1. Nosarchives is an archive of home movies founded 3 years ago to preserve family films that provide glimpses into history not seen elsewhere. The films show smiles, happiness and innocence from a personal perspective. 2. The films were made to be shared but often got forgotten. Nosarchives works to restore the films, find the owners to get permission to share them again, and bring families and communities together through viewing events and festivals celebrating the past. 3. Nosarchives has had a major social impact by training local youth, attracting film professionals, organizing community events, and reunifying families separated for decades by viewing their shared past. Their goal is to create a universal home movie encyclopedia accessible to all.

1. Dubai
speech FIAT 2013-10-07
I'm Manuel Kleidman, co-founder of Nosarchives, an archive of home movie and director of the
collections. The social impact on the community of the amatorial movie: this is what I will tell you
about today; but first it begins with an advice: to remember that you surely have at home some
family movies and not to forget them, they have an impact on societyand bring a lot of activities :
cerebral,emotional, social and commercial . “L’oubli c’est l’exil et la memoire c’est la liberté”, to
forget is the exile and memory is liberty.The one who said that knew what was the value of time.To
find back this value, the serenity of what remain of the past, this is what we like. Don’t we visit first
the old city when we arrive somewhere,in a foreign country? To see old stones and ancient
customs?It is bringing us some peace and a warm feeling of a déjà-vu, a feeling of security.
And it’s for that human peculiarity that we are here today.
1- History
Nosarchives was born three years ago. We had, my wife and I, done a documentary"The Alhambra
of Jane", about the music hall of my grandmother in Paris, both vanished today. To build this movie
we were obliged to look for films, and the best we found were in my family, in the movies of my
father from the 50’s and 60’s. They were all in colour8 mm, something you couldn't find in the
official archive of this time. ZiziJeammaire and her truc en plume(the tail of feathers), produced by
my grandmother, was pinkish and was suddenly gorgeous;the opera of Pekin was alive again with
the pictures of the photographer Leloir and the movies of my father. When we made the account of
our expenses, we found out how much we saved by using the movies of my father! And how much
we really spend buyingofficials archives footage. We understoodhow much we would gain by
selling our images.
Why not giving this opportunity to the others and give them back their author-rights? To transform
this material in a commercial material and transform the common people in creators and authors?
And that’s what we did. With the help of the lawyerHubert Best who wrote for us the contractand
who believes in our work, we actually convinced many families to join us.
For sure we are all crossing our fingers to wait for buyers but it is far better than to forget these
reels in an old house or throwing them in a garbage or in a flee market.
2- The aim of these reels and their goals
These reels where done to be shown and there is no reason not to show them finally. We are giving
back to the world what we had at home, image of the world as it was.Marvellous trips , old customs,
vanished villages, but overall: smiles, happiness, innocence.
It’s an idealisation of your own life, of what you want to leave to your family, an image of the best
of you. Well arranged. I will call them "The long chain of golden summers"
You will discover how much women have a different way than men to look at things and how the
protagonists are, most of the time, behaving absolutely not naturally under the eye of this camera.
And in fact, the observer is part of the observation and influence enormously the protagonist.
So you will tellwhere is the real life in these movies? If in every second I choose to shoot or not,
freely with my own liberty what is the best for me! Anyway these reels have a language identical all
over the world, an intimate, sentimental and emotional scripture. A poetry.
3- Social impact
We arrived in a countryside with no audio-visual production or any related business company,any
experience on cinema, to scanning, cleaning, restoration,etc...
When we built the archive in this small city we bet at it, and we began to form youth. We
couldn’timagine that in three years we’ll become company general managers, teenagers teachers,

