prints films # Students from the Master’s in Practice public lecture and/or installations. By allowing students of the in real time created by an Interaction Design programme Preservation series Research Labs programme to explore the rich­ student at ArtEZ Academy of Art & Design in  delegation visit to the and Presentation of the UvA 37 Moving Image Eye Collection Centre ness of the collection, Eye hopes to engage and Arnhem. inspire young talent. Students can reuse the collections by making remixes with copyright- Eye International Conference and free material. Aside from providing an excellent Meet the Archive opportunity for students to create new work and become familiar with the collection, the Research Once a year, Eye hosts an international Labs programme is also often the first time conference attended by film scholars, archivists, students get to work with a film heritage institu­ curators, and restorers. The conference is tion. The students’ best audiovisual works are organised in collaboration with national and added to the collection. international partners from the academic world and the field of film heritage. Each year, the Eye International Conference starts with Meet the Archive, an afternoon in which Eye curators present special projects to the public for the first time. The final day of the conference always

Collection Policy Plan 42 5 Pioneer: academic function, research and collaborations 43 takes place in the Eye Collection Centre and is year. With the Framing Film series, Eye and characterised by an ‘open house’ atmosphere.38 AUP seek to support scholars and archivists in reflecting on film archival and restoration practices. The series has received international Eye International Conference 2018, 2019 recognition: and 2020 ‘I ... applaud this [series’] effort, because for me The 2018 edition of the Eye International the construction of film history has always been Conference marked the celebration of the a complex matrix of social forces, academic fifteenth anniversary of the Master’s research interest, and archival ability. Just as programme Preservation and Presentation of research queries by film scholars lead to films the Moving Image, whose approximately 150 being prioritized for preservation and restoration, alumni are working in museums, archives, preservation initiatives from the archives also and universities around the world. The theme lead to an opening up of new film historical of the conference was Activating the Archive. terrain.’ Audio Visual Collections and Civic – Jan-Christopher Horak, director UCLA Film & Engagement, Political Dissent and Societal Television Archive Change. In 2019, the Eye International Conference, in ‘The Eye Filmmuseum in Holland is a leader collaboration with the Women and Film in the field and their Framing Film imprint adds  Presentation ASCA Research Group Moving Images: Preservation, Curation, History International (WFHI), hosted an invaluable scholarship to the field.’ Exhibition international conference on the role of – Mike Leggett, Leonardo Reviews  Curator Elif Rongen receiving the San women in the film industry during the silent Francisco Silent Film Festival Award 2017  Nitrate control in Heemskerk film period entitled Women and the Silent  Framing Film book series Screen (WSS), focusing on the theme  Exposing the Film Apparatus book Sisters. Upcoming Framing Film publications presentation and seminar In 2020, the Orphan Film Symposium will return to Eye after its first successful • The Greatest Films Never Seen. The Film European edition in 2014. Orphans is a Archive and the Copyright Smokescreen by biennale dedicated to orphan film material. Claudy Op den Kamp (2018). The 2020 conference will focus on Water, • The Colour Fantastic. Chromatic Worlds of Climate, and Migration. Silent Cinema compiled by Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakçi, Sarah Street, and Joshua Publications within the Framing Film series Yumibe (2018). • Images of Dutchness. Early Cinema, Popular Eye is actively involved in the publication of Visual Culture and the Emergence of a (academic) books, journals, and online material National Cliché, 1800-1914 by Sarah (e.g. articles, blogs, etc.). Since 2009, Eye has Dellmann (2018). published its own academic book series entitled • From Grain to Pixel. The Archival Life of Film Framing Film in collaboration with Amsterdam in Transition (revised version) by Giovanna University Press (AUP). The series comprises Fossati (2018). theoretical and analytical books in the fields of • Performing Moving Images. Access, Archive, restoration, preservation, archival, and Affects by Senta Siewert (2020). exhibition practices, which are in line with Eye’s • Yervant Gianikian and Angela Ricci Lucci at work. Its first volume, From Grain to Pixel: The Work edited by Alo Paistik and Jonathan Archival Life of Film in Transition by Giovanna Larcher (2020).39 Fossati, was published in 2009. Since then, more than a dozen books have been published; an average of three to four books appears each

