On November 14, 2016 Mark Toscano from the Academy of Motion Picture Sciences Film Archive visited EYE Film Museum’s Collection Centre and spoke with the current AMIA and P&P students about Artist’s films in the Academy Archive. The event consisted of a talk by Mark accompanied by works from the Academy collection and a Q&A session which allowed the group to ask the pressing questions that they were interested in.
During the discussion Mark talked about his work at the Academy, his personal experiences in the industry and provided the students and staff with an in-depth look into the restoration of experimental film in the archive. He also spoke of working with artists such as Pat O’Neill, Robert Nelson, Vanessa Renwick, and Tacita Dean and how he negotiates with the artists (or their estates) to best restore these works. Dean’s work was of particular interest as her works were, at the time, being shown as part of the Exposed: Celluloid exhibition. The insight into the dealing of such works was inspiring for the students, many of whom are hoping to follow similar lines of work.
The following day at EYE, Mark curated a programmed titled Academy Film Archive Presents: The Inscription Of Experience. This programme invited to the public to enjoy such films as Anselmo (Chick Strand, 1967), Back in the Saddle Again (Scott Stark, 1997), Solitary Acts #5 (Nazlı Dinçel, 2015), Naissance #2 (John Price, 2012) and Print Generation (JJ Murphy, 1974). The most inspiring of all of the films was Print Generation as it showed how generational loss occurs through multiple duplications. The poetic and repetitive nature of the film really struck a chord with the students and the general public. Overall, the whole experience was engaging and Mark inspired a huge crowd to explore experimental films on celluloid.
We are thankful that Mark was willing to take time to visit with us and share his experiences.
Text by Niamh O’Donnell and photos by Jim Wraith and Sofia Pires.
In November 2016 the UvA AMIA Student Chapter had the pleasure of visiting Den Haag to get acquainted with two impressive businesses the S8 Reversal Lab and the Film Atelier Den Haag.
(Photo at S8 Reversal Lab by Frank Bruinsma)
December was the month to start our expedition through the projection booths of Amsterdam: nothing better to start things off than a non-profit, volunteer run cinema and cultural space imbued with the old-school spirit of the Amsterdam of the 1980s!
Filmhuis Cavia has been up and running for over 30 years with a minimal budget thanks to the love, dedication and hard work of a relentless group of volunteers that love cinema and hold on to the do-it-yourself mindset that originated Filmhuis Cavia in the first place. The smallest cinema of Amsterdam, owing its name to the 40 lavish velvety green seats that make up the screening room, was founded in 1983 by a squatter’s movement. It remains a non-profit organization partially supported by Amsterdam’s West district. It is located on Van Hallstraat 52, on a low-key building accessible through a courtyard, on the first floor, just above a kick boxing gym.
Film is, of course, at the heart of Filmhuis Cavia’s activities. Besides the weekly screenings, often screened in 16mm and 35mm film projectors, Filmhuis Cavia also runs film festivals, special film programs and itinerant screenings.
Ronald Blazkowicz – an experimental filmmaker and volunteer at Cavia – was the man who showed us the booth and gave us a little insight into its long-standing operation and activities. The booth is of course a mirror image of the do-it-yourself environment of the rest of the space. Film posters and other serendipitous affiches cover the walls of the booth; the furniture is a motley assemblage of miscellaneous findings, each one bearing the charming aura of one of its kind objects that have survived oblivion; and even the tools of the craft of film screening appear to have been carefully assorted by the ventures of chance and shrewd recycling.
Screening wise, Filmhuis Cavia currently operates with a high-definition digital projector, an Eiki EX-6100 16mm film projector, a portable Eiki EX-400P film projector used for outdoor screenings and a heavy-duty decommissioned 35mm film projector. The apparatus is complemented by a Cinemeccanica rewinder table, a couple of splicers and 16mm and 35mm lenses.
Overall, we discovered that film is alive and kicking in this booth!
Photos and Text by Sofia Pires.
(R-L: Niamh O’Donnell, Elisa Mutsaers, Jim Wraith, Fatma Amer & Nicholas Avedisian-Cohen)
Elisa Mutsaers became interested in the preservation & presentation field when she worked as a researcher for documentaries and got inspired by Giuseppe Pantieri, who owns a large private film museum in Rome. She graduated from Preservation & Presentation of the Moving Images in 2004 and now runs Film Atelier in The Hague. We asked her about her experiences with the program.
How did you experience P&P?
I was in the first year of the course so many things still had to be figured out I guess, in particular the balance and connection between practice and theory. I enjoyed the classes at the Institute of Sound and Vision and at EYE, but they were not really interconnected yet with the theory at university. What I liked most was our participation at a conference in Italy about Multiple Language Versions (MLV’s), it was really an eye-opener, never heard of MLV’s before, very interesting and it became subject of my P&P thesis, which I enjoyed researching and writing very much. It actually also became subject of the thesis I wrote two years later at the Selznick School at the George Eastman House in Rochester, NY, United States.
As the new set of UvA Moving Image Preservation students are reaching the end of their first Semester in Amsterdam, the new AMIA Student Chapter Executive Committee from 2016-2017 would like to introduce themselves:
President: Krystel Brown
Vice President: Niamh O’Donnell
Secretary: Jim Wraith
Treasurer: Fatma Amer
Whilst we have differing backgrounds in the field, we are currently working together to arrange different trips and events for our members including our recent trip to the Film Atelier Den Haag and the Super 8 Reversal Lab, also in Den Haag. We also aim to provide regular film screenings around Amsterdam once we find a suitable venue and projector. Our first international trip for 2017 will be to the 67th Berlinale International Film Festival in February.
Overall, we wish to provide the best opportunities for the members to progress in the fields they are interested in, including film preservation, curation, programming, restoration and more. If you wish to follow us as we avidly work over the next few months we will be blogging here as well as adding content to facebook, instagram and twitter as we go along, so join us for a merry 2017.
The Executive Committee
Presentations and panel discussion by Sanne van Rijswijk, Nicholas Carbone and Tulta Behm.
Summary and critical reflection by Tulta Behm.
Image: Guy Sherwin. Source: EYE College – This is Film! Film Heritage in Practice
On Friday 26 February 2016, a panel of graduate students on the ‘This Is Film! Film Heritage in Practice’ course at the University of Amsterdam took part in a discussion of “Film or Performance.” The discussion followed two prior sessions the previous week: a contextualised screening at EYE Film Institute, and a discussion in class, of Guy Sherwin‘s work on 16mm film – works that scrutinise the material basis of film in their production and performative aspect.
As part of the Access and Reuse module, students were this year encouraged to visit any form of Moving Image presentation around Amsterdam and write a critical reflection on the curatorial practices of the institution as manifested in the presentation of the work. The final instalment in the series was written by Nicholas Carbone and Tulta Behm.
The (explicitly) Flemish Art Center De Brakke Grond in Amsterdam displays the fictional institute of IICADOM (The International Institute for the Conservation, Archiving and Distribution of Other people’s Memories) across a series of rooms for Jasper Rigole’s exhibition ’81 Things I Thought I Had Forgotten’. The exhibition serves as a form of access to the material collection of the fictional institution which can otherwise be viewed online through the Internet Archive. IICADOM’s collection is replicated in both an online, digital format as well as the material format of the exhibition space. Through the exhibition space the inquisitive viewer is better able to assess the way the fictional archive presents itself, and question not only the permanence of the archive, but also the way in which it classifies the memories within it.