Journal of Film Preservation - FIAF

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A 12-foot (13.6-metre)-high advertising publicity board for the Paramount film Union Pacific, Cecil B. DeMille, US, 1939. (Cinema Museum Collection, London) next 3 years, hopefully to buy the building. If we succeed in that then we can probably expand what we do, so we are doing more educational work as well as being somewhere fantastic for people to come and spend a few hours. It is worth mentioning that The Cinema Museum does not receive any public funding and is dependent on the income from its archive material for its survival. Visit the website of The Cinema Museum: www.cinemamuseum.org.uk You can contact Martin Humphries at martin@cinemamuseum.org.uk This article has been adapted and expanded by the author with permission, following its original online publication in June 2011 in the webzine of the Swedish-based journal Film International (www.filmint.nu) 80 Journal of Film Preservation / 85 / 2011
Australian Centre for the Moving Image (ACMI) Nick Richardson News from the Affiliates Melbourne Description des collections de l’Australian Centre for the Moving Image à Melbourne, Victoria, et des principales acquisitions de l’année 2010-11, avec l’accent mis sur la gestion d’importants fonds de collections d’images animées et sur les relations de collaboration engagées récemment avec le National Film and Sound Archive dans le cadre de l’Australian Mediatheque. Les Collections de l’ACMI comprennent un prodigieux ensemble d’œuvres audiovisuelles, d’objets et d’éléments de référence qui, ensemble avec des collections des partenaires et collaborateurs d’ACMI, constitue une source précieuse de matériaux de provenance australienne et internationale. Depuis son inauguration en septembre 2009, l’Australian Mediatheque a considérablement élargi sa capacité de mise en valeur des collections en format numérique et analogique. L’équipe de l’ACMI a aussi procédé au transfert d’un nombre considérable de documentaires importants, et a fourni de l’assistance technique à de nombreux centres communautaires, réalisateurs, laboratoires, tant au niveau local qu’au niveau international. En 2010-11, des éléments de collection ont été consultés en plus de 140.000 séances de visionnement. L’Australian Centre for the Moving Image (ACMI) est devenu officiellement un associé de la FIAF en Novembre 2010. Many visitors to ACMI make use of the Australian Mediatheque The Australian Centre for the Moving Image (ACMI) officially became a FIAF Associate in November 2010. The ACMI Collection comprises a wealth of moving image works, objects, and reference materials, which, along with our work with our partners and collaborators, reflects the rich diversity of Australian and international screen culture resources. We assist interstate and international cultural institutions in the delivery of projects and programs through the loan of rare moving image content, artworks, and related objects from within our Collection. Our team has also assisted in the digital preservation of a number of key Australian documentaries, and has provided specialist advice and support to community groups, filmmakers, and laboratories, both locally and internationally. During 2010-2011, loaned materials from the Collection were seen by over 140,000 viewers. In 2010-11, a major review and refreshment of policies and procedures guiding asset management was completed. Improving risk assessment tools is also a key component of improved collection management, and a review of our current risk assessment profile has also commenced. In June 2011 we finalized a complete valuation of the ACMI Collection. The process illuminated a number of high-value and rare items, and has formed the basis of ongoing rarity, risk, and storage assessments. Australian Mediatheque Since opening in September 2009, this unique resource centre has significantly expanded opportunities for broad general public engagement with a major repository of digital and analogue screen culture resources. It 81 Journal of Film Preservation / 85/ 2010
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Journal of Film Preservation 85 •
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72 London: Saving The Cinema Museum
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formulées) des étudiants de l’U
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amount of treasures were again stol
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non seulement sur leur rapatriement
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fílmicos indígenas de valor cultu
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such images are paying for material
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for images of others that they did
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Les participants souhaitent attirer
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Henri Langlois: Expérimenter, cons
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Paralelamente a los principios de l
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une programmation manifeste. 8 Pour
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Freddy Buache avec Georges-André C
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In 2011 the Cinémathèque Suisse c
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Una giornata particolare à la Cin
Page 31 and 32: ou commerciales déjà existantes.
Page 33 and 34: En este año 2011, la Cinemateca su
Page 35 and 36: cadre des associations fédérées
Page 37 and 38: Vue aérienne générale de Penthaz
Page 39 and 40: The Saturn Film Production Company
Page 41 and 42: A scene from Lebender Marmor (Livin
Page 43 and 44: 41 Journal of Film Preservation / 8
Page 45 and 46: EYE’s Desmet Collection inscribed
Page 47 and 48: Jean Desmet (1875-1956), fue el pri
Page 49 and 50: À l’occasion du 30e anniversaire
Page 51 and 52: Fillettes de Bretagne, Pathé, Fran
Page 53 and 54: large funnel to channel sound-waves
Page 55 and 56: We were now able to listen to it an
Page 57 and 58: ecording is worn and the sound qual
Page 59 and 60: Konstgjorda Svensson (1929) Konstgj
Page 61 and 62: projects, each with its own sync pi
Page 63 and 64: Depuis 1975, le Centro de Capacitac
Page 65 and 66: From a Wooden Box to Digital Film R
Page 67 and 68: completed in 2010. Not only the out
Page 69 and 70: choisir la technique de restauratio
Page 71 and 72: Double toning - a combination of ti
Page 73 and 74: [1] Eine Fahrt durch die Wachau, 19
Page 75 and 76: Saving The Cinema Museum Deirdre O
Page 77 and 78: Le Cinema Museum est situé dans le
Page 79 and 80: workhouse, and we discovered the Ch
Page 81: Modern Screen, April 1951, cover fe
Page 85 and 86: Sam Kula (1933-2010) Robert Daudeli
Page 87 and 88: Thomaz Farkas (1924-2011) José Gui
Page 89 and 90: Thomaz Farkas, fotógrafo, director
Page 91 and 92: Alice (Kristýna Kohoutová) avec l
Page 93 and 94: Deux nouveaux coffrets préparés a
Page 95 and 96: Revoir Pierre Étaix Éric Le Roy D
Page 97 and 98: Tras varios años de guerra jurídi
Page 99 and 100: En 1925, Roald Amundsen, explorador
Page 101 and 102: FIAF Classification Scheme for Lite
Page 103 and 104: The Journal of Film Preservation of
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Journal of Film Preservation - FIAF

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