Collection Policy Plan 44 5 Pioneer: academic function, research and collaborations 45 Other publications The aim of the project is to gain a better aims to design a digital infrastructure to filmmakers and Eye. This tradition has pre­ understanding of the magnitude, content, connect large amounts of data and software viously included projects with Gustav Deutsch, Eye, together with Amsterdam University Press composition, and condition of the collection from different humanistic disciplines and Peter Delpeut, Aernout Mik, and others. The first and other universities, is co-founder and partner while, in consultation with international experts make them digitally searchable. two participants invited to the programme were of NECSUS - European Journal of Media Studies. and research institutes, simulta­neously the artist Alexandra Navratil (Switzerland) and NECSUS is an international, peer-reviewed, attempting to reach an agreement on the most Eye is also involved in the international scholar Christian Gosvig Olesen (Denmark). open access, online journal in the field of film, viable ways to manage and preserve anima­tion project A Million Pictures: Magic Lantern The Eye Artist and Scholar-in-Residence pro­ television, and media studies. artwork collections. Debating best practices Slides Heritage as Artefacts in the Common gramme is sponsored by Ladies Eye and FC NECSUS is actively supported by the will not only benefit Eye but also other private European History of Learning (2015-2018), Waterboys.44 European Network for Film and Media Studies and public archives in formulat­ing a well- which investigates the use of magic lantern (NECS), the Research School for Media Studies considered conservation policy. The publica­ slides by educational, popular, and scientific Eye Filmmuseum & Haghefilm Digitaal Film (RMeS), and the Netherlands Organisation for tions and meetings resulting from this project associations in the nineteenth century. The Restoration Traineeship Scientific Research (NWO), which provides will help put Eye on the map as a centre of project is an initiative of University of Utrecht financial support. expertise on research into anima­tion artwork and is financed through the Heritage Plus Supported by the Netherlands Film Fund, Eye Published bi-annually as thematic issues, in 2018. programme. and Haghefilm Digitaal launched a unique NECSUS encourages authors to include digital Materials in Motion is funded by Meta­ trainee programme for aspiring film restorers in archives and audiovisual data and materials in morfoze, a national programme for paper Finally, Eye is involved in the development of 2017. While there is currently no programme their articles. heritage preservation.41 a number of research projects in collaboration available for film restoration in the Netherlands, The website structure facilitates interaction, with various universities in the Netherlands the need for one is becoming increasingly urgent. allowing people to make blog posts, submit video and abroad. For these research projects, grant Analogue film expertise is at risk of disappearing essays, and integrate content across virtually all The Sensory Moving Image Archive (SEMIA) applications have been, or will be, submitted since national and international producers and social media platforms.40 to institutions, such as NWO (Netherlands cinemas have switched en mass to digital In the ongoing research project Sensory Moving Organisation for Scientific Research), HERA technology in 2012. As a result of this so-called Research and projects Image Archive (SEMIA). Boosting Creative (Humanities in the European Research Area), digital rollout, many film labs world­wide have Reuse for Artistic Practice and Research (2017- and the European Commission which had to close their doors. A significant number of As a partner, Eye is involved in various national 2019), Eye is working collaboratively with the provides funding through the Horizon2020 professionals may have to retire from the existing and international (research) projects necessary University of Amsterdam, the Amsterdam Uni­ programme to stimulate innovation and laboratories in the coming period. It is therefore for the continued application of innovative ver­sity of Applied Sciences, the Netherlands research.43 essential that the decades of accu­mulated know­ methods of restoring, digitising, and providing Institute for Sound and Vision, and Studio Louter. ledge of, and experience with, the analogue film access to the collection. The SEMIA project investigates which analysis medium is quickly transferred to a younger software and interfaces are needed to explore Eye Artist and Scholar-in-Residence generation. The profession of film restoration and reuse digitised heritage collections based programme must be made future-proof: not only because it Materials in Motion on visual characteristics (light and colour, shape is of crucial importance for the preserva­tion of film or movement). In the course of two years, various In 2017, Eye celebrated the seventieth anniver­ heritage but also because a number of film­makers In 2018, work on the two-year research project workshops, expert meetings, and a symposium sary of the collection with the launch of a new still prefer celluloid film to digital. Consider, for (2016-2018) Materials in Motion: A Conser­va­ will be organised in support of this project. Eye Artist and Scholar-in-Residence programme. example, directors such as Quentin Tarantino, tion Policy for Analogue Dutch Animation Art­ The project is funded by the NWO’s research This programme aims to stimulate research into Christopher Nolan, and Paul Thomas Anderson, work from the Period 1930–2000 will continue programme Smart Culture – Art and Culture.42 and reuse of the collection and to promote cross-­ or artists such as Tacita Dean. in the Eye Collection Centre. fertilisation between film, arts, and sciences. The animation artwork collection increased Each year, Eye intends to invite an artist/film­ With this traineeship, Eye and Haghefilm Digitaal substantially in 2013 with the acquisition of Other ongoing research projects maker and a scholar to work with collection seek to bridge the gap between academic the collection of the Netherlands Institute for material at the Eye Collection Centre. The (theoretical) training in the field of film archiving Animation Film (NIAf). Eye is now the cus­ Eye is involved in the project MIMEHIST: programme results are then highlighted through and daily film restoration practices. In pursuit of todian of artwork by more than fifty different Annotating Eye’s Jean Desmet Collection presentations, lectures, and programmes in the this aim, the programme goes a step further than Dutch animation filmmakers. In addition to (2017-2018), which aims to develop a cinemas or exhibition space. The work created by other internship and workshop programmes. paper material, the collection contains appro­ scholarly annotation environment for the the Artist-in-Residence is added to the collection. The initiative is intended to educate a new ximately­ 80,000 animation cels, a portion of Desmet collection. MIMEHIST is a pilot generation of film restorers, enabling them to which is in poor condition. Research into the project within the larger CLARIAH (Common The Eye Artist and Scholar-in-Residence smoothly transition into employment once the preservation of these transparent plastic foils Lab Research Infrastructure for Arts and programme seemed a logical next step in the traineeship has ended. is still very much in its infancy. Humanities) research programme, which long tradition of collaboration between artists/

