Programa de Simposio (2011)


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Simposio ofrecido en 2011 manifiesta las inquietudes de la Conservación y Restauración Cinematográficas actuales.

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Programa de Simposio (2011)

  1. 1. C M Y CM MY CY CMY KDigital Film Restorationwithin ArchivesSymposium 2011 Paolo Cherchi Usai / George Eastman HouseThe digital future of analoguefilm archivesThe transition from analog to digital entails profoundchanges in the mission, rationale, and overall strategiesof moving image archives. Its ramifications involve inequal measure the acquisition, preservation and pre-sentation policies of collecting institutions worldwide.According to some, this transformation is calling intoquestion the very existence of the “film archive” as it hasbeen known for almost a century, as well as the traditionalvalues connected to its modus operandi. The aim of thispresentation is to provide a concise summary of the mainissues at stake on an international perspective, withspecial emphasis on the relationship between history,technology and culture in the digital domain.David Walsh / Imperial War MuseumTheres no such thing as digitalrestorationEarly users of high resolution digital scanning of film, andof the software for manipulating the resulting scans, wereable to justify the huge expense involved by claiming thatthey were restoring films. As the cost of digital processesfalls to a level within the reach of even modestly-fundedarchives, more and more restorations are announcedeach year. But how many of these really are restorations?And is the label digital restoration just a meaninglessattempt to gain publicity?Giovanna Fossati / EYE Film Institute NetherlandsGrain and pixel. Preserving,restoring and presenting film intransitionIn this presentation I will introduce some of the conceptselaborated in my book From Grain to Pixel. The ArchivalLife of Film in Transition (Amsterdam University press,2009), which are meant as theoretical tools forinvestigating film archival practice. This is particularimportant today that such practice is deeply changing,due to the transition from analog to digital technology.By illustrating a number of recent projects, I will discussthe current practices of film preservation, restorationand exhibition, focusing on the challenges and questionsboth the theorist and the archivist are dealing with today.Katsuhisa Ohzeki / Fuji Film CorporationPhotographic film technology fordigital image preservationFusion of photographic film technology and digitaltechnology leads to the most stable and reliable systemfor long-term preservation and precise reproduction ofmotion images. Excellent reproducibility was confirmedby comparison of both analog image quality and digitaldata obtained from original color negatives and thoseobtained from B, G and R separation B/W negatives. Itwas found that the image preservation on the B/Wseparation film has advantages in terms of resolution andcolor reproduction. Further, life expectancy of silver imageof appropriately designed B/W film was estimated formore than 1000 years.SimonaMonizza/ EYE Film Institute NetherlandsStretching the borders: thepreservation of artists filmsBy using some practical case studies the archive hasdealt with recently, the presentation will focus on theadvantages and challenges encountered while digitallyrestoring non-standard formats. It will also concentrateon the shift in perception and its consequences which isoccurring when analogue installation work undergoesmigration and digital ‘upgrading’.Reto Kromer / LtdThe preservation of home movies.A field report.The presentation wishes to distillate some expertisegathered from the field during a quarter of century. Thisreports from the difficulties to respect the ethicalprinciples of conservation and restoration inside thespecific field of home movies, especially with the ongoingmove from analogue to digital. It illustrates the wast areaof experimenting made by small gauge amateurs, and howthe digital techniques give us today improved possibilitiesfor both preservation and presentation of this heritageto a modern audience.Martin Koerber / Deutsche Kinemathek –Museum für Film und FernsehenWho are these new archivists?The lecture will try to address the question what thearchivist of the future has to know, or even what he willhave to do. Who will these people be, who are well-versedin current technology, and but also know everything andanything about heritage technologies long gone, and howwill they be able to translate the content from the pastinto the systems current in the future?Thomas Christensen / Danish Film InstituteRestoration – an objective orcreative processEven though many restorations aspire to re-create historyas it was, both modern technology and human inter-pretation play a significant role in (re-)shaping theauthenticity