Film archives

The text explores the historicаl dialogue between Bulgaria and Asia in the context of moving pictures, as the theoretical focus is set on the earliest silent period of a “cinema of attractions”. The main question
is: what is the stepping stone for the cinematograph trying to articulate exotic remoteness? Contemporary archival studies dealing with film history and re- contextualisation of film distribution tend to tackle
the question of the connection between the viewer and the movingpictures on the screen. It is treated in terms of deictic modes, and especially with regard to visual deixis. The movie screen triggers a meta-visualization of already accumulated knowledge which, before
the emergence of cinema, had already evoked images in the minds of Bulgarians as to „what Asia is”. The early cinema opens new vistas to unknown worlds thus stimulating a grasp of cultural diversity.
Key words: Far East, Bulgaria, silent era, reception, communication,
archives



Теоретичният фокус на изследването върху историческия диалог между България и Азия е насочен към най-ранния, ням период на " забележителности и атракциони " в киното. На какво стъпва кинематографът в своя любопитен стремеж да обговори екзо-тичната далечност? В съвременната архивистика, посветена на филмовата история и реконтекстуализация на филмопоказа, се повдига въпросът и за връзката между зрителя, екрана и движещите се образи. Тя се преразглежда с оглед на модусите на деиксиса, особено на визуалния деиксис. Екранът активира и метавизуализира вече натрупано познание, което до появата на киното е успяло да реализира въображаеми картини в съзнание-то на българина за това, " що е Азия ". Ранното кино отваря врати към непознати светове и стимулира разбирането на културното многообразие.

Ключови думи: Далечен Изток, България, нямо кино, рецепция, комуникация, архиви.

Report commissioned by dLux Media Arts under a National Library of Australia Community Heritage Grant. The report uses Significance 2.0 to determine the significance of the archives of dLux. The archives include two predecessor organisations the Sydney Super 8 Film Group (SS8FG) and the Sydney Intermedia Network (SIN). The archives include audiovisual works by artists, early digital media art, video and film artworks and some sound works. They also include the documents and other paper and photographic items associated with the work of the organisation over its life since the mid 80s. The report was commissioned by dLux director Tara Morelos and contributors include Sarah Van Der Peer and Giorgia Gakas, Museum Studies intern from the University of Sydney. Sections draw heavily on the work of Bob Percival.

Les thèmes que nous allons traiter pendant ces deux séances:
1) Les archives audiovisuelles.
2) La question du patrimoine culturel et les archives audiovisuelles.

3) L’importance des archives numériques et, plus particulièrement, audiovisuelles, pour la recherche.
4) Des exemples concrets d’archives audiovisuelles.
5) Une discussion plus approfondie d’un programme scientifique « Archives Audiovisuelles de la Recherche ».

Avec Bad Film Histories, Katherine Groo conduit un vaste travail archéologique, enquêtant sur des objets des trois premières décennies du cinéma (1895–1925)— les archives filmiques, leurs supports et représentations visuelles — tout en interrogeant les concepts utilisés par les historiens du cinéma pour rendre compte de la genèse et du devenir de ces objets filmiques. En parcourant les archives de l’EYE Filmmuseum, de la Fondation Albert Kahn, de l’American Museum of Natural History (et d’autres encore), l’autrice nous présente une historiographie singulière des vues ethnographiques du début du cinéma.

Adaptarea cinematografică a romanului „Pădurea spânzuraților” de Liviu Rebreanu ar fi putut fi o coproducție româno-italiană regizată de Glauco Pellegrini. Înainte ca scenaristul Titus Popovici și regizorul Liviu Ciulei să fie implicați în proiectul ecranizării, la Studioul Cinematografic București (SCB) a circulat o variantă de scenariu semnată de scriitorul român Petre Sălcudeanu alături de italienii Ennio De Concini, Franco Rossetti și Glauco Pellegrini. Studiul analizează acest scenariu, păstrat în colecția Arhivei Naționale de Filme (ANF), comparându-l cu romanul lui Rebreanu, și încearcă să explice, pe baza documentelor SCB din Arhivele Naționale ale României, motivele pentru care proiectul coproducției a eșuat.

Concentra-se no estudo do desenvolvimento do Sistema de Conservação do acervo audiovisual da Cinemateca Brasileira. Através da linha histórica, e a partir do olhar do técnico que participa diretamente das atividades de conservação, descreve cada etapa da evolução dos procedimentos dessas atividades e de alguns procedimentos de catalogação. Compreendendo o período de 1946 a 2001, a pesquisa acompanha o amadurecimento técnico institucional, desde os primeiros passos no conhecimento do objeto audiovisual e das técnicas de conservação, passa pelo desenvolvimento de um banco de dados para o controle de informações técnicas e de conteúdo, que finaliza com a implantação das áreas climatizadas para a guarda de longa permanência do acervo.

