Journal of Film Preservation - FIAF

de todos sus cargos. Toeplitz era un
políglota, que hablaba seis idiomas
corrientemente y manejaba muy bien
muchos otros; enseñó en Estados
Unidos y Bélgica, fue profesor invitado
en varios países y en 1973 fue llamado
por el gobierno australiano para fundar
la Australian Film and Television School.
En 1946, Toeplitz, mientras planeaba,
junto con otros, un archivo fílmico
en Varsovia, participó en el congreso
de la FIAF como director del servicio
internacional de Film Polski. En 1948
fue elegido presidente, cargo que
ocuparía durante 24 años.
Dotado de un talento diplomático
notable (del que es un buen ejemplo el
congreso de Berlín de 1967, recordado
aquí con lujo de detalles), Jerzy Toeplitz
logró dirigir la FIAF con habilidad
excepcional en un período muy difícil,
en el contexto político de la guerra fría
y en ocasión de la crisis provocada por
la salida de la Cinémathèque Française.
Su sentido agudo del equilibrio
hizo que la FIAF pudiera abrirse a
instituciones que, aunque se dedicaran
a la salvaguarda del patrimonio
cinematográfico, no siempre se
ajustaban al modelo dominante
heredado de los padres fundadores.
La idea de miembro individual, en
oposición a la de país miembro,
propuesta por Toeplitz en el congreso
de 1967, constituye la base misma de
la FIAF que hoy conocemos. Citemos
las palabras finales de Klaue: «Lo
admiraba por su capacidad de escuchar,
su respeto de las opiniones ajenas, su
voluntad de encontrar compromisos
y tender puentes: era un mediador
que jamás imponía su punto de vista.
Fue una figura carismática y gran
presidente: la FIAF le debe mucho. No
deberíamos olvidar a Jerzy Toeplitz.»
of this principle. Toeplitz realized he was facing an insoluble dilemma.
He knew that the Eastern European archives were under oath to uphold
the “autonomous political unit Berlin (West)” formula when discussing
the possible acceptance of the Deutsche Kinemathek. But he also knew
that there was not the slightest chance of the concept winning a majority
vote in FIAF. He feared an unhelpful politicization of the organization,
something he had skilfully avoided throughout the period of the Cold War.
FIAF now risked being split. Consensus was impossible. Toeplitz sought
a solution in his customary manner, via quiet diplomacy. During the
period leading up to the Congress he conferred with Rathsack (Deutsche
Kinemathek), Volkmann (Staatliches Filmarchiv), Pöschke (Deutsches
Institut für Filmkunde), and the most influential members from both East
and West. After these consultations he proposed a solution of stunning
simplicity: the complete abandonment of national membership in favour
of an individual membership system. In this way the Deutsche Kinemathek
could be accepted – its nationality was irrelevant.
The proposal was radical, breaking with a 30-year tradition. There was
opposition, but no alternatives were proposed. Several members were
worried about losing their monopoly, others predicted that FIAF would
become Americanized, flooded with US archives, while others feared their
own influence would wane. But Toeplitz prevailed against the know-alls
and the prophets of doom. The FIAF of today has its roots in this clever,
brave, and far-sighted decision of Jerzy Toeplitz.
One year after this “Berlin compromise”, Toeplitz fell out of favour in
Poland and was stripped of all his positions. Intellectuals, primarily Jewish,
were being held responsible for the student unrest, demonstrations, and
protests. There was also a danger that he would no longer be able to serve
as President of FIAF. This risk was circumvented by Herbert Volkmann,
director of the Staatliches Filmarchiv and member of the FIAF Executive
Committee, flying to Warsaw and interceding, successfully, with the Polish
authorities. Jerzy Toeplitz was able to continue as President of FIAF. But in
1972 he gave up the position. He left Poland, went to Australia and set up
the Film, Radio and Television School in Sydney. In 1980 he returned to
Warsaw and from time to time attended FIAF congresses. He gave lectures
at the university in Warsaw and in many other countries. He wrote and
published, remaining active until the end of his life.
I admired him for his ability to listen, to respect others’ opinions, to seek
compromises and to build bridges. I never saw him angry or heard him
shout. He was a mediator, who never imposed his opinions on others. He
was a charismatic figure and a great President. FIAF has a great deal to
thank him for. We should not forget him.
4 Journal of Film Preservation / 81 / 2009