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Journal of Film Preservation Offers a Forum for Both General and Specialised Discussion on All Theoretical and Technical Aspects of Moving Image Archival Activities

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Journal of Film Preservation Offers a Forum for Both General and Specialised Discussion on All Theoretical and Technical Aspects of Moving Image Archival Activities Journal of Film Preservation Contributors to this issue... Ont collaboré à ce numéro... Han participado en este número... Journal ANTTI ALANEN 84 4/2011 Head of the FIAF Programming and Access to Collections of Film Commission; Film Programmer at the National Audiovisual Archive of Finland (Helsinki) PAOLO CHERCHI USAI Director, Haghefilm Foundation (Amsterdam) Preservation ROBERT DAUDELIN Rédacteur en chef du Journal of Film Preservation (Montréal) CHRISTIAN DIMITRIU Éditeur et membre de la rédaction du Journal of Film ANTONI KIRCHNER Preservation (Bruxelles) Exdelegado de Cinematografía y Vídeo de la Generalitat de Catalunya (Barcelona) COLIN DUPRÉ Étudiant en Master d’histoire, Université de Toulouse le ÉRIC LE ROY Mirail (Toulouse) Chef du Service accès, valorisation et enrichissement des collections, Archives françaises du film du CNC (Paris- FRANCISCO GAYTÁN FERNÁNDEZ Bois d’Arcy) Revista de la Federación Internacional de Archivos Fílmicos Preservation Officer, Filmoteca de la UNAM (México) MICHAEL LOEBENSTEIN LUCA GIULIANI Curator and Researcher, Oesterreichisches Filmmuseum Head of Film Archive, Museo Nazionale del Cinema- and Ludwig Boltzmann Institute for History & Society Fondazione Maria Adriana Prolo (Torino) (Wien) HELMUT HERBST DONALD McWILLIAMS Filmmaker; founder of cinegrafik-Film-Studio; formerly Filmmaker and teacher (Montréal) teacher at the DFFB (German Film & Television Academy), Berlin, and Professor at the College of Art and SABRINA NEGRI Design, Offenbach (Brombachtal-Birkert) Film archivist, Museo Nazionale del Cinema-Fondazione Published by the International Federation of Film Archives Maria Adriana Prolo (Torino) CLYDE JEAVONS Former Curator of the National Film & Television Archive IRELA NÚÑEZ (BFI), now Archive Consultant and Programmer for the Researcher and restorer, Fondazione Centro London Film Festival and the National Film Theatre Sperimentale di Cinematografia – Cineteca Nazionale (London) (Roma) GUILLAUME POULET Directeur, Cinémathèque de Grenoble (Grenoble) Revue de la Fédération Internationale des Archives du Film BLAŽENA URGOŠÍKOVÁ Film Historian and Conservator, Národní Filmový Archiv / National Film Archive, Czech Republic (Praha) FESPACO Murnau in Rome María Candelaria 84 Seeber’s Snippets • FIAF 4/2011 The Lindgren Manifesto Norwegian classics on DVD Turin: 16mm nitrate collection Festivals européens: « Les 5 Grands » The Journal of Film Preservation offers a forum for both general and specialised discussion on all theoretical and technical aspects of moving image archival activities. April / avril / abril 2011 84 Editorial 2 A Changing Landscape Michael Loebenstein Open Forum 4 The Lindgren Manifesto: The Film Curator of the Future Les Fleurs animées, France, 1906, Paolo Cherchi Usai Gaston Velle (National Film and Sound Archive, Canberra, Corrick 5 Le Fespaco: fonds documentaires fragiles Collection) Colin Dupré 10 Festivals européens: « Les 5 Grands » FIAF Awards Christian Dimitriu Martin Scorsese (2001) Manõel de Oliveira (2002) Ingmar Bergman (2003) Historical Column Geraldine Chaplin (2004) 26 María Candelaria Mike Leigh (2005) Francisco Gaytán Fernández Hou Hsiao-hsien (2006) Peter Bogdanovich (2007) 28 Il Cinema Ritrovato / Le Giornate del Cinema Muto 2010 Nelson Pereira dos Santos (2008) Antti Alanen Rithy Panh (2009) Liv Ullmann (2010) 33 Do you have any 16mm nitrate films in your collections? Kyoko Kagawa (2011) The Case of Ferrania materials in the San Paolo Film Collection at the Museo Nazionale del Cinema in Turin Illustration credits and special thanks to: Archives françaises du film-CNC, Paris-Bois Sabrina Negri, Luca Giuliani d’Arcy British Film Institute, London 38 Seeber’s Snippet Collection Cinémathèque de Grenoble Helmut Herbst Cinémathèque québécoise, Montréal Cinémathèque suisse, Lausanne 45 F.W. Murnau’s Roman Holidays: Restoring the Marizza Fragment Cineteca del Comune di Bologna Irela Núñez Cineteca del Friuli, Gemona Collection Gaumont Deutsche Kinemathek, Berlin Nouvelles des archives / News from the Affiliates and Jochen Hergersberg, Berlin 53 La Cinémathèque de Grenoble. Bientôt 50 ans au service de la Colin Dupré, Toulouse sauvegarde et de la diffusion du patrimoine cinématographique FIAF Archives, Brussels Guillaume Poulet and Christian Dimitriu, Lausanne Filmoteca de Catalunya, Barcelona Filmoteca de la UNAM, México 56 Classic Film Material Restoration Curriculum at FAMU, Prague Fondazione Centro Sperimentale di Blažena Urgošíková Cinematografia – Cineteca Nazionale, Roma Gosfilmofond of Russia, Belye Stolby, Moscow Museo Nazionale del Cinema / Fondazione Maria Adriana Prolo, Torino Národní Filmový Archiv / National Film Archive, Praha National Film Center, Tokyo Norwegian Film Institute, Oslo Oesterreichisches Filmmusem / Austrian Film Museum, Wien Journal of Film Preservation In Memoriam JournalJournal ofof FilmFilm PreservationPreservation Half-yearly / Semi-annuel 59 Anton Giménez (1940-2010) ISSNISSN 1609-26941609-2694 Antoni Kirchner Copyright FIAF 20112008 FIAF Officers FIAF Officers 61 Peter Morris (1937-2011) President / Président PresidentHisashi /Okajima Présidente Robert Daudelin Secretary GeneralEva Orbanz/ Secrétaire générale Secretary GeneralMeg Labrum/ Secrétaire générale TreasurerMeg Labrum / Trésorier Publications TreasurerPatrick Loughney / Trésorier Patrick Loughney 62 Découvrir les films de Jean Rouch Comité de rédaction Editorial Board Robert Daudelin Comité de rédaction Chief EditorEditorial / Rédacteur Board en chef Chief EditorRobert / Rédacteur Daudelin en chef Robert Daudelin DVDs Deputy Chief Editor Rédacteur en chef adjoint 64 Shadows of Progress: Documentary Film in Post-War Britain 1951-1977 EB CatherineMembers A./ Membres Surowiec CR Donald McWilliams Mary Lea Bandy EB MembersEileen /Bowser Membres CR PaoloEileen Cherchi Bowser Usai 69 Of Ice and Men. Recent DVDs from Norway Christian Dimitriu Jan ChristopherÉric Le Roy Horak Clyde Jeavons HisashiEric Le Okajima Roy Hisashi Okajima 74 Svatý Václav (Saint Wenceslas) Correspondents/Correspondants Correspondents/CorrespondantsThomas Christensen Éric Le Roy ElaineHervé BurrowsDumont Michel Cadé PaoloRay Edmondson Cherchi Usai 76 Segundo de Chomón / livre et DVD ThomasSteven Christensen Higgins RayClyde Edmondson Jeavons Éric Le Roy ClydePaul Jeavons Read PatrickRoger Loughney Smither Roger Smither 78 FIAF Bookshop / Librairie FIAF / Librería FIAF JonRésumés Wengström Eileen Bowser ÉditeurRobert / Executive Daudelin Publisher Christian Dimitriu 80 Publications Received at the Secretariat / Publications reçues au EditorialAna Cristina Assistants Iriarte M.Sever Beatrice J. Voicu Lenzi Secrétariat / Publicaciones recibidas en el Secretariado Baptiste Charles Ana Useros GraphismeSever J. Voicu/ Design Meredith Spangenberg ÉditeurImprimeur / Executive / Printer Publisher ChristianPoot - Brussels Dimitriu Editorial Assistants FédérationCatherine Internationale Surowiec des ArchivesBaptiste du CharlesFilm - FIAF GraphismeRue Defacqz / Design 1 1000Meredith Bruxelles Spangenberg / Brussels BelgiqueImprimeur / Belgium/ Printer T:Artoos +32 2 -538 Brussels 3065 F: +32 2 534 4774 [email protected] EDITORIAL A Changing Landscape Michael Loebenstein Lossless. When I look up the term in the New Oxford American Dictionary – conveniently stored on my computer, only the click of a button away instead of taking up space on a bookshelf – it refers me to computing sciences: “lossless [adjective]: Computing of or relating to data compression without loss of information”. I am puzzled, my mind going on all kinds of tangents: is it true that the concept of lossless-ness has only entered our world through the advent of Digital? That a world without loss – sans perte; sin pérdidas – is reserved for the realm of data, of bits and bytes? I must reveal the reason for my fascination with the term. In December the Austrian Film Museum (Vienna) hosted a retrospective of works by American experimental filmmaker Rebecca Baron, including her recent series Lossless (2008), produced with her partner Douglas Goodwin. The series consists of five short films, (paradoxically) exploring the Lossless #3 (2008, Rebecca Baron & Douglas Goodwin) “materiality” of digital video. Digitized scenes from canonical films by Busby Berkeley, Maya Deren, Ernie Gehr, and John Ford are “compressed” (or encoded) to a degree that the image becomes something totally different from anything ever before seen on screen. By electronically removing the so-called “keyframes” during digitization the image gradually transforms into what can best be described as a flow of pixels: a stream of artefacts (meaning an “undesired alteration” or an “error” in the field of computer sciences). As so often art encourages us to challenge widely held beliefs. Ironically abolishing the notion of “lossless compression” the artists demonstrate the radical difference of the digital image without passing judgement on what is lost or what is gained. The garbled mess a misguided app produces can become an object of appreciation as much as grain and film damage used to be revered by the avant-garde of the 20th century. The work reveals that all our moving images as well as the technologies employed to capture and reproduce them are historical and thus subject to change (and to fading from memory) – a fact Paolo Cherchi Usai in “The Lindgren Manifesto” (see this issue of the JFP) puts at the core of his argument challenging the myths of an “eternal life” for our film heritage. The current debates in our association all focus on this changing landscape of
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