In The Death of Cinema, Paolo Cherchi Usai suggests that the very writing of film history is contingent on the fact that films and their historical viewing contexts inevitably disintegrate and become lost over time. After all, if films never physically deteriorated through duplication and circulation, then there would be no need to write histories of historical change ascertained from filmic texts themselves. Although we might push back against Cherchi Usai's claims by arguing the need for histories written based on changes in film circulation and reception, he usefully posits that the "Model Image," which theoretically exists in a pristine state prior to the processes of degradation, is an impossible ideal, never something that can actually be preserved or reconstructed. 1 In this sense, he intriguingly sees the Model Image's counterpart in the pornographic image:

Inwiefern sind Filme als Kulturgüter geschützt? Welche Defizite bestehen beim Schutz des Filmerbes? Und welche Standards sollen für seine Sicherung gelten? In zwei Bänden stellt Anna Bohn unter Berücksichtigung zahlreicher Filmbeispiele und Archivquellen erstmals und umfassend die Grundlagen zum Schutz des Filmerbes dar.
Der erste Band behandelt wesentliche Aspekte des audiovisuellen Kulturgutschutzes aus historischer Perspektive wie die Grundlagen filmischer Überlieferung, die Geschichte der Filmarchivierung und die Chronik der Verluste sowie internationale Vereinbarungen und nationale Gesetzgebungen zum Filmerbe. Der zweite Band definiert Schlüsselbegriffe zum Schutz des Filmerbes wie Sicherung, Konservierung, Restaurierung, Rekonstruktion, Dokumentation, Original, Kopie, Reversibilität, Authentizität, Integrität, Autorisation, Fragment, Lacuna, Ergänzung – Komplettierung, Edition und Fassung.
Mit seiner interdisziplinär vergleichenden Methode richtet sich dieses Handbuch sowohl an die Film- und Medienwissenschaften, die Denkmalpflege, Kunstwissenschaft, Philologie, Archiv- und Bibliothekswissenschaften, Museumskunde als auch an die Kultur- und Geschichtswissenschaft.

The Digital Repository Project, initiated by the National Film Archive in 2010, is just finishing its fifth year. The project’s aims were to digitize, archive, catalogue and make available the Polish cinema to a broader audience. The digitization for the project The National Film Archive’s Digital Repository was possible due to the support of the Ministry of Culture and National Heritage and its programs: the Digitalizacja materiałów audiowizualnych (2010) and the Wieloletni Program Rządowy KULTURA+ (2011-2014) directed by the National Audiovisual Institute.

Versión original en español del texto introductorio de la retrospectiva "Las tres Bes: Bardem, Berlanga, Buñuel", programada por el Museo del Cine de Austria, en colaboración con la Embajada de España en Viena, del 27 de febrero al 2 de abril de 2020. El ciclo se interrumpió el 14 de marzo por el cierre temporal de la sala de proyección para evitar la expansión del Covid-19. La introducción de la retrospectiva se ha publicado, traducida al alemán, en el programa mensual y la página web del Museo del Cine de Austria: https://www.filmmuseum.at/jart/prj3/filmmuseum/main.jart?rel=de&reserve-mode=active&content-id=1216720898687&schienen_id=1579687023521. Y, traducida al inglés, también en su página web: https://www.filmmuseum.at/en/film_program/scope?schienen_id=1579687023521.

La ricerca, pubblicata sulla "Rassegna degli Archivi di stato" (nuova serie-anno XII, n. 1-2-3.Roma, gen.-dic.2016, pp.125-140), è stata condotta analizzando la cospicua documentazione conservata presso l'Archivio centrale dello Stato, prodotta tra il 1935 ed il 1952 dall' ENTE NAZIONALE ACQUISTI, IMPORTAZIONE PELLICOLE ESTERE – ENAIPE,(Istituito con l. 4 apr. 1940, n. 401, soppresso con d.l.lgt. 5 ott. 1945, n. 678 era posto sotto Ia vigilanza del Ministero per gli scambi e valute), e consistente in 53 bb. Il fondo è stato in parte studiato da C. Nardi, L'Ente nazionale acquisti, importazione pellicole estere - ENAIPE e la politica del monopolio statale sulla cinematografia (1940-1957), in "BIANCOENERO", LXXI, n.567 (mag.-ago. 2010), pp. 113-118.
  Sono emersi aspetti poco noti del rapporto tra Mussolini ed il cinema hollywoodiano e del suo interesse per il cinema in generale, inteso come straordinario mezzo di propaganda. Il duce apprezzava molto l'umorismo e i film di Stan Laurel ed Oliver Hardy, che amava vedere durante le proiezioni private a Villa Torlonia e, nel 1937 incaricò il figlio Vittorio di recarsi, a soli 21 anni, in America per incontrare Hal Roach, il produttore delle pellicole del duo comico, e studiare la realizzazione di una serie di film tratti da opere liriche, nel primo dei quali Laurel & Hardy avrebbero dovuto parodiare il Rigoletto di Verdi. Dalla collaborazione nacque la società R.A.M.,  acronimo di “Roach and Mussolini”, con un capitale iniziale di 6.000.000 dollari, che realizzò di fatto solo alcuni cinegiornali di propaganda per l'Italia. Lo studio ha permesso, inoltre, di mettere in luce alcuni interessanti aspetti relativi all’applicazione pratica della politica subalterna al Regime, doppiaggio e mediazione culturale in primis, ma anche la curiosa consuetudine di italianizzare, tra l'altro, gli inserti musicali delle pellicole straniere.

