Journal of Film Preservation Journal Contributors to this issue... Ont collaboré à ce numéro... Han participado en este número... 67 06/ 2004 of Film CONCEPCIÓN ABRUSCI ALFONSO DEL AMO Preservation Biologist and Researcher of the Universidad Head of the FIAF Technical Commission, Restoration Complutense de Madrid - Filmoteca Española and Technical Officer at the Filmoteca Española (Madrid) (Madrid) ANTTI ALANEN MICHELLE EDGE Head of Programming at the Finnish Film Archive Member of the FIAF Technical Commission, Reader (Helsinki) in Polymer Science, Manchester Metropolitan University (Manchester) NORMAN S. ALLEN Professor in Applied Chemistry, Manchester DAVID FRANCIS Metropolitan University (Manchester) Honorary Member of FIAF (Fairfax Station, NA, USA) Revista de Revista la Internacional Federación de Fílmicos Archivos FRANÇOIS AUGER ERIC LE ROY Directeur des Services Techniques, Cinémathèque Chercheur, Archives du film et du dépôt legal du québécoise (Montréal) Centre national de la cinématographie (Bois d’Arcy) PIERRE BARBIN ANA MARTÍN-GONZÁLEZ Historien et chercheur (Paris) Lecturer in Microbiology, Universidad Complutense de Madrid (Madrid) JAN-ERIK BILLINGER Published Published by the International Federation of Film Archives Head of the Cinematheque of the Swedish Film RICHARD J. MEYER Institute (Stockholm) Professor of Telecommunications Emeritus at Ball State University in Muncie (Indiana) VITTORIO BOARINI Director at the Fondazione Federico Fellini (Rimini) CASPER TYBJERG Associate professor at the Department of Film and EILEEN BOWSER Media Studies at the University of Copenhagen Honorary Member of FIAF (New York) (Copenhagen) Revue de Revue la Fédération Internationale des du Archives Film THOMAS C. CHRISTENSEN JOSÉ ANTONIO VALDÉS PEÑA Curator at the Danish Film Institute (Copenhagen) Investigador, Subdirección de Investigación, 67 67 • FIAF 06/2004 Cineteca Nacional (México) ROBERT DAUDELIN Membre honoraire de la FIAF (Montréal) BO WEDELFORS Architect of the nitrate film vaults of the SFI (Stockholm) June / juin junio 2004 67 Open Forum 2 Second Century Forum - Stockholm June 2003 David Francis 10 Projectionniste dans une cinémathèque : le cas de la Cinémathèque québécoise François Auger Historical Column / Chronique historique / Columna histórica 15 Contribution à une histoire de la Cinémathèque française Pierre Barbin Der Var Engang, Carl T. Dreyer, 1922 Restorations / Restaurations / Restauraciones Courtesy of the Danish Film Institute Stills & Posters Archive 31 The Restoration of Dreyer’s Der var engang Casper Tybjerg, Thomas C. Christensen Technical Column / Chronique technique / Columna técnica 37 Biodegradation of Motion Picture Film Stocks Concepción Abrusci, Norman S. Allen, Alfonso del Amo, Michelle Edge, Ana Martín-González Film Festivals / Festivals de cinéma / Festivales de cine 55 From Bologna to Sacile Antti Alanen 62 L’Esprit de la ruche : 30 ans déjà Robert Daudelin Journal of Film Preservation News from the Archives / Nouvelles des archives / Journal of Film Preservation Noticias de los archivos Half-yearly / Semi-annuel ISSN 1609-2694 64 Montréal: La Beauté du geste Copyright FIAF 2004 Eric LeRoy FIAF Officers 66 Rimini: La Fondazione Federico Fellini President / Président Eva Orbanz Vittorio Boarini Secretary General / Secrétaire général Meg Labrum 73 Stockholm: New Facilities at the SFI Treasurer / Trésorier Karl Griep Jan-Erik Billinger, Bo Wedelfors Comité de rédaction Editorial Board Publications / Publications / Publicaciones Chief Editor / Rédacteur en chef Robert Daudelin 75 Jean Desmet and the Early Dutch Film Trade Ivo Blom EB Members / Membres CR Eileen Bowser Mary Lea Bandy Eileen Bowser Paolo Cherchi Usai 77 Opérascope Christian Dimitriu Réal La Rochelle Eric Le Roy Robert Daudelin Hisashi Okajima Susan Oxtoby Hillel Tryster 78 The Unknown Orson Welles Sous la direction de Stefan Drössler Corespondents/Correspondants Robert Daudelin Thomas Christensen Ray Edmondson Silvan Furlan 79 L’Homme au cigare Steven Higgins Long métrage documentaire d’Andy Bausch Clyde Jeavons Robert Daudelin Paul Read Publisher / Editeur 80 Shennü: Converting a Silent Chinese Classic to DVD Christian Dimitriu Richard J. Meyer Editorial Assistant Olivier Jacqmain Graphisme / Design Meredith Spangenberg 82 Publications Received at the Secretariat / Publications reçues au Imprimeur / Printer Secrétariat / Publicaciones recibidas en el Secretariado Artoos - Brussels Fédération Internationale des Archives du Film - FIAF 84 FIAF Bookshop / Librairie FIAF / Librería FIAF Rue Defacqz 1 1000 Bruxelles / Brussels Belgique / Belgium Tel: (32-2) 538 30 65 Fax: (32-2) 534 47 74 E-mail: [email protected] Second Century Forum - Stockholm June 2003 David Francis Editor’s note: The following essay is an annotated