Collection Policy Plan 46 5 Pioneer: academic function, research and collaborations 47 The traineeship is a seven-month paid position and consists of two phases. In the first four months of the training programme, the trainee will receive training under the guidance of experienced curators, restorers, scanning operators, and digital film specialists in various departments at both Eye and Haghefilm Digitaal. By rotating activities, the trainee will acquire a broad all-inclusive knowledge of various aspects of analogue and digital film restoration processes, such as identifying, reconstructing, repairing, scanning and develop­ ing film, quality control, and sound restoration. In the last three months, the trainee will specialise in a field of their own choosing. Throughout the programme, the trainee will work with material from the Eye collection.45

Oral History programme

In the coming years, Eye aims to develop and set up a programme for an oral history collec­ tion. Oral history is a form of historio­graphy based on eyewitness accounts. Stories and personal accounts from an older generation of filmmakers and artists will be collected as a safeguard against loss for coming generations. In the development phase of this project, Eye will devise a standardised interview method combined with a workflow to process, preserve, and make accessible the interview videos and sound recordings. Special attention will be given to the transcription and registration of this material. Eye will seek specialist advice from fellow institutions that have undertaken similar projects.46

Collection Policy Plan 48 Still from La belle au bois dormant (FR, 1908) 49 Guardian collection information available via Linked 6 Ambitions Open Data (LOD) to promote the reuse of Storage information and ensure data inter­change­ ability between platforms. Eye aims to make provisions to improve the current storage capacity and conditions Eye seeks to make its policy and practice for the nitrate film collection. regarding digital sustainability for third The nitrate collection is currently stored in parties transparent and measurable. In three vaults in the North Holland dune area. 2018, Eye will apply for a CoreTrustSeal Eye is expected to run out of available space certification. Once Eye meets all the require­ in the near future as the nitrate collection ments, the CoreTrustSeal Data Repository con­tinues to grow. In addition, one of the certificate will be awarded in 2019. By three vaults no longer meets the current becoming certified, Eye can demonstrate to safety regulations and storage requirements external parties that it is a reliable, digitally and therefore urgently needs to be modernised. sustainable, and accessible archive. To resolve these issues, Eye intends to retro­fit a film vault for nitrate storage in Preservation Heems­kerk. Renovating this vault is a costly affair, amounting to approximately €110,000. Eye will investigate how non-traditional In order to realise this ambition, Eye will need projects can best be registered and to find extra funding. preserved. Expanded Cinema installations, VR/AR/MR projects, and digital presentation Eye will make use of a ninth depot in the Eye projects both online and on-site often contain Collection Centre in connection with the components that do not fall into traditional growth of the film-related collections. Eye categories of film and film-related collections. would like to start using this 300m2 depot by Eye aims to create standards for archiving its 2021; in the meantime, the space will have to own (co)productions. The catalogue descrip­ be fitted with special roller racks. tion format needs to be adapted and material delivery specifications must be formulated. Digital ecosystem Eye will be seeking advice from, and coopera­tion with, fellow institutions that have Eye will consolidate and further expand its more experience in this area. digital ecosystem. Early in 2018, Eye will start procedures to Acquisition gradually upgrade the CE Online cataloguing system. One of Eye’s ambitions is to integrate Eye will pay particular attention to the the BIBIS library catalogue in CE. Eye will acquisition of relevant films, archives, also explore how Expanded Cinema objects and film-related material. Eye seeks to and apparatus should be described in the acquire titles and items that further enrich its system. In addition, collection management core collection, fill gaps, and increase the will be further optimised in accordance with possibility of presenting unique and special international standards. Eye aims to increase programmes. Because the Netherlands does the quality of data through tightening the not have a legal deposit system (the legal guidelines and inspection of imports, supple­ obligation for rights holders to deposit work) menting missing data (possibly from external several titles from Dutch cinema are missing sources), and adhering to international from the Eye collection. Eye will identify and standards. acquire missing titles within the framework of Eye will optimise the user interface of CE available resources and staff. Online for external (international) users, trans­late Dutch terms into English, and make

