Journal of Film Preservation N° 60/61 - FIAF

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Challenges to the National Film Collection in Vietnam Dr. Ngo hieu Chi Dr. Chi, treatment of the vinegar syndrome Foreign films entered Vietnam in the early 1900s and now people still mention the list of films produced in Vietnam from 1920-1930. However, not until 1965 did people start thinking of preserving films by collecting films at the Film Archiving Unit in the Vietnam Cinema Department under the Ministry of Culture and Information. Fourteen years later, on September 22, 1979, the Vietnam Film Archive now known as the Vietnam Film Institute, an independent Institution in charge of film archiving, was established from the aforementioned Film Archiving Unit. The National Film Collection of the Institute currently has approximately 20,000 films with about 80,000 reels (over 22 million meters of films). These films are being preserved in two film vaults in Hanoi and Ho Chi Minh city with a stable condition of Temperature T= (10 + 2)°C and Humidity H = (45 + 5)% RH, 24 hours per day. Everyday, hundreds of our staff handle many films performing tasks such as cleaning, repairing, restoring, cataloging, providing films for audiences and film makers, as well as for researching the history of cinema and art based on films available in the collection. The oldest Vietnamese film was shot on the Independence Day of our country on September 2, 1945. As mentioned, in Vietnam film collecting started relatively late in comparison with the development of cinema history. Before the commencement of collecting, a large number of the films had been preserved at film studios and even with the families of film makers under inappropriate conditions. Even worse, due to the two wars in Vietnam (1945-1954 and 1960-1975) these films were hidden in tropical forest areas with high humidity and temperature without electricity and other technical equipment. In addition to the limited budget, the Vietnam Nation Film Collection has been faced with two major challenges threatening its survival. They are mould and vinegar syndrome. The battle against mould on films. The investigation in 1990 revealed that over 90% of films in the collection had been affected by mould. Some of them were badly damaged and were likely to be destroyed completely if timely solutions were not undertaken. Coping with that reality, prior to 36 Journal of Film Preservation / 60/61 / 2000
1987 the institute’s technicians cooperated with some universities, local and foreign science institutions to commence a research project on the mould affected film and on how to overcome this problem. The researchers identified types of moulds and conducted experiments to kill them. The tests to identify moulds were conducted in Hanoi Pharmacy University and in Prague Film Institute (Czechoslovakia). Tests using some chemicals to wipe out moulds were undertaken at the Vietnam Film Institute with two requirements, firstly to quickly kill all types of moulds on films and secondly that chemicals should not cause any changes chemically or physically on film, namely color fading, film deformation and peeling off of the Gelatin layer etc. The research project was approved in 1991 with the following outcomes: - There were usually 35 species of 13 mould branches living on films in Vietnam. There were mainly moulds of 2 branches: Aspergillus and Penicillium. - To kill moulds, Paraformaldehyde and Bifenyl can be used for black and white and color films respectively. They are in solid forms, such as in flour or in a pill with an amount of about 0.5 to 1/1000 the weight of film. Specifically, a bag of 1-2 grams of chemicals can be used for a 35 mm film reel of 300 meters long. The anti-mould process is undertaken as follows: A bag of chemicals is inserted into each film can. After 20-25 days, moulds are killed and their color is turned to dark grey. Then films are cleaned in a film washing machine to wash out all moulds. After washing, films are then moved to clean cans together with a bag of the aforementioned chemicals to prevent the remaining mould germs from developing. The clean films are then preserved in the film vault. Through observation we have discovered that moulds don’t return after 4-5 years. However, in order to reach a high safety level, 4 years after treatment, we insert the chemicals again to all films. Up to now, after nearly 9 years of implementing this process, almost 80,000 films in our collection have no longer been affected by moulds. Vinegar Syndrome and methods to overcome it: Previously, there were several hundreds of Nitro Cellulose film reels in our film collection, which were gradually transferred to Acetate Cellulose film and now all films in the collection are Acetate. In the mid 1980’s, hundreds of films in the national collection were affected by vinegar syndrome. Although these films were identified, there was no solution to tackle the problem. In 1991, the Institute developed a research project on vinegar syndrome to study the nature of the phenomenon and to find ways to overcome it. In the first step (1991-1992) people conducted quantitative and qualitative analysis of vinegar left over on films. Some small pieces of vinegar-affected film were cut and put into distilled water, this solution was then analyzed through methods such as: Titration, Infra-red Spectroscope, 37 Journal of Film Preservation / 60/61 / 2000 L’héritage cinématographique national au Vietnam Le Dr. Ngo hieu Chi évoque les difficultés auxquelles l’archive du film vietnamienne est confrontée dans la préservation de son héritage cinématographique, devenue une priorité depuis quelques années. En dehors des restrictions budgétaires, les deux éléments le plus menaçants sont le syndrome du vinaigre et la moisissure qui nécessitent des traitements immédiats. Une enquête réalisée en 1990 révèle que 90% des films de la collection sont affectés par la moisissure. Une description des différentes méthodes de traitement des deux problèmes ainsi que leurs avantages et inconvénients est présentée. La méthode de tamis moléculaire est maintenant utilisée comme procédé de prévention pour tous les films de la collection dans un effort de retardement du développement du syndrome du vinaigre et de la moisissure. Néanmoins, le meilleur moyen de préserver l’héritage cinématographique reste la restauration, ce qui rend les films utilisables pour la projection. Cette méthode fut adoptée en 1998 lors de l’acquisition de nouvel équipement de restauration, qui fonctionne par transfert sur cassette vidéo permettant de réparer les images digitalement, avant de les retransférer sur film négatif, vidéo ou disque laser.
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Su hijo Juan Luis, en un reciente e
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Book Reviews Paolo Cherchi Usai Hen
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Yasujiro Ozu, ediciones Textos Film
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2000 Aki Kaurismäki, collectif, N.
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gouaches del pintor Karel Appel, co
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Please contact the following if you
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This publications list and the orde
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Notes:
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Contributors to this issue... Ont p
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Journal of Film Preservation N° 60/61 - FIAF

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