of restored films. Digital restoration offersmany new tools, which were not available in analoguerestoration. With new and more powerful tools at disposalcome new opportunities and sometimes also new risks.Matteo Lepore, Adriana Noviello, Raoul Schmidt /Austrian Film MuseumSmall gauges and digital:a rediscoveryToday’s digital tools for motion picture film offer a chanceto rediscover an often forgotten section of cinema: thesmall gauges. Having also experimented with the worksof some major experimental filmmakers, the Austrian FilmMuseum shifted its focus also on the amateur heritage,using digital as a mean for rehabilitating extraordinarydocuments and art masterpieces of the past, which areliving on obsolete gauges as 9.5 mm. However the practiceof preserving, or migrating film on different gauges or ondifferent media raises significant ethical and practicalquestions, ranging from preservation to fruition issues.Fumiko Tsuneishi / Filmarchiv AustriaPragmatic solutions forproblematic sourcesFilmarchiv Austria uses besides classical also digitalmethods for restoring and preserving the austrian filmheritage, but when dealing with early nitrate material alot of difficulties can occur. Not just because of thephysical defects, but also due to the technical standardof the time, which is quite different from today. Thispresentation shows some of the problems as well ascurrent solutions.Peter Schallauer / JOANNEUM RESEARCHFilm and Video QualityAssessment Tools for DigitalPreservation ManagementManual quality control of audiovisual media is a very timeconsuming, and therefore expensive activity within themedia production, delivery, archiving, archive migrationor archive re-use processes. For automatic quality controlof digital audiovisual media only some tools have beendeveloped. Mainly technical properties of the digitals filescan be checked, e.g. encoding-, stream- or file wrapperstandards compliance. Other automatic tools like checkingthe quality of the video or film images itself are missing.The goal of our work is to develop efficient tools forcontent based visual quality assessment. We present ourrecent research results for detecting automatically variousvideo and film impairments, as there are frozen frames,noise and grain, video breakups and more. In order tofacilitate interoperability and exchange of impairmentrelated metadata between different tools and systems, astandardized way of describing visual impairments ispresented. The developed interactive ’AV-InspectorSummary‘ tool allows for efficient final human judgmentof the digital film and video quality.ProgrammeSymposium contentWednesday, September 21, 201120.30>> Opening screeningSENSO (IT 1954, Luchino Visconti, 123 min., Italian with English subtitles)restored by StudioCanal, Centro Sperimentale di Cinematografia-CinetecaNazionale, and Cineteca di Bologna at L’Immagine Ritrovata. Restorationfunding provided by Gucci, The Film Foundation, and Comitato Italia 150.Introduction: Céline Stéphanie Pozzi (L’Immagine Ritrovata)Thursday, September 22, 201110.00-12.30>> Opening speechAlexander Horwath (Austrian Film Museum) /Thomas Ballhausen (Filmarchiv Austria)>> The digital future of analogue film archivesPaolo Cherchi Usai (George Eastman House)>> Theres no such thing as digital restorationDavid Walsh (Imperial War Museum)14.00-16.00>> Grain and pixel. Preserving, restoring and presenting film in transitionGiovanna Fossati (EYE Film Institute Netherlands)>> Photographic film technology for digital image preservationKatsuhisa Ohzeki (Fuji Film Corporation)16.30-19.00>> Stretching the borders: the preservation of artists filmsSimona Monizza (EYE Film Institute Netherlands)>> The preservation of home movies. A field reportReto Kromer ( Ltd)20.00>> ScreeningBEYOND THE ROCKS (USA 1922, Sam Wood, 80 min., silent)restored by EYE Film Institute Netherlands, live piano: Elaine BrennanIntroduction: Giovanna FossatiFriday, September 23, 20119.00-10.30>> Who are these new archivists?Martin Koerber (Deutsche Kinemathek – Museum für Film und Fernsehen)>> Restoration – an objective or creative processThomas Christensen (Danish Film Institute)11.00-12.30>> Small gauges and digital: a rediscoveryMatteo Lepore, Adriana Noviello, Raoul Schmidt (Austrian Film Museum)>> Pragmatic solutions for problematic sourcesFumiko Tsuneishi (Filmarchiv Austria)14.00-15.00>> FilmandVideoQualityAssessmentToolsforDigitalPreservationManagementPeter Schallauer (JOANNEUM RESEARCH)15.30-17.00>> Round table19.00>> Screening of restored worksAustrian Film Museum, Filmarchiv Austria20.00>> ScreeningMETROPOLIS (GER 1927, Fritz Lang, 152 min., silent with German intertitles)restored by Friedrich Wilhelm Murnau StiftungIntroduction: Martin KoerberModeration: Thomas Ballhausen (Filmarchiv Austria),Oliver Hanley (Austrian Film Museum)