Still fromCollection Dutch Types Policy (FR, Plan 1915) 50 6 Ambitions 51 Working stock Guide Access to the collection Eye strives to give the broadest possible access to its collection. In order to achieve Eye aims to reduce the inventory awaiting Curatorial team Eye will continue to use two presentation this, more analogue films from the collection registration. strategies simultaneously: ‘open’ and must be digitised. Currently, about 200 titles Continued growth of the analogue collec­ Eye seeks to further intensify its research curated. To reach the widest possible are processed each year. Digitisation often tion, particularly from donations, has created into the collection. audience, Eye provides ‘open’ access to the takes place at the request of the Presentation extra work. In the coming years, more than In the coming years, Eye will invest in auto­no­ collection; the user is free to decide what to and Exhibitions departments, but can also be 20,000 recently received cans must be mous research across all collections. In see and how they want to (re)use the material. requested by external parties through the examined, selected, registered, barcoded, collaboration with external researchers and/ At the same time, a team of programmers and Archival Sales and Archival Loans depart­ and deposited. An inventory of this stock – or guest curators, the curatorial team will also curators carefully select and present curated ments. Digitisation is also attempted when which also includes archives, posters, photo­ investigate lesser-known parts of the material, which provides the user with context the material’s poor condition requires it. With graphs, and other material – will be conducted collection. and pathways to help appreciate the collection. current staff and resources, the pace of with the help of volunteers under expert digitisation will most likely remain steady in super­vision. This material will eventually be Eye will introduce a more collaborative made available once it has been digitised, approach to the largest collection, Dutch preserved, or restored. In the case of several Film, which comprises two-fifths of the special collections, Eye will pursue entire collection. Sharing their expertise, opportunities to raise funds externally, for the curators of Silent Film, Experimental Film, example through crowdfunding. Expanded Cinema, Amateur Film, Film-related Material, and Animation will each work with Eye aims to secure carriers infected with the Dutch Film collection. vinegar syndrome. Inspection during the move to the new Eye seeks to expand the curatorial team Collection Centre revealed that the number of by hiring two new curators for Dutch film rolls and sound carriers affected by the Contem­porary Film and International vinegar syndrome is substantial. Presently, a Film. The size of the Dutch Film collection total of 132,400 meters of film and 93,000 (more than 20,000 titles) necessitates addi­ metres of magnetic audio tape are con­ tional curation; therefore, a second curator taminated. The state of the material and the who will specifically focus on Con­temporary growing number of contaminated carriers Dutch film will be appointed to this collection require action. In the coming years, Eye will in due time. The International col­lection is examine, select, and digitise or preserve this currently the only collection without its own Jean Desmet’s Dream Factory. The Adventurous Years of Film (1907-1916) exhibition material. curator. Employing new curatorial staff, how­ever necessary, requires additional Expertise expansion funding.

Eye will further professionalise the restora­ Eye aims to further intensify its presentation tion studios and provide appropriate practice to strengthen the collection as an training to its team of restorers in new and organic whole in which each collection emerging disciplines. One of its priorities complements and provides context to the will be to increase expertise in the fields of other. This applies to analogue and digital film, sound restoration and colour correction posters, photographs, archives, apparatus, ensuring that these activities can be per­ sound, sheet music, books, magazines, formed in-house in the future. installations, and other objects. Through the exchange and structural coordina­tion of information between curators and program­ mers, all aspects of the collec­tion will be shown in various forms of presentation.

