Newsreel footage of the liberation of Minsk and its art history attribution

The article is devoted to the problems of studying the Golden Fund of National newsreels of the liberation of Belarus from the German-fascist invaders. The article provides an analysis of process of systematization and cataloging of the array of front-line film archiving in the post-war decades and gives a quantitative assessment of the collections of frontline newsreels stored in the Film archives of Russia and Belarus. There is information about previously unknown archival sources such as cinematographer’s reports which allow the attribution of newsreel’s material. The article evaluates the range of practical applicability of the author’s methodology of historical and artistic attribution which is presented on the example of well-known symbolic film frames taken in liberated Minsk on July 3, 1944.

The Active Archive: Interview with Film Critic Andrei Rus

"The interview with dr. Andrei Rus, associate professor at UNATC Bucharest, tried to cover both the motivations and the developing process of the Active Archive projects, a work in progress activity of research, selection, digitalization, and dissemination of several old documentaries from the Sahia Studio Archives, on one hand, and several experimental movies made by students of the UNATC in the Sixties and Seventies on the other hand. Keywords: Andrei Rus, archives, archives activation, film archives. "

Dlaczego nie ma taśm z powstania wielkopolskiego?

The article is a monographic study of the moving picture of Wielkopolska Uprising 1918–1919. The author indicates the reasons of a lack of film archives concerning Posnanian War.

How she sees it: cataloguing and rehousing the Arleen Schloss Super 8mm film collection at Anthology Film Archives

This thesis is an applied cataloguing project wherein 180 Super 8mm films by multidisciplinary artist Arleen Schloss were catalogued at Anthology Film Archives from January-June 2016. Schloss is known mainly for her performance work within the Downtown New York art scene in the late 1970s/1980s, and for founding A's, a performance and art venue available for artists to show and experiment with their work. The objective of this thesis project was to catalogue Schloss's Super 8mm film collection at Anthology, while also conducting research on her artistic practice during the period she was most actively making films. There are two chapters; the first explores Schloss's background as an artist and gives context for the Downtown New York art scene and her place within it. The second chapter is a case study that details the cataloguing process of Schloss's Super 8mm films, and it also provides preservation recommendations for future use.

How she sees it: cataloguing and rehousing the Arleen Schloss Super 8mm film collection at Anthology Film Archives

This thesis is an applied cataloguing project wherein 180 Super 8mm films by multidisciplinary artist Arleen Schloss were catalogued at Anthology Film Archives from January-June 2016. Schloss is known mainly for her performance work within the Downtown New York art scene in the late 1970s/1980s, and for founding A's, a performance and art venue available for artists to show and experiment with their work. The objective of this thesis project was to catalogue Schloss's Super 8mm film collection at Anthology, while also conducting research on her artistic practice during the period she was most actively making films. There are two chapters; the first explores Schloss's background as an artist and gives context for the Downtown New York art scene and her place within it. The second chapter is a case study that details the cataloguing process of Schloss's Super 8mm films, and it also provides preservation recommendations for future use.

A Film Scholar’s Guide to Writing Silent Film Restoration Reports

Authoritative film archival texts demand documentation of film restoration projects. Film archives often produce overly technical internal documentation, and although researchers occasionally publish film restoration reports, the ratio of reports to restoration projects is skewed in favour of films that stir academic debate. Film scholars can be recruited to engage with archives to write reports for lesser-known films, thereby increasing and improving film restoration documentation. However, the relationship between film scholars and film archivists must be improved, as these groups tend not to interact during the film restoration process. Based on a survey of 30 silent film restoration reports, a guide is provided to help film scholars approach archives and archivists to attain information for those reports. The guide is applied to Gräfin Küchenfee (1918), a silent film restored by EYE Filmmuseum for Il Cinema Ritrovato, to showcase usage of the guide and produce a report on the film’s restoration.