version of the paper Open Forum that the author delivered in the Second Century Forum, June 4 2003, during the 59th FIAF Congress. At the last FIAF Congress, in Seoul, I looked at the “Challenges of Film Archiving in the 21st Century”. I would now like to turn my attention to the future role of FIAF. I want to do this by looking at the changes that have occurred within FIAF and those that have occurred outside the Federation. FIAF has a successful history. Not only has it provided its members with an intellectual forum for the exchange of knowledge, it has also put the importance of film preservation on international agendas. The work of its commissions, and the manuals that resulted, helped to define film archives as professional bodies on a par with national museums and art galleries. The Federation had a clear identity when it started. It was a small group of passionate collectors and film enthusiasts who wanted to safeguard the art of the cinema and make classic films available in their respective countries. In those days, collection and screenings were the major activities because there were virtually no resources for preservation. Today FIAF’s identity is more diffuse. It has spent a lot of time defining the rights and responsibilities of membership but it has not come out with a precise mission statement supported by all members. Curators never seem to have been able to explain the Federation’s raison d’etre to their staff, and for From left to right: Jan de Vaal, Ernest financial reasons they are seldom able to invite their staff to Lindgren, Hans Wilhelm Lavries, Einar Congresses, so they can see FIAF in action. I don’t think the Federation Lauritzen, Ove Busendorff, Mary Meerson at would have got such a reputation for elitism, if archive staff had the FIAF Congress in Vence, 1953 understood its virtues, been committed to its activities and prepared to add their voices in its promotion. This is very sad because FIAF has achieved a lot. In fact, its identity crisis may stem from the fact that it succeeded in so many areas. For 2 Journal of Film Preservation / 67 / 2004 Invité à intervenir dans le cadre du instance, it established preservation and cataloguing standards and Second Century Forum de Stockholm, convinced producers that archives were a safe repository for their films. le 4 juin 2003, David Francis, fort de sa It is difficult for an organization that was first in its field to maintain longue expérience - directeur du National Film and Television Archive momentum and it is even more difficult to reinvigorate it once the (Londres), puis directeur du Motion momentum is lost. Picture, Broadcasting and Recorded Sound Division/Library of Congress However, because the Federation has tended to look inward rather than (Washington) – propose d’abord un outward it has not always noticed what is happening in the film rappel historique et critique de ce que archive community that it spawned. The excitement of achievement is fût originellement la FIAF. still very much present there. Although it is hard for a father or mother Née de l’enthousiasme d’un petit to take advice from the children, FIAF should look carefully at the groupe de collectionneurs, convaincus regional associations the siblings have created to see why they are de l’urgence de sauver l’héritage successful and should ask whether there is anything, it can do to help cinématographique mondial, la FIAF them. est désormais une assemblée très large qui a du mal à définir sa raison Let us examine the regional film preservation organizations. The first, in d’être auprès de ses propres Latin America, appeared long before CLAIM was founded. I can’t even adhérents. Pourtant son action est remember its name now. Not only was language a problem there - the unanimement reconnue, notamment dans les domaines de la conservation official FIAF languages were French and English and occasionally et du catalogage où ses commissions Russian -whereas they spoke mainly Spanish, but also the archives spécialisées ont défini les règles themselves were different from those in Europe. A large number were désormais en usage. private organizations based on cine clubs. They didn’t receive state Le fait que seul les directeurs des funding and were often at loggerheads with their authoritarian archives du film participent aux governments. They survived through collaboration with similar congrès (pour des raisons neighboring institutions. They couldn’t even take much advantage of d’éloignement, aussi bien que de the treasured FIAF right to borrow prints because transport costs were limites financières) explique sans doute en partie cette méconnaissance too great. Unfortunately, over time, these archives have declined in de l’importance de l’action de la FIAF importance or