Journal of Film Preservation - FIAF

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Poster with Mutoscope collecting films when they are no longer made or distributed on celluloid, continue to acquire so-called films even if they only exist in digital form or broaden their terms of reference to embrace all moving images including those generated on the internet. FIAF needs to take a position on this issue because members will need help in making this important decision. This group could also consider other issues associated with safeguarding the world film heritage. For instance, how can we ensure that the films preserved and available for research are representative of the films created in a world where preservation funds are unequally distributed? It could also consider whether archives are successfully convincing a younger generation, brought-up on a diet of low quality moving images, of the importance of spending significant funds on film preservation. Another group could start to prepare universal standards for archive activities like projection, print handling, and the shipment of film, to name just a few. These issues become important when there is a real possibility that today’s reference prints will become irreplaceable artifacts. Of course it will de difficult to find volunteers to work in these groups unless the Federation encourages a broader-based membership. On the other hand, there may be more enthusiasm for groups like these because their work is clearly beneficial to the film archive community as a whole but yet does not compete with that of the regional associations. Whatever happens it is vital that all geographical regions are represented in these work groups so that we do our best to eliminate the North/South, East/West divide. FIAF might also consider a list-serve that helps members solve immediate problems. Perhaps it could be hosted by a different large archive every one or two years. If there are still any archives that do not have access to the Internet and the web, the Federation could establish a special fund to help them buy the relevant equipment and if necessary pay any annual fees involved. Then all communications between the Brussels office and members could be electronic. Surely, this would lead to some savings even if it was only the cost of paper, envelopes and postage and it would certainly cut down on administrative time. 8 Journal of Film Preservation / 67 / 2004
The Cinematograph in Prague, 1908 The Journal of Film Preservation is the jewel in the Federation’s crown but there should be more frequent informal communication between members. An on-line newsletter that encourages thought-of-themoment contributions would be a great asset. These are just a few ideas to whet the appetite and encourage further thought and discussion. There are still many important roles for FIAF but they must be developed in close cooperation with the regional film associations and they must involve the participation of members from every continent. The Federation should concentrate on issues that the regional associations and individual archives are unable to address; on problems that affect the world film heritage and concern every film archivist. 9 Journal of Film Preservation / 67 / 2004
Page 1 and 2: Journal of Film Preservation 67 •
Page 3 and 4: News from the Archives / Nouvelles
Page 5 and 6: Invité à intervenir dans le cadre
Page 7 and 8: appropriate in the sound archive co
Page 9: de reevaluación de los cambios pro
Page 13 and 14: The projectionist’s skills are es
Page 15 and 16: La capacitación de los operadores
Page 17 and 18: Contribution à une histoire de la
Page 19 and 20: The author, who was named director
Page 21 and 22: Cinémathèque as the beginning of
Page 23 and 24: Pierre Barbin et Bernard Clarence e
Page 25 and 26: Henri Langlois à la Cinémathèque
Page 27 and 28: conservar”. O las de Jean Painlev
Page 29 and 30: Pierre Moinot presidente y director
Page 31 and 32: et de la SS : Frank Hensel, né le
Page 33 and 34: The Restoration of Dreyer’s Der v
Page 35 and 36: L’article décrit les multiples c
Page 37 and 38: Der Var Engang, Carl T. Dreyer, 192
Page 39 and 40: Biodegradation of Motion Picture Fi
Page 41 and 42: Les études consacrées à ce probl
Page 43 and 44: Todo material, y en particular las
Page 45 and 46: Los materiales, y en particular las
Page 47 and 48: Figure 8: Multi-enzymatic system of
Page 49 and 50: macro-molecular chain scission take
Page 51 and 52: Table 2. Typical Property Values of
Page 53 and 54: References 1 F.Catalina, A.Del Amo,
Page 55 and 56: acetates with varying degrees of su
Page 57 and 58: From Bologna to Sacile Antti Alanen
Page 59 and 60: Ivan Mozjoukhine as Feu Mathias Pas
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internationale suite à son exil en
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única restauración reciente en Ci
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The San Sebastion film festival of
Page 67 and 68:
ici œuvre de création. Avec ce pa
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La Fondation Federico Fellini est u
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Fellini during the shooting of Pais
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El autor describe los tesoros conse
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Stockholm: New Facilities at the SF
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Jean Desmet and the Early Dutch Fil
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Opérascope Réal La Rochelle Rober
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L’Homme au cigare Andy Bausch Rob
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d’accompagnement, illustrée, fou
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Teresa Toledo, Imágenes en liberta
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FIAF Classification Scheme for Lite
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Get the cleaning power of a deep ta
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