Sparked by a groundbreaking 1995 Amsterdam Workshop Colours in Silent Film, scholarly and archival interest in colour as a crucial aspect of film form, technology and aesthetics has enjoyed a resurgence in the past twenty years. In the spirit of the workshop, this anthology brings together international experts to explore a diverse range of themes that they hope will inspire the next twenty years of research on colour in silent film. Taking an interdisciplinary approach, the book explores archival restoration, colour film technology, colour theory, and experimental film alongside beautifully saturated images of silent cinema.
https://www.aup.nl/en/book/9789462983014/the-colour-fantastic

This paper examines the ways in which several Korean documentary films in the 2010s use archival footage of the distant or recent histories of Korea. It argues that the films testify to what I call the ‘post-vérité’ turn of recent Korean documentaries: an array of experimentations with the forms and aesthetics of documentary, which are distinguished from the vérité style—an activist tradition of Korean independent documentary—but also inherit and renew its commitment to politics and history. As a subcategory of the ‘post-vérité’ turn, I characterize the recent Korean documentary’s increasing uses of found footage as the ‘archival turn’ and argue for its two implications. First, this term suggests that the extensive uses of found footage allow filmmakers to develop other modes of documentary filmmaking—compilation documentary, essay film, and metahistorical documentary—besides the participatory mode distinguished by the supremacy of the camera’s immediate, on-the-spot witnessing of reality. Second, this term indicates that Walter Benjamin’s idea of historiography is shared by the filmmakers, as their appropriation, reassessment, and manipulation of found footage are motivated by the desire to endow it with a new historical perspective in relation to their engagement with the politics of the present.

This article presents a critical overview on how the formal and aesthetic variations of the Korean documentary cinema in the twenty-first century have differed from and simultaneously renewed the activist, cinéma-vérité tradition of Korean independent documentaries of the 1980s and 1990s. These variations encompass personal documentaries and essay films, experimental documentaries on landscapes, documentaries extensively using archival materials, digitally enabled documentaries, and intersections of documentary and contemporary art. Mapping these variations onto five categories, I use the term “post-verité” to theorize these new constellations of aesthetics and politics. By departing from the epistemological and aesthetic assumptions of its predecessor, the Korean documentary in the twenty-first century has formed the most vibrant screenscape for cinematic experimentations. At the same time, I argue that these experimentations have also updated the activist tradition’s political and ethical commitment to history and politics by reinventing the ways of engaging with the traumas of modernization and the new problems of neoliberalized contemporary Korea.

This essay examines the missing national film archive of Pakistan against the politics of competing cultural memory. Sharing a common past yet existing in the shadows of the Indian film industry, cinema in Pakistan found itself in an unusual predicament after decolonization and Partition. While filmmaking was expected to carry the imprint of national difference, the intercultural context of colonial India bequeathed the industry its traditions and personnel. Yet when the British Film Institute repatriated colonial Indian films in the mid-1960s, the holdings went entirely to India. The lack of a public film repository denied Pakistan not only its colonial heritage but also the systematic preservation of its postcolonial film culture. In the absence of a state archive, what has emerged in the country is a democratic archive consisting of independent collectors, magazine proprietors, and avid users. Using a term extracted from one of the archives, filmaria (film fever), Siddique reads in the popular film archives the contagious circumstances of intercultural cinema. It alerts us to a film contagion widespread in the subcontinental publics that thrives on filmgoing, cinematic resemblance, and embodied cultural memory, a condition caused by the displacements of Partition and the creation of national difference.

Nota redazionale I testi di Ansano Giannarelli riportati nel volume contengono alcuni adattamenti di stile e la normalizzazione delle formattazioni, rispetto alla varietà di scelte stilistiche e di criteri redazionali che presentavano. I saggi sono preceduti da una breve introduzione che ne illustra il contesto ideativo e comunicativo. Produzione C&P Adver Effi gi, Mario Papalini Grafi ca Silvia Filoni ©2011 Archivio audiovisivo del movimento operaio e democratico Via Ostiense 106, 00154 Roma -italia Tel. (39) 06

This paper provides an in-depth examination of the relationship between cinema and Giorgio Agamben’s aesthetics and philosophy. Intersecting Agamben’s key concepts including gesture, mediality, biopolitics, historicity, and profanation with historical and aesthetic dimensions of cinema, I argue for his ambivalent view on cinema and visual media. On the one hand, Agamben linked cinema and visual media to his discussion on biopolitics and spectacle as he considered them as apparatus for capturing and controlling gestures. On the other hand, he also argued that cinema could restore the image with capacity to preserve and recuperate gestures based on his consideration of montage as cinema’s key aesthetic and technical component (an operation of profanation) and his Benjaminian thought on the ways in which montage suspended linear flow of images and activated an alternative memory of them. Drawing on history of cinema and optical devices in the 19th and early 20th centuries as well as examples of found footages of filmmaking predicated upon stoppage and repetition of images, I argue that Agamben’s concept of potentialities can be extended into his thought on cinema and visual media apparatuses in general.