Collection Policy Plan 52 6 Ambitions 53 coming years. Speeding up the digitisation offer them in curated form, in one place and, Pioneer projects. Such projects in the fields of Digital process would require either a rearrangement where possible, at no charge. Humanities and preservation are necessary of people and resources in the Collection Exchange of expertise for the continued application of innovative department or additional funding. Eye will seek external funding to replace the methods of restoring, digitising, and providing current 360° installation in the Panorama Eye aspires to further evolve as an inter­ access to the collection. Eye, in collaboration Eye aims to continue its collaboration with with a new immersive and interactive national, leading centre of expertise. The with national and international partners, will the audiovisual field at both a national and installation. Under the working title Eye state-of-the-art Eye Collection Centre, which apply for Dutch and European subsidy grants international level to find effective solu­ Move, a major new pièce de résistance is opened in 2016, facilitates this ambition. to raise the necessary additional funds. tions for restrictions on rights regarding being worked on, which will enable the visitor Eye aims to provide its broad knowledge and online access to film heritage. Eye supports to search the Eye collection in a different way expertise in the areas of information manage­ New programme the proposal by the Association des Cinéma­ every time they visit. Like the 360°​​, this new ment, storage, digitisation, collection thèques Européennes (ACE) to maintain, installation will again provide high-tech manage­ment, restoration, and so on to fellow Eye intends to set up an Oral History further develop, and make the FORWARD access to the Eye film collection. Eye Move institutions at both a national level (via the programme. Eye is committed to collecting system accessible to other European film will use the latest techniques and software in network organisations AVA_Net, NDE, and stories and personal accounts from an older archives. FORWARD is a semi-automated the field of image recognition and image CCDD) and international level (through ACE generation of filmmakers and artists, securing system in which the legal status of European analysis and will be developed in close and FIAF, among others). them for future generations. In the first phase audiovisual works, including so-called orphan collaboration with the NWO SEMIA project, in of the project, Eye will develop a standardised works, can be determined. which Eye is a partner. Eye aims to further optimise interactions interview method combined with a workflow with national and international labora­to­ to process, preserve, and make accessible Presentation projects Eye will explore new ways in which it can ries in the fields of knowledge, expertise, the video or sound recordings of these inter­ eventually employ Virtual Reality for the and equipment. A recent example of such a views. In this development phase, Eye will Eye will continue to focus on a number of benefit of its collection. Eye also aims to collaboration is the Eye Filmmuseum & Haghe­ seek advice from fellow institutions that carry common priorities of the Collection and optimally archive its own VR productions and film Digitaal Film Restoration Traineeship. out similar projects. Public & Presentation departments co-productions, and will explore the Where appropriate, Eye will offer consulting regard­ing the content of the collection: possibilities of doing so in the coming years. services to commercial parties. • Presenting and contextualising film culture in Realisation of ambitions various and innovative ways. Eye seeks to expand the number of films it Academic activities • Creating a broader perspective by presenting screens in the Pods and aims to place one The ambitions formulated in this Collection the work of forgotten filmmakers. or more Pods in locations outside Eye. In Eye will consolidate, and where possible, Policy largely fit within the financial • Mapping out important technological develop­ so doing, the public will be able to view films further develop its academic activities. framework set out in the Eye Policy 2017- ments, genre cinema, Dutch film culture, etc. from the collection outside the museum A number of activities will be continued and 2020. However, some ambitions can only be • Focusing on groundbreaking cinema: building. further promoted, including the Chair in Film realised with extra financial support. These filmmakers who blur boundaries and styles, Heritage and Digital Film Culture at the include the new nitrate vault, the inventory- break the rules, and find their way Major restoration projects Univer­sity of Amsterdam, the Eye Inter­ awaiting-registration project, the expansion independently through the (inter)national national Conference, the public lecture series of the curatorial team, the eventual landscape of cinema. Eye aims to carry out two major restoration This Is Film! Film Heritage in Practice, and realisation of an Online Archive Portal, and • Selecting and presenting work by talented projects per year and to present them in the academic book series Framing Film. New the renewal of the 360° installation in the young filmmakers and well-known masters of both the museum building and at relevant initiatives, such as the Eye Artist and Scholar- Panorama. In anticipation of the new policy cinema. international film festivals. ‘Major’ means a in-Residence programme and the Eye period 2021-2024, Eye will seek additional • Presenting (highlights from) the collection. famous, classic film; a prestigious presenta­tion; Filmmuseum & Haghefilm Digitaal Film funding to realise these specific ambitions. or an important international collaboration. Restoration Traineeship, both launched in Eye will explore the possibilities of develop­ These restoration projects will generate 2017, will need to be further embedded in the ing an Online Archive Portal to create attention for the collection as a whole. They current practice and financial framework. additional and curated access to Dutch may also lead to new co-productive restoration, films. A large part of Eye’s digital films that which in turn could increase the number of Research projects do not have copyright restrictions has now restoration projects in the future. been made available free of charge. In close Eye aims to remain a leader in the fields of consultation with the Dutch film industry, Eye film restoration, digitisation, and innovative aims to study the accessibility of Dutch film methods of access by participating in productions still protected by copyright to various national and international

