This section was launched in 2013 to bring some attention to an often neglected subject: archiving and restoring experimental films.
Every year, selected archives present projects and programmes, including, so far, the Academy Film Archive (Los Angeles), the BFI National Film Archive, the Cinémathèque Française, the Eye Film Institute Amsterdam, the National Film Center (Tokyo), the Slovenska Kinoteka and the Austrian Film Museum.
Contact: Michaela Taschek
An introduction to the general conservation and presentation policies of the Cinemateca in the present changing context, and a case study of the collections of short, non-standard films (avant-garde, artist films, amateur films). The presentation will focus on four Portuguese authors: Luís Noronha da Costa, a painter who made some films in the early 1970s; Ana Hatherly, a visual artist, filmmaker and writer, with a focus on films she produced after the political upheavals of 1974; Fernando Calhau, a painter, visual artist and author of conceptual films in the 1970s; and António Campos, a filmmaker active from the late 1950s to the early 90s, and his beginnings as an amateur film maker in 1958/59.
Swedish Film Institute
The Swedish Film Institute is the major body in the film sector in Sweden. Its Archival Film Collection is one of the oldest in the world, dating back to 1933. This presentation will use the theme of creating and deconstructing the city as a starting point to talk about analogue and digital preservation, selection and access. The first city films were produced in Sweden in 1907 with the aim of attracting spectators to the local cinemas. The genre survived up to the 1970s and was a mix of films, mainly commissioned films like Den förlorade melodien (1957) by Gösta Werner, but also experimental films like En dag I staden (1956) by Pontus Hultén and Hans Nordenström.
The Home Movies – Archivio Nazionale del Film di Famiglia
The Home Movies was founded in 2002 with the mission to collect and preserve amateur and family films, an audiovisual heritage that is still hidden and largely inaccessible. The Archive will present its policies of archiving, restoring and promoting amateur and experimental cinema. Topics will include the relation and uncertain boundaries between amateur and experimental productions; damaged films as restored archival objects which can then acquire the status of readymades thanks to a curatorial or artistic gesture; and finally the archival and authorial choice of printing and screening new 16mm copies (from the original film materials) for public performance in cinemas, museums and art galleries.
Founded in 1948, Gosfilmofond holds one of the largest film collections in the world, including both Russian and Soviet films and foreign titles. The most valuable of these are Russian distribution versions from the 1910s to the 1930s and the so-called “trophy” collection from the Reichsfilmarchiv, added after WWII. The presentation will feature short films made in the 1920s to 60s, including recent discoveries of experimental shorts by the great graphic artist and filmmaker Mikhail Tsekhanovskii (including his unfinished animated opera made in collaboration with Dmitri Shostakovich), a Soviet musical clip from the 1930s, and three recently discovered films by Oskar and Hans Fischinger.