Film Museum Practice and Film Historiography is a meticulously researched work and a welcome addition to the already growing body of work related to film archiving practices. Lameris’ book is not only about engaging with the history of the Nederlands Filmmuseum but also about situating this case study within the larger context of film history and film archiving practices throughout the world. Indeed, students and scholars of cinema studies along with archival and museum studies will find Lameris’ approach particularly useful." - Rahul Kumar, Jawaharlal Nehru University, New Delhi, Historical Journal of Film, Radio and Television, 2018, Vol. 38, No. 2

Open Access: https://www.oapen.org/search?identifier=1005139;keyword=fossati
Almost a decade after its first publication, this revised edition covers the latest developments in the field. Besides a new general introduction, a new conclusion, and extensive updates to each chapter, a novel theoretical framework and an additional case study have been included.

In From Grain to Pixel, Giovanna Fossati analyzes the transition from analog to digital film and its profound effects on filmmaking and film archiving. Reflecting on the theoretical conceptualization of the medium itself, Fossati poses significant questions about the status of physical film and the practice of its archival preservation, restoration, and presentation.
From Grain to Pixel attempts to bridge the fields of film archiving and academic research by addressing the discourse on film's ontology and analyzing how different interpretations of what film is affect the role and practices of film archives. By proposing a novel theorization of film archival practice, Fossati aims to stimulate a renewed dialogue between film scholars and film archivists.
https://www.aup.nl/en/book/9789463725002/from-grain-to-pixel

Any archivists who have held a piece of film in their hands, wondering how to go about identifying it, recognize the true value of film preservationist Harold Brown’s work. In 1967 Brown delivered a pioneering lecture on the identification of early films at the annual Congress of the International Federation of Film Archives (FIAF) in East Berlin. Years of working with Britain's National Film Archive collections, and the close examination of thousands of nitrate prints of the silent period, made Brown a leading authority on early film identification, and an unsurpassed model of methodological consciousness in the archival field.

In 1990, FIAF published Brown’s Physical Characteristics of Early Films as Aids to Identification, an updated version and a continuation of his 1967 lecture. This publication has long been archivists’ trusted companion, constituting a concentrated encyclopedia on all the information that can be discovered or verified through aspects of the film other than the actual projected image – such as perforation shapes; embossed and punched marks; stock manufacturers’ and producers’ edge marks; frame characteristics; title styles; and production serial numbers. It also included essays on key individual production companies of the silent era.

Over the last 30 years, this manual – a basic type-written 100-page volume (including 20 pages of black & white illustrations), with its easily recognizable red cover – has been an invaluable reference for film archivists and scholars. However, as Brown himself acknowledged in the 1990 edition, the manual was far from definitive.

Camille Blot-Wellens, the editor of this new, expanded edition of Brown’s 1990 book, belongs to the new generation of researchers who have used Physical Characteristics extensively in their work and have gathered considerable new information on the subject. This new edition is the result of a project she initiated in 2014 with FIAF’s support. Brown’s original text is now augmented with new original research on key film manufacturers and producers by Camille Blot-Wellens and other leading archivists and researchers in the field.

Richly illustrated, this 336-page new edition of Harold Brown’s seminal manual will be welcomed by many, and will no doubt become a must-have working tool for many in the film archiving and academic fields.

Imagine opening the gates to a vault full of media apparatuses and letting loose thirty-two international media scholars and professionals on its heterogeneous content... Exposing the Film Apparatus collects the results of such an experiment.
This book addresses the keen awareness of the prominence of media technologies in our culture in the last two centuries, while also showing how such an awareness is impacting the curatorial consciousness of those working in film archives, technology, and media museums today. Combining a variety of approaches with insightful perspectives of professionals working on a wide range of film technology-related issues, Exposing the Film Apparatus reveals the richness, diversity, and relevance of the topic for archivists, curators, projectionists, theorists, film and media historians, media artists, educationists and film students today.

«If dreams come true! The long desired collaboration between film archivists and film scholars has never been as fully realized as in this work, which is, itself, a genuine “research laboratory.” Adopting an approach that constantly combines fundamental and applied research, the “materiality of the medium” is studied here in an entirely novel way. Starting with the digital turn, the essential problems of technique and technology have (finally!) returned to academic zeitgeist. »
André Gaudreault, Canada Research Chair in Cinema and Media Studies, Université de Montréal.