Collection Policy Plan 54 6 Ambitions 55 Notes 23 See: https://www.Eyefilm.nl/en/collection/about-the- 1 See: Eye Policy Plan 2017-2020: https://www.eyefilm.nl/ collection/services-and-activities/distribution. files/eyebeleidsplan2017-2020pdf/ 24 See: https://www.Eyefilm.nl/en/collection/about-the- 2 See: Materials in Motion section, page 46. collection/services-and-activities/archival-loans. 3 Since 1988, the Hubert Bals Fund has supported 25 See: https://www.Eyefilm.nl/en/collection/about-the- filmmakers from countries where making independent collection/services-and-activities/film-sales and artistic films is particularly difficult due to a lack of https://www.Eyefilm.nl/en/collection/about-the-collection/ infrastructure or freedom of speech. services-and-activities/photograph-and-posterservice. 4 Bigourdan, Jean-Louis. 2006. ‘Stability of Acetate Film 26 See: https://international.eyefilm.nl/. Base: Accelerated-Aging Data Revisited.’ Journal of 27 See: https://www.eyefilm.nl/en/collection/about-the- Imaging Science and Technology 5: 494-501. Nissen, collection/collection-centre. Dan et al., eds. 2002. Preserve Then Show. Copenhagen: 28 See: https://www.netwerkdigitaalerfgoed.nl/en/. Danish Film Institute. 29 See: http://www.ncdd.nl/en/. 5 Read, Paul, and Mark-Paul Meyer, eds. 2000. Restoration 30 See: http://www.avanet.nl/. of Motion Picture Film. Newton, MA: Butterworth- 31 See: https://www.fiafnet.org/pages/Community/ Heinemann, 1; and Fossati, Giovanna. 2018. From Grain Commissions.html. to Pixel. The Archival Life of Film in Transition. Third 32 See: http://www.ace-film.eu/. revised edition. Amsterdam: Amsterdam University Press, 33 See: http://media-heritage.org/index.php/about. 94-96. 34 See: https://www.eyefilm.nl/en/about-eye/academic- 6 See: https://www.eyefilm.nl/on-handling-the-peter-rubin- activities collection-blog-1. 35 See: https://www.eyefilm.nl/en/about-eye/academic- 7 This project is subsidised by Metamorfoze, the national activities/master%E2%80%99s-programme-preservation- programme for paper heritage preservation, housed at the and-presentation-of-the-moving-image. National Library of the Netherlands. 36 See: https://www.eyefilm.nl/en/about-eye/academic- 8 Images for the Future was a large-scale digitisation project activities/public-lecture-series-this-is-film-film-heritage-in- by Eye Filmmuseum, the Netherlands Institute for Sound practice and Vision, the National Archive, and Kennisland. Spread 37 See: https://www.eyefilm.nl/mediated-reality. over seven years, the FES (Fund for the reinforcement of 38 See: https://www.eyefilm.nl/en/about-eye/academic- Economic Structure) provided a budget of 115 million euros activities/eye-international-conference. for the digitisation of Dutch audiovisual heritage. For more 39 See: https://www.eyefilm.nl/en/about-eye/publications/ information see: http://www.beeldenvoordetoekomst.nl/ framing-film en.html 40 See: https://www.eyefilm.nl/en/about-eye/academic- 9 For DCI (Digital Cinema Initiatives) specifications, see: activities/publications. version 1.2, http://www.dcimovies.com/specification/index. 41 See: http://www.materialsinmotion.nl/ html ; for SMPTE and ISO DCDM standards, see: SMPTE 42 See: http://sensorymovingimagearchive.humanities.uva.nl/ ST 428–1 - 428–3, RP 428–4, RP 428–5, ST 428–7, ST 43 See: https://www.eyefilm.nl/en/about-eye/academic- 428–9 - ST 428–12, or from ISO 26 428–1. activities/research-and-projects. 10 For DCI (Digital Cinema Initiatives) specifications, see: 44 See: https://www.eyefilm.nl/en/about-eye/academic- version 1.2, http://www.dcimovies.com/specification/index. activities/eye-artist-and-scholar-in-residence-program. html. 45 See: https://www.eyefilm.nl/en/about-eye/academic- For SMPTE DCP standards, see: SMPTE 429–2 - 429–10, activities/eye-filmmuseum-haghefilm-digitaal-traineeship- 429–2, SMPTE 382M, SMPTE 422M, SMPTE 430–2, film-restoration. ITU–T X.509. 46 For best practices, Eye will seek advice from the Academy 11 For delivery specifications, see: chapter 6 in the Financial of Motion Picture Arts and Sciences. This institute has run and Production Protocol of the Netherlands Film Fund: an Oral History programme since 1989; and, since 2012, https://www.filmfonds.nl/nl/page/2230/financieel-en- it has its own department for Oral History projects. See: productioneel-protocol-engels. http://www.oscars.org/oral-history/about. 12 Measured on 1 September 2017. 13 See: http://gtaa.beeldengeluid.nl/; http://browser.aat-ned.nl/; http://www.isan.org ; and https://www.wikidata.org/wiki/. 14 See: https://www.eyefilm.nl/en/eye-catalogue-search-the- collections. 15 See: http://www.europeanfilmgateway.eu/ 16 See: https://www.coretrustseal.org/about/ 17 See: http://www.scenemachine.nl/ and the Expanded Cinema and Virtual Reality, Augmented Reality and Mixed Reality sections on pages 27 and 34. 18 See: www.eyefilm.nl/en/collection. 19 See: https://www.facebook.com/groups/682869768531655/ 20 See: https://www.eyefilm.nl/collectie/uitgelicht/bits-and- pieces 21 See: www.janbot.nl. 22 See: https://www.eyefilm.nl/en/themes/childrens-activities/ Eyewalk.