2. tutors for young employed, organisers of night for elders, school of cinema for kids, festival
founders…and detectives, how?
You know how much work could bring these 24 image a second little three minutes dusty reel ?
Here is a reel. We archive it, number and describe it, then we clean and digitise it in high definition.
A work already taught by our old trainee to the younger, we are sending registered letters to the
address decrypted (an important legal point), and the trainees callthe heirs and trying to convince
them to find back memories about these forgotten moments, precisely. And finally to sign a
contract.
We have actually agreements with three important Italian universities like IED, Louis, La
Sapienzaand with highschools.
They give us, as in the last year, 35 girls and boys, who learned how to make investigation, how to
describe film footage on the archive database with the help of the authors or their heir, and to build
a very short documentary about the author.
Then the students spread this information on Facebook and Twitter. What a victory!
But as for the trainees, our archive attracts many professional of cinema and archiving, asking for a
participation or a job. This demand a budget.
Now our local social events.
We already found from different families almost three thousands movies only in the little town we
are settled. The archive own actually eighteen thousand movies. We organize meetings with the
elders, old protagonist or witnesses, we show them the movies, taking notes of their appreciation
and enjoying with them these flashes of memory, recognising old friends, old vanished houses and
so on... This definitely help the descriptions!
We organised with them the festival "Bracciano Plays",in which they bring their old games(from
the pre-electronic era!), and teach the children in the street how to play. A projection of their old
family movies illustrates the lessons.
We are also trying to tell the people how these films are made: what is the material, the cameras,
how we shot a movie reel, how to cut and to edit;it is a real discovery for them how much this
material has been forgotten in our days; for example we did some stage with little children of 3-4
years old. After the lesson, they bring at home a 20 cm piece of celluloid full of minuscle images,
and keep it as a jewel!
We taught to the students of Bracciano highschool howto develop marketing of film collection,
spread on the social network, to release press review about the most important authors in our
archive, to manage the organization of the Festival and looking for sponsors.
When we organise one with a competition last september, “Il Gusto Della Memoria", was a
first.Means, to build movies directly from our web site with our motor of research! It has been a real
success!
Images of my mother and father, my friends and myself have been used in a science fiction, or a
documentary.
During this festival we reunify families, we bring back people to see each other 60 years later. For
example an old fiction, "Simenon", has been remasterised and the actors crossed the sea to meet in
Bracciano and look at it for the second time in their life.
What an emotion, for Socrate, this amateur movie-maker, in front of our president of the jury
Gianni Amelio, Leone d’Oro in Venezia!

3. The future edition of our festival, in 2014 is already advertised. We propose three international
competitions: one for children from 7 to 14 years old , one for the young from 15 to 18and one for
the adults. The subject for the young (little and big) will be biography and autobiography: the
children will discover images which are not at all their own memory and will have to build a
biography.
For the adult, the subjects will be about the evolution of human conscious: I was once a
carnivore...and much more, or Stranger...and much more. What was in fact sranger to us? How
did our conscious have evoluted? We have to look at ourpast behaving to bring our conscious
higher than ever. How human being with compassion and understanding will respect more and
more our earth and allthe living species?
5- Memory is a big investment
Money is a direct kind of socialimpact. In the competition festival for example,considering that we
are coproducing the movies of the winners, the income for them and for the authors of the material
used is available again.What an opportunity for these amateur creatorswho believed in us and for
the families who brought us their home-movies!
The social impactis alsopsychological and very positive. People trusting us have definitely liberate
themselves from their private past, which is not anymore intimate but shared now.From mouth to
ear they advertise our archivewith their memory, whichcomes from a close neighbourhood or from
the other part of the world. By revealing again these images, they make contact between them,
something they were not doing anymore. And by the interest we demonstrate toward them, and the
potential income we bring them,speaking to each other, they find out how muchtheir images
became suddenly cinematographic, and how their grand father or ancestor became suddenly a
usefulmovie maker. Their family name is on an official fund and it gets out suddenly from
anonymity. It’s a deep source of pride and very healthy. And it convinces us to go on.
6- The social impact in a world perspective
Last but not least.The investigation will remain the problem. What about the orphan reel, for
example? I mean a reel without author. When we find orphans reels we are also in trouble legally.
We have to obey to what is called the good faith(we have done all what we could to find the
original author), and the investigation brings us sometimes nowhere.
I hope to develop with the Fiat Ifta world members, a project: to build a right investigation portal
to find back authors and heirs and to give them back their forgotten past and their rights.
7 - The protagonists
What is important is to give to Nosarchives a capacity of an ethnographic tool without frontiers and
turned to the forgotten protagonists. We give back the image belonging to whom it belongs!
Means:the pigmei, the bedouin, the merchants of the suk, the chief of the tribe, the child of the
jungle, the horse rider of the toundra , a crowd in Venice or a group of children in vacation etc...etc..
It’s also for them that we build Nosarchives! No matter how old they are, where they are today, in
the same tiny and lost place, or in a big foreign city, They have this privilege with Nosarchives to
see again, or show to others, the place were they born. A real image of their roots.
And the question is:once only objects and now main subjects, how will we reach them (or their
descendant)and how they will reach us?To reach this aim we should open Nosarchives, freely, to
the world.
The creation of the encyclopaedia.
I want you to realize that the moment you bring to light this movie again and sign a contract with
author, heirs or protagonist:its for life.
Imeanyouarepartof,andbuildinghere,thefoundationof theHome-Movie Universal

4. Encyclopaedia of the 20th century.
The moment you build the right investigation portal(par. 6)you can dream parallely about the
creation of the 20th century universal encyclopaedia of home movies. For, this portal is its essential
and legal guardian.
So my last word will be for people who believes that its time for it.
That’s will be a real social impact on the communities in a world perspective, a personal and
intimate universal encyclopaedia, a beautiful secret revealed,a marvellous encyclopaedia.
Manuel Kleidman