« This excellent collection fizzes with new approaches to understanding the apparatuses of cinema. These machines once gave life to images; now it must be our mission to give life back to these machines. »
John Ellis, Professor of Media Arts, Royal Holloway University of London.

With contributions by Susan Aasman, Rommy Albers, Soeluh van den Berg, Martine Beugnet, Sonia Campanini, Ian Christie, Amanda du Preez, Guy Edmonds, Julian Hanich, Gert Jan Harkema, Jan Holmberg, Marek Jancovic, Frank Kessler, Miklós Kiss, Martin Koerber, Sabine Lenk, Eef Masson, Julia Noordegraaf, Annelies van Noortwijk, Roger Odin, Ari Purnama, Leenke Ripmeester, Céline Scemama, Alexandra Schneider, Tom Slootweg, Caylin Smith, Benoît Turquety, Barbara Turquier, William Uricchio, Nanna Verhoeff, Steven Willemsen, and Joshua Yumibe.

https://www.aup.nl/en/book/9789462983168/exposing-the-film-apparatus

Archives, just like museums or libraries, are agents which contribute to the creation of our cultural memory. Inextricably linked to the notion of cultural heritage, they highlight some narratives, while sidelining or excluding others. Therefore it is important to critically reflect on the question " whose heritage " (Stuart Hall) is created in the process of archiving. This article looks at the politics of creating access to audiovisual heritage in European film archives via online video streaming opportunities. Examining audiovisual archives as agents in the construction of transnational memories, my research aims to provide new ways of reflecting on diversity practices in archival selection. As case study, this article examines the archival politics of the national film archives in Sweden, especially the way archivists are curating the site Filmarkivet.se. Résumé Les archives, tout comme les musées ou les bibliothèques, sont des agents qui contribuent à la création de

http://synoptique.hybrid.concordia.ca/index.php/main/article/view/169/211

An alternative film history could be written by film archives, which let cinema tell its stories in a new way, through the relationship among cultural establishments.
In Italy wide access policies have not always been the standard for film archives, and this access has been achieved hardly; this may depend on a misunderstanding on the relevance of film heritage. Italy’s overflowing visual environment, filled with artworks, has shaped the conventions towards mass culture, so film heritage has always been acknowledged as subaltern to the traditional cultural heritage’s preservation priorities, which are more respected by the governmental institutions.
This paper introduces some cases of collaboration among educational institutions and film archives for today and tomorrow's personnel training.

En los años 1952-1967 se dieron dos procesos claves para la renovación cinematográfica en México e íntimamente ligados entre sí: por un lado se consolidó la apreciación y la preservación del patrimonio cinematográfico del país, y por otro se fueron sentando las bases de un cine independiente y “experimental” que buscaba rebasar el modelo industrial. En este capítulo, se trazan los vínculos entre la amplia difusión y la celebración crítica de los documentales de compilación Memorias de un mexicano (1950) y Epopeyas de la Revolución mexicana (1961/1963); la evolución de la intensa actividad cineclubista de los años 50 a la institucionalización de la conservación fílmica a principios de los años 60; y la movilización de la cultura cinematográfica vinculada con estas instituciones para la creación de un “nuevo” cine. Partiendo desde los planteamientos de Emilio García Riera en un texto publicado en 1960, se demuestran las maneras en que las nociones de renovación y patrimonio convergieron en un afán por fomentar, en palabras del crítico, la “lenta pero segura evolución espiritual de la gran masa de los espectadores”.

From early-twentieth-century stag films to 1960s sexploitation pictures to the burst of 1970s “porno chic,” adult cinema’s vintage forms have seen reappraisal by a new generation of historians, collectors, archivists, and fans—all figures both dependent on and helping shape the archive of film history. But what is the present-day allure of these artifacts that have since become fetishized more for their age than the explicit acts they show? And what are the political implications of recovering and re-releasing rare but still-visceral adults-only texts from a less “enlightened,” pre-feminist past? David Church argues that vintage pornography retains its retrospective fascination precisely because these culturally denigrated texts have been so poorly preserved on political and aesthetic grounds. Often orphaned, mutilated, or left to rot, vintage pornography thus serves as the absent center of film preservation efforts in general. With these films’ ongoing moves from cultural emergence to concealment to rediscovery re-enacting the erotic visual strategies at their core, the archive itself performs a striptease by permitting material contact with these corporeally stimulating forms at a moment when the physicality of media objects is undergoing rapid transformation. Chapters include discussions of cinephilia and stag films, the eroticism of sexploitation ephemera, archival practices and the porn industry’s self-censorship, and an emerging generation of home video companies dedicated to preserving hardcore films. Addressing both film historians and film preservationists, this study explores the archival and historiographic lessons that vintage pornography can teach us about which materials our society chooses to keep, how we interact with these anachronistic forms, and who plays a role in keeping them alive today.