  2. 2. C M Y CM MY CY CMY KThomas Ballhausenis Researcher at the Filmarchiv Austria (Austrian FilmArchive) and teaches at the University of Vienna. Hisresearch centres on intermediality, film history and archivetheory. He has published several literary and scientificbooks, his collection of essays “Delirium und Ekstase.Die Aktualität des Monströsen” (Delirium and Ecstasy.On the Actuality of Monstrosity) was published in 2008.Paolo Cherchi UsaiSenior Curator of Film, George Eastman House. He wasdirector of the Haghefilm Foundation in Amsterdam, isCurator Emeritus of the National Film and Sound Archiveof Australia, co-founder of the Pordenone Silent FilmFestival and of the L. Jeffrey Selznick School of FilmPreservation at George Eastman House in Rochester, NewYork. A Resident Curator of the Telluride Film Festival, heis the author of the experimental feature film Passio(2007), adapted from his book The Death of Cinema:History, Cultural Memory, and the Digital Dark Age (2001).Among his other books are Silent Cinema: An Introduction(2000), David Wark Griffith (2008), and Film Curatorship:Archives, Museums, and the Digital Marketplace (2008),co-written with David Francis, Alexander Horwath andMichael Loebenstein.Thomas C. ChristensenAfter finishing his M.A. in film studies at the Universityof Copenhagen in 1993, he received a stipend to study atthe University of Wisconsin-Madison for a year. Upon hisreturn to Denmark in 1994 he taught film history, filmanalysis and video production at the University of Copen-hagen and the University of Aarhus. In 1998 he was ap-pointed Curator at the Danish Film Institute, where hismain areas of responsibility are acquisition, preservationand restoration of Danish cinema. He has supervisedseveral full digital intermediate restorations and a seriesof DVD publications. He served as Head of the FIAF Tech-nical Commission 2006-2011. In April 2007 he finished atwo year project on the lost films of Danish actress AstaNielsen. Currently he is involved in the EU/eContentproject European Film Gateway, and also serve as Secre-tary General of the Association des Cinematheques Euro-peennes (ACE).Giovanna Fossatiis Head Curator at EYE Film Institute Netherlands (for-merly known as Nederlands Filmmuseum). She holds aPhD in Media and Culture Studies from Utrecht Universityand teaches in the MA Preservation & Presentation ofthe Moving Image at the University of Amsterdam.Oliver Hanleyis a researcher at the Austrian Film Museum in Vienna.He received his BA in film studies from the University ofKent, Canterbury, in 2005 and his MA in "Preservationand Presentation of the Moving Image" from the Universityof Amsterdam in 2008.Alexander Horwathborn 1964 in Vienna, is the director of the Austrian FilmMuseum in Vienna since 2002. He was director of theViennale / Vienna International Film Festival (1992-97),curator of the DOCUMENTA 12 film programme (2007),and has created film programmes and exhibitions since1986. Apart from his work as a film critic, he has writtenor (co-)edited several books in German, English andItalian, on topics such as U.S. Cinema in the 1960s and1970s (1994, 1995, 2004), Michael Haneke (1991, 1998),Austrian Avant-Garde Film (1995, 2003, 2005), Josefvon Sternberg (2007) and Film Curatorship (2008),among others.Martin Koerbercurator film at Deutsche Kinemathek - Museum für Filmund Fernsehen in Berlin. After studies in media, art historyand musicology at Freie Universität Berlin Koerber workedin film production and then began to collaborate in projectswith Deutsche Kinemathek, Nederlands Filmmuseum,Deutsches Filminstitut and others. Restorations of manyclassic German films since 1988, among those was ME-TROPOLIS in 2001, and again in 2010 after the missingsequences were found in Argentina in 2008. Since 2003professor for restoration of audiovisual media and pho-tography at Hochschule für Technik und Wirtschaft Berlin,University of Applied Sciences.Reto Kromergraduated in mathematics, became involved in audio-visual conservation and restoration as early as 1986.From 1998 to 2003 he was head of preservation at theSwiss Film Archive, in charge of cataloguing, conservationand restoration of the film collection. Since 2004 he runshis own facility, which provides comprehensive servicesthat encompass the whole range of moving image preser-vation. He is currently a lecturer at both the Berne Uni-versity of Applied Sciences and the University ofLausanne.Matteo Leporestudied cinema restoration, history and theory in Bolognaand Amsterdam. He worked in the Museo Nazionale delCinema of Turin and is member of the Digital Restorationdepartment of the Austrian Film Museum.Simona Monizzaborn 1969 in Bari, Italy. BA in Modern Languages andLiterature, 1995, University of Bari, Italy. Graduated atthe Selznick School of Film Preservation in RochesterUSA in 1997. Worked at the BFI Collection Department,UK from 1998 to 2000. Since 2000 employed at theNederlands Filmmuseum in Amsterdam (now