Collection Policy Plan 56 Still3 fromGuardian: La dentelliere from -5°(FR, tot 1912) 4K 57 Organogram Eye Filmmuseum 2018 7 Appendices Works mainly with the collection

Works partly Board of Trustees with the collection

CEO / Management

Chief Curator / Policy Officer Legal Academic Function Affairs

Development Information Management

ICT

Operational Collection Public & Marketing, Exhibitions Management department Presentation Commu ni cation & department department department Events department

Financial Services Curators Digital Marketing & Exhibitions Presentation Communication

HR Film-related Programming & Eye Store Collections Distribution

Secretariat Film Conservation Production Sales & Events & Digital Access

Facilities Collection Public Services Management

Operations Education

Eye International

Still fromCollection Le voyage Policy sur Jupiter Plan (FR, 1909) 58 7 Appendices 59 Eye Collection Centre Film

Digital

Film-related

vault vault vault

studio studio vault vault studio studio studio studio studio studio

office office

first floor third floor

vault

vault vault cinema studio

kantoor Eye study

ground floor second floor

Collection Policy Plan 60 7 Appendices 61 Who’s Who Collection department Annike Kross (Film Restorer): Public & Presentation Manon Sandée (Senior Project [email protected] department Coordinator Education): Frank Roumen (Director of Ivo Noorlander (Digital Access Staff): [email protected] Management Team Collections and Head of Curators): [email protected] Digital Presentation Marlies Baltus (Project Coordinator [email protected] Jan Scholten (Film Restorer): Education): [email protected] Sandra den Hamer (Director): [email protected] Irene Haan (Digital Presentation Mirjam van Ansem (Communication [email protected] Curators Jeroen de Mol (Digital Access Staff): Manager): [email protected] Specialist Education): Ido Abram (Deputy Director): [email protected] Maike Lasseur (Web Editor): [email protected] [email protected] Dorette Schootemeijer (Curator of Leenke Ripmeester (Archival Sales): [email protected] Stan Spijkerman (Business Deputy Amateur and Small-gauge Film): [email protected] Natasja Straat (Digital Presentation Eye International Director): [email protected] [email protected] Ton Söder (AV Staff): Staff): [email protected] Frank Roumen (Director of Elif Rongen-Kaynakçi (Curator of [email protected] Marten Rabarts (Head of Eye Inter­ Collections): [email protected] Silent Film): [email protected] Programming & Distribution national): [email protected] Giovanna Fossati (Chief Curator): Leenke Ripmeester (Curator of Collection Management André Naus (Special Film [email protected] Animation and Advertisement Films): Mila Schlingemann (Head of Program­ Programmes and Foreign Affairs Jaap Guldemond (Director of Exhibi­ [email protected] Catherine Cormon (Head of ming): [email protected] Coordinator): [email protected] tions): [email protected] Mark-Paul Meyer (Senior Curator of Collection Management): Anna Abrahams (Eye on Art Pro­ Erik Mund (Office and Market Marjolijn Bronkhuyzen (Director of Expanded Cinema): [email protected] gram­mer): [email protected] Manager): [email protected] Marketing, Communication & Events): [email protected] Ad de Kroon (Film Archivist): Edith van der Heijde (Experimental Lisa Linde Nieveld (Dutch Film [email protected] Rommy Albers (Senior Curator of [email protected] Film/Distribution Staff): Promotion Manager): Dutch Film): [email protected] Jaap Schoutsen (Senior Film [email protected] [email protected] Chief Curator and Academic Simona Monizza (Curator of Archivist): [email protected] Gonda Raben (Booker): Marleen Labijt (Archival Loans Staff): Function Experimental Film): Rixt Jonkman (Registrar): [email protected] [email protected] [email protected] [email protected] Leo van Hee (Programmer): Nathalie Mierop (Dutch Film Giovanna Fossati (Chief Curator): Soeluh van den Berg (Curator of Zorka Subotic (Collection [email protected] Promotion Manager): [email protected] Film-related Collections): Management Staff): Marike Huizinga (Programmer): [email protected] Gerdien Smit (Assistant to the Chief [email protected] [email protected] [email protected] Curator): [email protected] Walter Swagemakers (Senior Project Martin de Ruiter (Silent Film and Live