TABLE OF CONTENTS

Introduction

Chapter 1
Eroticizing the Degraded Past:
Stag Films, Cinephilia, and the Marketing of Necro-Erotic Desire

Chapter 2
Ephemerality Between Fantasy and Reality:
Sexploitation, Fan Magazines, and the Adults-Only Film and Publishing Industries

Chapter 3
“Whatever Happened to Gigi Darlene?”
Object Lessons for a Disappearing and Reappearing Corpus

Chapter 4
Preservational Ethics, Cultural Distinctions, and Vintage Pornoisseurship in the Internet Age

Conclusion

The task is to investigate the genesis and implementation of Art Nouveau in the works by the world-famous jewelry firm of Fabergé. Actuality of the problem is caused by appearance and accumulation of a huge amount of Faberge articles in antique market and in collections, the need for theoretical reasoning of stylistic features, elimination of differences in terminology between foreign and domestic researchers, differentiation of definitions of modern style and solution of the problem of genesis of Neo-Russian style in the work of artists and masters of the firm of Faberge. Main monographs and catalogues of exhibitions for more than 60 years have been studied, masters of the firm who worked in modern style have been determined, biographies of jeweler Victor Aarne who was named «our Lalique» and Moscow enamel master Fyodor Ryukert are specified. It is established that in general the share of items made in Art Nouveau and Neo-Russian style is at least 5%, but for the diamond group – at least 25%, in the work of V. Aarne – not less than 20% and in the production of Fyodor Ryukert's workshop – at least 30%. The artists-composers (designers) who created the designs in these styles were determined, and period of their active functioning for branches in Saint Petersburg and Moscow was defined. This period does not coincide with periodization of architectural modern in both capitals. The influence of customers from privileged classes on creative decisions of designers was revealed. Items in the newest styles were not subject to replication. The article is intended for historians of jewelry art, antique dealers and art lovers.



Поставлена задача исследовать генезис и реализацию стиля модерн в продукции всемирно известной ювелирной фирмы Фаберже. Актуальность проблемы обусловлена появлением и накоплением громадного массива изделий Фаберже на антикварном рынке и в коллекциях, необходимостью теоретического обоснования стилистических признаков, устранения разногласий в терминологии зарубежных и отечественных исследователей, дифференциации определений модерна и решения проблемы генезиса неорусского стиля в творчестве художников и мастеров фирмы Фаберже. Проработаны основные монографии и каталоги выставок за период более чем 60 лет, определены мастера формы, работавшие в стиле модерн, уточнены биографии ювелира Виктора Аарне, которого в фирме называли «наш Лалик» и московского мастера – живописца по эмали Федора Рюкерта. Установлено, что в целом доля изделий в стиле модерн и неорусском стиле составляет не менее 5%, но по бриллиантовой группе – не менее 25%, в творчестве В. Аарне не менее 20%, а в продукции мастерской Федора Рюкерта – не менее 30%. Определены художники-композиторы (дизайнеры), создававшие проекты в этих стилях, и определены временные границы активного функционирования для петербургского и московского отделений во времени. Эти границы не совпадают с периодизацией архитектурного модерна в обеих столицах. Выявлено влияние заказчиков-клиентов из привилегированных классов на творческие решения дизайнеров. Изделия в новейшем стиле не предполагали тиражности. Статья предназначена историкам ювелирного искусства, антикварам и любителям искусства.

The archive, as a concept and a physical repository of historical traces, holds a central place within contemporary film and media studies. The archive is not only a location for historical research; it also functions as a source of images and materials to be mined by filmmakers and media artists. After the archival turn in Anglo-American film and cultural studies scholarship in the 1990s, however, film and media scholars increasingly approach the archive as an object of critical study in its own right. As such, the archive becomes as much a site of hermeneutical struggle, privileged access, contested histories, and loss as it is a site of creative inspiration and cultural preservation.

This journal issue is dedicated to exploring both the sites of moving image archival preservation and display (such as art galleries, institutional archives, private collections, and the World Wide Web), and the socio-political, historical, and creative circulatory networks that connect them. Guest edited by Sophie Cook, Rachel Webb Jekanowski and Papagena Robbins, this issue seeks to inquire into the myriad ways in which archive studies have transitioned away from the traditional library stacks and institutional repositories, in favor of exploring different technologies and spaces of material preservation and knowledge exchange.

The advent of digital media is dramatically affecting the way films are made, presented, and consumed, as well as how they are archived and preserved as film heritage for future generations. Similarly, new digital media are changing the practice of found footage filmmaking. Whereas traditionally the found footage filmmaker used to access the physical archive (or the stock footage company or the home movie collection) to find and select the material for his or her films, today new possibilities are available. On the one hand, archives are also becoming accessible to filmmakers via the Internet while on the other hand, new digital footage is constantly being uploaded by users on the Web, adding, if you will, to a global online archive. With new media, found footage films transcend the film archive, both as a physical location and as the only entity entitled to select film (artifacts) and make film available. With this, the practice of found footage filmmaking assumes new exciting forms, from interactive multimedia installations to online and locative media applications.