EYE FilmInstitute Nederland) as Film Restorer and from 2010 asExperimental Film Collection Specialist at the Film Coll-ection Department.Adriana NovielloAchieved a post graduate degree in Cinema, Televisionand Multimedia Production. She worked at LImmagineRitrovata and participated to the restoration of theLumière Brothers Shorts, La Dolce Vita by Federico Fellini,Senso by Luchino Visconti, Les enfants du paradis byMarcel Carné, Le amiche by Michelangelo Antonioni andothers.Katsuhisa Ohzekistudied measured chemistry at Kyoto University andreceived doctor’s degree from Tokyo Institute of Techno-logy. He has engaged in research and development ofphotographic films since 1983 at FUJIFILM Corp.He is a member of the board of directors of The Societyof Photographic Science and Technology of Japan(SPSTJ).Céline Stéphanie Pozzihas been working at LImmagine Ritrovata laboratorysince 2003 and she is now the digital restoration de-partment coordinator. She has lectured and trained digitalrestoration at several institution and archives as RomeUniversity "La Sapienza", Istituto Luce in Rome and MimarSinan University in Istanbul.Peter Schallauerhas been working with JOANNEUM RESEARCH since 1995as scientific and development coordinator for creatingnumerous digital video systems and technologies. Systemsfor high quality digital film restoration (DIAMANT), auto-matic film and video content analysis, content description,information mining and content based retrieval, efficientdigitization and documentation of audiovisual archives,semantic analysis of video, traffic video analysis andefficient human computer interaction. During the recentyears he and his colleagues focused their research oncontent based, reference free video and film quality ana-lysis tools for improving the efficiency of preservationand production processes.Raoul SchmidtRaoul Schmidt graduated with an M.A. in ExperimentalPhotography from the Viennese Academy of Fine Arts in2004. After working as a free lance media producer, hejoined the team of the Austrian Film Museum in 2006,working in its film archive and, since 2008, on in its digitalrestoration projects.Fumiko TsuneishiMA. is archivist at Filmarchiv Austria and university lec-turer. After studying law and interdisciplinary culturalstudies at University of Tokyo, from 2000 she worked asassistant curator at National Film Center in Tokyo andorganized some of the first digital film restoration projectsin Japan. Since 2006 she works on both digital andanalogue film restoration projects at Filmarchiv Austria.David Walshhas worked at the Imperial War Museum since 1975,having studied Chemistry at Oxford University. From aninitial project to study the decomposition of cellulosenitrate film, he has established himself as an expert inthe preservation of film and video, and is a respectedinternational authority in this field, having become Headof the Technical Commission of the International Federa-tion of Film Archives (FIAF) in 2011. His work includesteaching film archivists from around the world throughthe annual FOCAL International Footage Training Weekand at the FIAF Summer School. He is currently respon-sible for the Museum’s strategy for digitisation and forlong-term preservation of digital media.DigitalFilmRestorationwithinArchivesSymposium2011/ProgrammReferentsDigitalFilmRestorationwithinArchivesSymposium/21.–23.09.2011ÖsterreichischeFilmgalerie,amcampuskrems,Dr.-Karl-Dorrek-Str.30,A-3500Krems,T.02732/908000ÖsterreichischeFilmgalerie,amcampuskrems,Dr.-Karl-Dorrek-Str.30,A-3500Krems,T.02732/908000„Inthecontextofthedigitalera,filmarchivesarefacingmajorchallenges.Whatdoesthefutureofanaloguefilmarchiveslooklike?Whatarethepossibilitiesofdigitalfilmrestoration,wherearetheboundaries?ThesearecrucialquestionsIconstantlyfocusonwithinmyculturalpolicywork.ThisSymposiumisdesignedasaplatformfordiscussionsontheseimportanttopics,withtheparticipationofrenownedinternationalexperts.Paneldiscussionsandpracticalworkshopswillgiveanoverviewofthemostrecentandessentialfocalpointsthatarerelevantinthefieldofdigitalrestoration.Severalscreenings–alsoofrestoredworks–willroundofftheprogrammeandwillbringyoubacktothecoreofthearchivalwork:thefilmitself.Iwishallparticipantslivelyandfruitfuldiscussions!“ClaudiaSchmied,FederalMinisterforEducation,ArtsandCulture„Theprojectofdigitalfilmrestorationisamodelco-operationbetweentheAustrianFilmGallery,theAustrianFilmMuseumandtheFilmarchivAustriathatismadepossiblethroughequalco-financingbytheFederalProvinceofLowerAustriaandtheFederalMinistryforEducation,ArtsandCulture.Onlybasedonthisbundlingofforcesandknow-howcanwefacethisgreatandimportantchallengeofthepreservationofourfilmicheritage.OnthatnoteIwisheveryoneasuccessfulsymposiumandaninspiringandsustainableexchangeofexperiences.“ErwinPröll,GovernoroftheFederalProvinceofLowerAustriaÖsterreichischeFilmgaleriethanksallitssponsorsandpartnersfortheirsupport.WordsofWelcome