Marketing, Communication Leader of Collection): Projects Music Programmer): & Events department Policy Officer and Legal Affairs [email protected] [email protected] Aafke Weller (Materials in Motion Massimo Benvegnù (Print Coordi­ Marjolijn Bronkhuyzen Leontien Bout (Legal Affairs): Film-related Collections Project Leader): nator): [email protected] (Marketing, Communication & Events [email protected] [email protected] Monica Eckelkamp (Booker): Department Manager): Michiel de Rooij (Policy Advisor): Soeluh van den Berg (Head of ­­ Mette Peters (Materials in Motion [email protected] [email protected] [email protected] Film-related Collections): Project Leader): René Wolf (Senior Programmer and Bob Blöte (Communication Staff): [email protected] [email protected] Acquisition): [email protected] [email protected] Information Management Annette Schulz (Film-related Ronald Simons (Programmer): Mariska Graveland (Copy Writer/ Collections Staff): Collection department volunteers [email protected] Editor): [email protected] Ernst van Velzen (Information [email protected] Marnix van Wijk (Press and PR Manager): [email protected] Carel Nelwan (Film-related Aart van Manen, Aldo van Keulen, Production Attaché): [email protected] Annegien Schrier (Information Collections Staff): Brenda Bernard, Caroline Wulp, Eleni Maureen Mens (Film Marketing Specialist/Functional Manager): [email protected] Tzialli, Eva Witteman, Fatma Amer, Anne van Es (Producer and Dutch Film Manager): [email protected] [email protected] Ernie van der Sluis (Documentalist): Hedwig van der Zwaal, Hubert Poell, Liaison): [email protected] Paul Kempers (Copy Writer/Editor): Huib van der Gaag (Functional [email protected] Jan-Hein Bal, Janneke Baur, Jelle Anna Dabrowska (Production Staff): [email protected] Manager): [email protected] Hans van der Kraan (Film-related Bosma, Jim Wraith, Johan Glas, Johan [email protected] Kirsten de Hoog (Information Collections Staff): Oomen, Laura Franken, Leon Oninckx, Birte Hendriks (Production Staff): Exhibition department Specialist/Functional Manager): [email protected] Margo Hekstra, Marinus den Oudsten, [email protected] [email protected] Lizette Oostendorp (Information Marjo Rietveld, Marlies Coucke, Peter Catrien Böttger (Executive Producer): Jaap Guldemond (Director of Exhibi­ Susan van Gelderen (Catalogue Specialist): Oosterling, Rian Lengams, Siham [email protected] tions): [email protected] Manager): [email protected] El-Messaoudi, Stefan Stok, Sylvia Lisette Mok (Executive Producer of Bo Jansen (Exhibition Technical [email protected] Nita Smit (Senior Collection and Barrett, Tessa Janssen, and Yvonne Festivals): [email protected] Staff): [email protected] Information Specialist): van Schaik Tessa Janssen (Production Staff): Claartje Opdam (Exhibition Project [email protected] [email protected] Manager): [email protected] Piet Dirkx (Archivist): PietDirkx@ Marente Bloemheuvel (Associate eyefilm.nl Education Curator): Tessel Andriessen (Documentation [email protected] Specialist): TesselAndriessen@ Florine Wiebenga (Head of Edu­ca­ Sanne Baar (Exhibition Project eyefilm.nl tion): [email protected] Manager): [email protected] Anouk Werensteijn (Project Film Conservation & Digital Access Coordinator of Sales): [email protected] Anne Gant (Head of Film Brit Thomassen (Education Staff): Conservation & Digital Access): [email protected] [email protected] Femke Veeman (Project Coordinator Andréa Seligmann Silva (Registrar Education): [email protected] of Digital Film and Sound Restorer): Jeske Luiten (Bookings Education): [email protected] [email protected]

Collection Policy Plan 62 7 Appendices 63 Colophon

Translation: Anne Gant, Eleni Tzialli, Gerdien Smit, Giovanna Fossati, Hadley Kluber, Louise Vines, and Viola ten Hoorn Design: Joseph Plateau, Amsterdam Photography: Annike Kross, Clément Lafite, Eleni Tzialli, Ernst van Velzen, Gerdien Smit, Hanneke Kloosterhuis, Hans Wilschut, Ilse van der Spoel, Johannes Schwartz, Josha Giesen, Krystel Brown, Marleen Labijt, Mike Bink, Paul Van Riel, Rene den Engels- man, and Ton Söder

Illustration on front cover: Still from L’écrin du radjah (FR, 1906) Illustration on back cover: Still from Le voyage sur Jupiter (FR, 1909)

Collection Policy Plan 64 Still from Le Dirigeable fantastique (FR, 1906) Eye Filmmuseum