A Film Scholar’s Guide to Writing Silent Film Restoration Reports

Authoritative film archival texts demand documentation of film restoration projects. Film archives often produce overly technical internal documentation, and although researchers occasionally publish film restoration reports, the ratio of reports to restoration projects is skewed in favour of films that stir academic debate. Film scholars can be recruited to engage with archives to write reports for lesser-known films, thereby increasing and improving film restoration documentation. However, the relationship between film scholars and film archivists must be improved, as these groups tend not to interact during the film restoration process. Based on a survey of 30 silent film restoration reports, a guide is provided to help film scholars approach archives and archivists to attain information for those reports. The guide is applied to Gräfin Küchenfee (1918), a silent film restored by EYE Filmmuseum for Il Cinema Ritrovato, to showcase usage of the guide and produce a report on the film’s restoration.

Penerapan Tema Simbolis pada Bentuk Rancangan Museum dan Pusat Dokumentasi Perfilman Nusantara di Surabaya

Films in Indonesia have a long history, and are even now considered an era of national film revival, which is marked by the condition of films experiencing an ever-increasing number of production. Due to the lack of facilities available specifically for archipelago film archives in Indonesia, this background is the reason for the need to build a Museum and Archipelago Film Documentation Center located in Surabaya, where according to the Indonesian Film Agency the island of Java is the region that dominates the largest number of film viewers in Indonesia. The method used in this research is a qualitative method with descriptive research type by making observations, field studies and literature. The land chosen for the designer is located on Jalan Simpang Dukuh, Suarabaya City with an area of 0.76 hectares with a relatively flat site. The use of a symbolic theme with a representative concept was chosen so that the building being designed does not only pay attention to its function. In addition to attracting visitors with the use of symbols in the form of building design, it is hoped that it will be able to appear to show the philosophy and functions that are in it which are used as a means of education, research and entertainment just by looking at the outer appearance of a building.Keywords: Film, Museum, Symbolic. Abstrak. Perfilman di Indonesia memiliki sejarah yang cukup panjang, bahkan sampai saat ini dianggap sebagai era kebangkitan perfilman nasional yang ditandai dengan kondisi perfilman yang mengalami pertumbuhan jumlah produksi yang terus meningkat. Karena minimnya fasilitas yang tersedia khusus arsip film Nusantara di Indonesia, dengan latar belakang tersebut menjadi alasan perlu dibangunnya sebuah Museum dan Pusat Dokumentasi Perfilman Nusantara yang terletak di Surabaya, dimana menurut Badan Perfilman Indonesia pulau Jawa merupakan wilayah yang mendominasi jumlah penonton film terbanyak di Indonesia. Metode yang digunakan dalam penelitian adalah metode kualitatif dengan jenis penelitian deskriptif dengan melakukan observasi, studi lapangan dan literatur. Penggunaan tema simbolis dengan konsep representatif dipilih agar bangunan yang didesain tidak hanya memperhatikan fungsinya. Selain untuk menarik pengunjung dengan penggunaan simbolieme pada bentuk desain bangunan diharapkan mampu tampil menunjukkan filosofi dan fungsi yang ada didalamnya yang tidak lain digunakan sebagai sarana edukasi, penelitian maupun hiburan hanya dengan melihat tampilan luar dari suatu bangunan.Kata Kunci: Film, Museum, Simbolis.

Picturesque Pictures: Italian Early Non-fiction Films within Modern Aesthetic Visions

Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered the most picturesque. They are remarkable for their presentation of landscapes and cityscapes, their co-existence of modernity and nostalgia, their accent on beauty – at times at the expense of geographic veracity and indexicality – and their focus on the transformed gaze through the use of special masks, split-screens, and other devices. The transmedial roots for this aestheticization can be found both in art (painting) and popular culture (postcards, magic lanterns, etc.). While the author was one of the firsts to write on this subject decades ago, today there is a need for radical revision and a deeper approach. This is due to the influx of recent literature first by Jennifer Peterson’s book Education in the School of Dreams (2013) and her scholarly articles. Secondly, Blom’s co-presentation on Italian early nonfiction at the 2018 workshop A Dive into the Collections of the Eye Filmmuseum: Italian Silent Cinema at the Intersection of the Arts led to the recognition that revision was needed. Finally, the films themselves call for new approaches while they are being preserved and disseminated by, foremost, the film archives of Bologna, Amsterdam, and Turin.