The aim of this research is to unravel and interrogate critically the recent histories of the production and reproduction of Castlefield, Manchester. This unravelling is accomplished theoretically through the historicised application of Lefebvre‘s spatial triad. Production of space histories and Castlefield‘s ‗regeneration‘ are revisited principally through archival and interview evacuations of the neglected years of the 1970s. Urban public space is seen as the key city synecdoche. The thesis argues against what is called the ‗dominant academic narrative‘: challenging the narrative where it ignores or downplays the role of counter-representations and counter-projects in the production of urban public space. The empirical research is based mainly on archival data and complimentary interview and visual data; the analyses are qualitative. Visual representations of space largely neglected in the literature are foregrounded throughout the empirical research. Spaces of representation and spatial practice are interrogated from the perspective of public space analysis which emphasises the importance of the contested nature of representations of space within the public sector and the vulnerable and unstable character of some official representations of space. The thesis therefore does not seek to reproduce what might be called a ‗traditional‘ Lefebvrian analysis which counter-poses repressive official representations of space against quotidian heroic, poetic spaces of representation. The research challenges oversimplified characterisations of Castlefield as a space simply of heritage, leisure and exclusive residential enclaves. A dynamic, complex spatial portrait is revealed whereby ludic, ‗natural‘ and abstract space rise and fall though intricate spatial layering as time unfolds. Urban differential space and ludic space are found to emerge through the interstices of abstract space as key outcomes of the contestation of space. The thesis concludes that the potential for differential urban public space exists through the production of new spaces and their diverse politicised appropriation.

Film archiving and local exploitation films, let alone the trashy film archive, are marginal in the discourses of film journalism, scholarship, policies, and criticism in Indonesia (Imanjaya, 2009c; Imanjaya, 2012a; Imanjaya, 2014). However, this paper will demonstrate the importance of Indonesian exploitation cinema, alternative film archives, and exploitation film preservation. It will focus on the output of Mondo Macabro, a transnational DVD label that consistently preserves world trashy films, including Indonesian films produced from the 1970s to the 1990s. By focusing on its DVD paratexts, that is, its DVD covers, special features, and online promotional materials, and applying the Chaperone archiving model also applied by Criterion Collection, this paper will also argue that Mondo Macabro gives trashy or cult films a new lease on life, and more importantly, treats them as collector’s items.

This article examines the history and curatorial strategies of the George Eastman Museum of Photography and Film in Rochester, NY. It reads the museum’s exhibition of rare nitrate films in the post-industrial context of Rochester, through Walter Benjamin’s and Gadamer’s concept of allegory.

Targeting an international readership beyond academia and addressing questions around film theory and the politics of film curatorship, this piece was Screen's most-read 2019 article, recently defined “Article with Impact.” The British Association of Film, Television and Screen Studies awarded it an Honourable Mention.

Dos cineastas checos y uno polaco se refugian en Argentina tras su paso por los campos de exterminio nazi durante la Segunda Guerra Mundial. Realizan piezas de animación para Cine Escuela Argentino, flamante departamento con fines educativos creado durante el primer gobierno de Juan Domingo Perón. Tres de ellas subsisten y son parte del acervo del Museo del Cine "Pablo Ducrós Hicken".

This paper characterizes the wide-ranging uses of archival of found footage in the contemporary Korean documentary since the 2010s as the ‘archival turn,’ while also arguing for its two implications. First, this term suggests that the extensive uses of found footage allow filmmakers to develop other modes of documentary filmmaking—compilation documentary and the essay film—besides the participatory mode distinguished by the supremacy of the camera’s on-the-spot witnessing of reality. Second, this term indicates that Walter Benjamin’s idea of historiography is shared by the filmmakers, as their appropriation and manipulation of found footage are motivated by the desire to endow it with a new historical perspective in relation to their engagement with the politics of the present. Drawing on Non-fiction Diary (Jung Yoon-suk, 2013), 88/18 (KBS Sports, 2018), and Cyclical Night (Paik Jongkwan, 2016), this paper demonstrates the ways in which these two implications are linked to and activate Benjamin’s key concepts.

This article argues that despite their inherent illegality, forms of media piracy are an essential part of the
memory of Bombay cinema. While Bombay cinema’s history is replete with its encounter with myriad
pirate forms—cheaply published film dialogs and lyrics, locally produced posters, illegal music tapes,
video cassettes, VCDs and DVDs—the activity of viewing, sharing, and storing cinematic objects sees
a new order of proliferation online, leading to the creation of a network of private and indeed pirate
archives of cinema.
Built largely of illegal material (downloaded, ripped, and copied) and the “poor image” (Steyerl,
2009), the pirate archive is at odds with the official state archive of cinema that is all too aware of its
role in preserving the “heritage of Indian cinema.” The pirate archive unpacks the carefully constructed
and preserved hierarchy of “meaningful cinema” by including more derided forms like porn and “trash,”
bringing them into the fold of history. I argue that its illicit, often incomplete, sometimes erroneous and
ephemeral material then poses a challenge to the state archive’s performance of stability and its attempt
to control cinematic history.

