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Digitizing and Making the Swedish Film Heritage Available

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Digitizing and Making the Swedish Film Heritage Available January 2017 Digitizing and making the Swedish Film Heritage available Work 2014-2018, and opportunities and challenges 2019 and beyond Contents Executive summary ........................................................................................................3 Background ........................................................................................................................... 3 Digitizing and Making Available the Swedish Film Heritage 2014–2018 .............. 3 Digitizing and Making Available 2019 and beyond ...................................................... 3 Background .....................................................................................................................5 Digitizing the Film Heritage 2014–2018 ..................................................................6 Ethical and technical principles ........................................................................................ 6 Personnel and general approach ...................................................................................... 6 Selection of films .................................................................................................................. 8 Changes in the work 2014–2016.................................................................................... 8 The various levels of the work ........................................................................................... 8 Adaptation for different viewing platforms and availability .......................................... 9 Strengthening of the operation 2017 .............................................................................10 Making the Digitized Films Available 2014–2018 .............................................. 11 Theatrical distribution ........................................................................................................11 VoD and other viewing platforms ....................................................................................12 Information and inspiration ...............................................................................................12 Film for children and youth ...............................................................................................14 International screenings ....................................................................................................14 Results of making available ..............................................................................................15 Statistics regarding digitization and use of the Swedish film heritage ..................15 Digitizing and Making Available 2019 and beyond ........................................... 16 Funding .................................................................................................................................16 Technical prerequisites ......................................................................................................17 Securing know-how and expertise .................................................................................17 Scope ....................................................................................................................................17 Screening rights..................................................................................................................18 Subtitling and availability...................................................................................................18 Making films available ........................................................................................................18 Appendix Photos, front cover: Barnförbjudet by Marie-Louise Ekman (then De Geer Bergenstråhle) (1979). Still: Carl Johan De Geer. Pelle Svanslös by Stig Lasseby (1981) Photo: Sandrew Metronome. Gunnel Lindblom and Lisa Langseth chat before the premiere of Lindblom’s digitally restored Sally and Freedom (Sally och friheten) (1981). Opening of the film weekend “Tystnad! Omtagning! – nu skriver vi om filmhistorien” (“Silence! Retake! – Rewriting film history”) at the Film House, Stockholm, April 2016. Joe Hill by Bo Widerberg (1971). Photo: Studio S Entertainment. 2 Executive summary This mid-term progress report summarizes the Swedish Film Institute’s execution of the government’s assignment to begin digitizing the Swedish film heritage 2014–2018. It also proposes how the process may continue beyond 2018 when the earmarked funds run out. Background available to the general public, nor eventually made available at At the beginning of the 2010s, Sweden’s cinema theatres were all. The process will not be finished, but will need to continue digitized, one result being that analogue film now has to be for as long as the national Swedish film policy has the goal of digitized to be shown. In 2013 the government granted the making the film heritage available. Swedish Film Institute SEK 40 million to begin digitization If all the remaining films are to be digitized at the same rate over a five-year period, and thereby guarantee the availability and with the same quality as has been the case to date, the whole of the Swedish film heritage. The goal has been to make the process would take over 100 years. This is not realistic bearing films available to audiences at the cinema and at least one other in mind the threats that exist. To reduce that time to 25–30 years, release window. films and material need to be categorized based on certain technical and content-related parameters. The high-quality Digitizing the Swedish Film Heritage and digitization which the Swedish Film Institute carries out needs making it available 2014–2018 to be performed at a faster pace than before, while also being The selection of films and the technical process has taken place supplemented with a less resource-demanding digitization. The according to guidelines that consider the principles of archive scope and cost of such digitization need to be looked into. ethics and the goals of the national film policy. The selection has The most crucial factor for digitization in the future will be aimed at a broad representation of the Swedish film heritage, securing the know-how and technical expertise. One precon- prioritizing film for children and youth and films by female dition for maintaining both competence and technical infra- filmmakers. Twenty per cent of the films were chosen by rights structure is sufficient funding over a long period. An annual holders, and the rest by a selection committee at the Swedish raise in the Film Institute’s appropriation to SEK 15 million Film Institute. Digitization means that rights holders who were (13.2 million for digitization and 1.8 million for marketing, not able themselves to digitize have now been able to exploit the distribution and information work) would mean that a large films once again. In this way, digitization has helped to create a number of films could be digitized and made available. An new aftermarket. operation within the framework of this funding would also be The process has every opportunity possibility to make film of sufficient size to be able to secure competence through an history available. The aim is to produce high-resolution digital apprentice programme and the upkeep of infrastructure. masters, from which Digital Cinema Packages (DCP) can be It would be impossible or at least very expensive to restart an made. Also from the digital masters, material can be produced operation that had not been up and running for several years, for broadcasting, DVD/BluRay release, VoD services and more. even if it would still be possible to get hold of the relevant In autumn 2016 the government granted SEK 2.5 million a year equipment. That is to say, that it would probably not be possible to the Swedish Film Institute in order to strengthen the ongoing to start the operation up again after a few years, if it is discon- initiative to digitize the film heritage. With these funds, the tinued or dramatically cut down in 2019. New funding must Film Institute will be better able to adapt the films for different therefore be in place when the old funding runs out. platforms, and to continue the proactive work promoting the Ongoing proactive work is also required if the films that are films with audiences and the film industry. digitized are to be discovered and seen. Just as with new film, the film industry and the general public need to be continually Digitizing and Making the films Available 2019 informed about films that have been made available. Continued and beyond resources are also required to technically adapt the films for When the period in question, and thereby also the funding, different formats, for cinema theatres, broadcasting, VoD and comes to an end in 2019, only around 500 of more than 12,000 DVD. Also crucial is a continued positive collaboration between preserved analogue Swedish films will be digitized and the Swedish Film Institute and the film industry. With concerted available. The remaining films will not be able to be made effort, the market for the film heritage can be developed and 3 extended. Moreover, the film industry needs support in finding Furthermore, it is reasonable that the films that are made ways of showing and marketing the film heritage, and with available should be subtitled in Swedish and other languages, such continued digitization, the process of making the body of films as the minority languages in Sweden. It would also be pos sible to available will need to be developed. audio describe the films to further
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