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FBO 9 Layout EN 30062015.Indd (Lo Duen, 1941) 1941) Duen, (Lo Follow your dream your Follow Photo courtesy of Honk Kong Film Archive Film Kong Honk of courtesy Photo Victoria Harbour in Hong Kong witnessed in Hong Kong Harbour Victoria FIAF Rue Defacqz 1 B-1000 Brussels – Belgium T:+32 2 538 30 65 - [email protected] - www.afnet.org Editorial This ninth issue of the FBO The new Executive Committee, is the biggest to date. Surely a sign elected for two years, shows both that not only our aliates, Supporters continuity (11 of its members were and partner organisations are happy re-elected, including the three to use this communication tool to Ocers) and renewal, as the three share their important news with representatives of Associates are new the FIAF community worldwide, but faces. Nancy Goldman, the Head of also that the various groups and the Cataloguing and Documentation people that are actively involved in Commission (CDC) for the last fteen FIAF’s work (Executive Committee, years, has announced that she was Secretariat, Commissions, JFP stepping down. A massive thank you to Editor…) have plenty to report. her for her unique dedication to FIAF’s cause over so many years (and for the In the following pages, signicant achievements of the CDC in you will be introduced to our two that period), and a warm welcome to new Associates – the Film Heritage Thelma Ross, who has been appointed as Christophe Dupin Foundation (Mumbai), and the the new Head. Elsewhere, Meg Labrum Senior Administrator National Archives of Australia. The total was conrmed as the Head of the number of active (i.e. not suspended) Programming and Access to Collections CONTENTS FIAF aliates as of today is now Commission (PACC). The Commissions reaching 154 – a gure never reached (PACC and TC in particular) need to 01 New FIAF Aliates before – of which 85 are Members and attract new members to ensure the 69 Associates. It is also worth noting continuity of their valuable work. If 02 News from the that two of our Associates (the Indiana you are interested in joining them University Libraries Moving Image and you think you have the support of Aliates Archive in Bloomington and the TIFF your institution, don’t hesitate make Cinematheque in Toronto) have now yourself known to the Secretariat. 03 News from the joined the ranks of full Members. Executive Committee FIAF’s active involvement in The key FIAF event of the rst two training events earlier this year (in 04 News from the half of 2015 was of course our annual Mumbai and Istanbul), and the EC’s Congress in Sydney and Canberra, ambitious plans for the future, conrm Secretariat which was splendidly organised by that training and outreach are becoming the NFSA (with a bit of help from a key priority for FIAF. The Federation has 05 Journal of Film the FIAF Secretariat), and included a also been at the forefront of the debates Preservation number of high-quality presentations on future of lm stock for several years. and discussions about the current On 1 July in Bologna, it will hold an 06 News from the P.I.P. challenges faced by the lm archive important roundtable discussion on “the community (in particular during the future of lm”, organised in partnership two-day symposium on “intellectual with the Cineteca di Bologna and Il 07 News from the property, content regulation and lm Cinema Ritrovato. Commissions archiving”). Considering the long and expensive journey to Australia for many Finally, don’t forget that we 08 FIAF Congress FIAF aliates, the very good attendance always value your feedback on the numbers (nearly 200 delegates in total, FBO and all other FIAF activities, so including well over 100 representatives don’t be shy. 09 News from the of FIAF archives from all continents, Regional Groupings alongside two strong contingents from Best regards, and Partner the NFSA and the NAA), as well as Organizations the excellent feedback received from colleagues after the Congress, proves 10 FIAF Supporters once again how relevant this annual FIAF event remains for lm archivists. Christophe Dupin 2 FIAF 42 Rue Blanche, 1060 Brussels, Belgium T:+32 2 538 30 65 - [email protected] - www.afnet.org 01 New FIAF Aliates At its meeting in Sydney on 11 April, the FIAF Executive Most (perhaps 60%) of the audiovisual collection Committee admitted two new Associates to the Federation. represents the work of the two major Australian public The General Assembly was informed of those admissions broadcasters: the Australian Broadcasting Corporation a few days later. We have asked their representatives to (founded 1932) and Special Broadcasting Service (1980). introduce their institution in this section of the FBO. A large proportion of the collection also comprises the substantial heritage of the various succeeding federal > CHESTER HILL government documentary lm production agencies AUDIOVISUAL PRESERVATION SECTION OF THE active between 1911 and 2007 – a body of work now NATIONAL ARCHIVES OF AUSTRALIA (NAA) known as the Film Australia Collection and preserved in collaboration with the NFSA, who manage its Although the most familiar to the international intellectual