This paper discusses Ken Jacobs's short and feature-length films made with digital video since the 2000s from two perspectives. First, I investigate the ways in which Jacobs extends his celluloid-based found footage filmmaking to the realm of digital editing in those films while also resulting in the technical and aesthetic hybridities of their images. By examining Return to the Scene of the

Archiving, as Michel Foucault reminds us, is an act of power. LGBTQ+ lives in the archive have been defined by neglect, amnesia, or misrepresentations due to criminalization or pathologization. This is why specialized LGBTQ+ archives are often conceptualized as ‘safe havens’ for the queer community. Archival practice in such grassroot and community archives is often considered to be a labor of love, a practice of caring, an act of solidarity. Digitisation, however, is currently changing archival practice by allowing archival content to circulate online. What happens if footage filmed in separatist spaces or nightclubs leave the safe spaces of the archive and can be accessed worldwide by anyone? How do archives deal with the vulnerability of LGBTQ+ lives? My paper looks at the risks and possibilities of today’s archival challenges when curating LGBTQ+ memories. Drawing on some of the findings from my research project “The Cultural Heritage of the Moving Image” (Swedish Research Council), this chapter examines both the recognition of LGBTQ+ lives in national film archives in the UK and Sweden, and in minor archives, such as The Lesbian Home Movie Project (Maine) and bildwechsel (Hamburg).

Colour fades and colour balances shift. A comparative analysis of the colour red which operates across a series of releases of what is ostensibly the same film, but on different formats (35mm print, videotape, DVD) addresses the extent to which the film materials – by deterioration or design - can affect the formation of meaning at the level of the text. This study of Don't Look Now (Nicolas Roeg, 1973) explores the significance of such variations for a diegetic and extra-diegetic discourse on colour, memory and loss. This work theorises the deterioration and restoration of film materials and archive as they affect the resolution of images and sounds on which textual analyses are based.

This article analyses a range of discourses articulated around the figure of the film archive between the late nineteenth and the early twenty-first centuries, accounting for the various possibilities that they open up for considering audiovisual heritage as a potential space either for revolutionary change or for political or textual resistance. Focused mainly on archival discourses in Mexico, the article traces their interaction with both national-historical and anti- imperialist narratives, and the implications of digital and online culture for the encounter between the archiving of film and resistance. It accounts for the position of the archive in negotiations between state and private capital and spaces of artistic autonomy, and for the relationships between the archive, modernity, postmodernity and the notion of posterity.

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omaggioalucaferro@gmail.com

Università degli Studi di Firenze
Dipartimento SAGAS
Dottorato regionale Pegaso in Storia delle arti e dello spettacolo
Home Movies-Archivio Nazionale del Film di Famiglia (Bologna)

Materiali video sulla produzione di Luca Ferro sono disponibili gratuitamente fino al 7 novembre sulla piattaforma on line di Archivio Aperto (Home Movies-Archivio Nazionale del Film di Famiglia, Bologna) https://www.mymovies.it/ondemand/archivio-aperto/.

На материале этнографического кинодокумента «Страна гольдов» классика советского кино, Амо Бек-Назарова, в статье проводится рассмотрение направления художественной документалистики как примера визуально-антропологических опытов в СССР на рубеже 1920-х-1930-х гг. В изучаемый период кинематографисты СССР апробировали различные форматы визуализации этничности, конструируя советский миф об освобожденных революцией народностях нового Союза, в чем нуждалось партийное руководство. Основываясь на показательном примере творчества режиссера Амо Бек-Назарова, в статье прослеживается использование возможностей этнографического кино как ресурса по созданию эффективных для внедрения в общественный оборот экранных образов: традиционного бытования (образ «темного прошлого») и нововведений социализма (праобраз «светлого будущего»).

Based on the material of the ethnographic documentary «Country of Golds» by the classic of Soviet cinema, Amo Bek-Nazarov, the article considers the direction of artistic documentary as an example of visual and anthropological experiments in the USSR at the turn of the 1920s–1930s. In this period Soviet filmmakers tested various visualization formats of ethnicity, constructing the Soviet myth of the peoples of the new Union freed by the revolution, which the party leadership needed. Based on an illustrative example of the work of director Amo Bek-Nazarov, the article traces the use of the capabilities of ethnographic cinema as a resource for creating effective on-screen images for traditional use: traditional life (the image of the «dark past») and innovations of socialism (the image of the «happy future») .