property. lm archiving community, Australia’s National Film and The NAA also preserves the actuality, educational Sound Archive of Australia (NFSA) is just one amongst and scientic audiovisual output of various specialist the ranks of Australia’s federal and regional government- production units established by Australian government funded audiovisual preservation institutions. Recent agencies and departments, in elds such as technological years have seen Brisbane’s Gallery of Modern Art research, education, marketing, security, administration and Melbourne’s ACMI also joining FIAF as Associates and defence ( some award-winning sponsored lms and/or Members. Now, the AUDIOVISUAL PRESERVATION early - or ‘in between job’ - lm craft by auteur directors like SECTION OF THE NATIONAL ARCHIVES OF AUSTRALIA Cecil Holmes, Peter Weir or Fred Schepisi). It also includes the (NAA) is also pleased to be welcomed by its into FIAF peers lm and video surveillance records of Australia’s key internal as an Associate. GoMA and ACMI are ‘cinematheques’, spy agency, ASIO; ironically, a collection now recognised by chartered primarily to screen cinema heritage. By Australian political historians as a rich visual history of local contrast, the NAA’s A-V Preservation Section is very much radical political culture. a collecting and preservation body. As noted, the NAA collection also documents The parent NAA was initially established in 1961 how Australian government supported and made policy and chartered under an Act of the Australian parliament in for Australia’s national audiovisual industry and culture. 1984 with the mission to collect, preserve and give access to These include the records of peak Australian lm and TV ‘Commonwealth’ or Australian federal government ‘records’. production and marketing support agencies and their Within that brief, Australian federal government produced, predecessors, such as Screen Australia and the productions funded or supported moving image and recorded sound of the Australian Film, Television and Radio School (including works comprise just a 10% subset of those predominantly student lms by Jane Campion and Phillip Noyce). It also paper records; so audiovisual archiving could for many includes the proceedings of milestone government inquiries years be managed by just a single responsible ocer. But by into the Australian lm and TV industries, such as the 1926- the 21st century a distinct Audiovisual Preservation Section, 28 Royal Commission on the Moving Picture Industry in with professional audiovisual preservation skillsets and Australia or the 1964 ‘Vincent’ Report on the Encouragement resources was clearly needed to manage what had become of Australian Productions for Television. a major a-v archiving challenge. And there are the records of how Australian government The scale of this challenge may surprise – including regulated commercial audiovisual industries, such as in Australia, where its collection is little-known even to in broadcast spectrum licensing, intellectual property audiovisual professionals. That ‘mere’ 10% now comprises law, or cinema and broadcast censorship/classication well over 250,000 moving image carriers, plus an at least legislation. An insight into the later resides records of the similar number of audio recordings, held in temperature- federal Censorship Board prior it’s reform into an MPAA-like controlled vaults located at NAA oces in the Australian classication system in 1971 – a collection that especially cities of Sydney (where most section sta§ are based), fascinates local lm historians, as it records the often Canberra, Melbourne and Perth. In addition, a portion opaque administrative workings (including the actual of the other 90% of paper records signicantly annotate extant lm footage cuts) of Australia’s once controversial these audiovisual holdings. 100s of metres of les document lm censorship system. the making and marketing of these productions, the The NAA also preserves non-professional administration of their funding, or provide the context of audiovisual works made by government, such electronic government audiovisual industry and broadcasting policy, documentation of legal and committee proceedings, or the regulation and administration. Overall this makes the NAA collections – including home movies - of major gures in a major audiovisual heritage collection not just in Australia, Australia’s political and diplomatic history. But at its core but even global terms. its audiovisual holdings serve as the collection of record FIAF 42 Rue Blanche, 1060 Brussels, Belgium T:+32 2 538 30 65 - [email protected] - www.afnet.org 3 01 New FIAF Aliates > MUMBAI FILM HERITAGE FOUNDATION FILM HERITAGE FOUNDATION (FHF) is a not-for- prot organization set up in Mumbai by Shivendra Singh Dungarpur. Recognizing the urgent need to preserve India’s cinematic heritage, the foundation is dedicated to supporting the conservation, preservation and restoration of the moving image and to develop interdisciplinary educational programs that will use lm as an educational tool and create awareness about the language of cinema.
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