Film Preservation Courses

Amsterdam, The Netherlands

Graduate School of Humanities, University of Amsterdam

MA in Heritage Studies: Preservation and Presentation of the Moving Image


Ephemeral cultural heritage

Moving images and sound are part of our most cherished cultural heritage. They capture time and place, and give shape to memory and history. They are also fleeting: they unfold in time, and are affected by time. Environmental factors, material decomposition, and increasingly also technological obsolescence threaten the carriers on which they are held, and therefore, endanger their accessibility.

In the Professional Master's programme in Heritage Studies: Preservation and Presentation of the Moving Image, we consider how we can deal with such threats. How can we preserve audio-visual materials for future generations? How can we present them, whether as a source of information, entertainment, or aesthetic enjoyment, and whether to broad audiences or specialist ones?

In recent decades, the use of digital technologies has profoundly transformed the ways in which moving images and sound are produced and consumed. Such developments also affect our audio-visual heritage, and the ways in which we preserve them and make them accessible. Inevitably, then, digital standards, tools and workflows figure prominently in the discussions we have in class and during field trips.

Studying Preservation and Presentation of the Moving Image at the University of Amsterdam

The Netherlands, and the city of Amsterdam in particular, provides an ideal location for the study of audio-visual preservation and presentation as key to the work of media archives, film and contemporary art museums, festivals, distribution agencies, broadcasting companies and film studios. The Master's programme collaborates with a range of national and regional institutions; among others, the EYE Filmmuseum (the Netherlands’ national centre for film culture), the Netherlands Institute for Sound and Vision (the national broadcast archive), LIMA: the Living Media Art Foundation and V2_Institute for the Unstable Media (both media art institutions) and the International Film Festival Rotterdam (the country’s foremost film festival and meeting point for national and international producers and distributors). These organisations not only host tours and supervise interns, but also participate in the programme’s core courses and contribute to the development of an up-to-date curriculum.

During their training at UvA, students in the Preservation and Presentation of the Moving Image programme consider different types of moving images and sound, focusing alternately on cinema, broadcasting, and media art objects (all of those in analogue and digital manifestations). In the first year of the programme, students spend acquiring critical knowledge; in the second, they put it into practice during an extensive internship.

Degree certificate

Preservation and Presentation of the Moving Image is an accredited degree programme of the Master’s in Heritage Studies. Upon successful completion of the programme, graduates receive a legally accredited Master’s degree in Heritage Studies, and the title of Master of Arts (MA).


Dr. E.L. (Eef) Masson, Programme Coordinator

Email: E.L.Masson@uva.nl

Graduate School of Humanities

University of Amsterdam

Spuistraat 210, Room 003

1012 VT Amsterdam

The Netherlands

Tel: 31 (0)20 525 3157 (Dutch students)

Tel: 31 (0)20 525 4481 (International students)

Fax: 31 (0)20 525 3592

Email:  AdmissionsMA-fgw@uva.nl

Bathurst, Australia

Charles Strut Universty

Graduate Certificate in Audiovisual Archiving


The Graduate Certificate in Audiovisual Archiving consists of four subjects developed jointly by the National Film and Sound Archive and Charles Sturt University. It provides formal, university-level education for personnel working or wishing to work in the audiovisual archiving industry. By providing audiovisual archivists with a distinctive professional identity and a distinctive ethical and philosophical base, it makes available what is now recognised by the industry as a necessary requirement for improving professionalism in that industry. Students will gain an overview of the discipline and its history, philosophy and ethics, before concentrating on four areas: collection management, collection development, preservation, and access. Its online delivery mode makes this course accessible to international students.

Subjects can be studied as part of the Graduate Certificate in Audiovisual Archiving (which requires the completion of four subjects) or as single subjects. To be awarded the Graduate Certificate in Audiovisual Archiving, students must complete the subjects
which are offered in the following sequence:

Session I (February to June)
- Audiovisual Archiving
- Preservation of Audiovisual Material

Session II (July to November)
- Audiovisual Archiving 2
- Digital Preservation

For each 8-point subject you are enrolled in, you should expect to spend 10 to 12 hours per week working on assignments and assigned readings, tutorial assistance, individual or group research/study, forum activity, workplace learning, and attending lectures, intensive schools, or examinations. If you are studying four subjects per session, this is equivalent to a full-time job. The workload for some subjects may vary as a result of approved course design.

For more information, please check the website.

To apply

Applications generally close with CSU at the end of November for the year before study commences. If you wish to apply, please try to meet this date. Applications after this date will be accepted if places are available.
If you are enrolling into the Graduate Certificate in Audiovisual Archiving (4 subjects). Note that if you wish to take only one subject, you can enrol as an Associate Student.


Course Supervisor : Dr Robert Pymm

E-mail:  rpymm@csu.edu.au

Berlin, Germany

Hochschule für Technik und Wirtschaft

Conservation-Restoration Programme

http://kr.htw-berlin.de/ (Master)

http://krg.htw-berlin.de/ (Bachelor)

The HTW – University of Applied Science’s degree course in the preservation of audiovisual and photographic cultural heritage offers a uniquely interdisciplinary scientific-materials and hands-on training approach. Film preservation, the youngest of conservation and restoration disciplines, is pursued in an in-depth programme, not only alongside photography preservation but within the entire context of cultural heritage conservation.

Individual professorships at HTW are devoted to teaching each of the respective realms of cultural heritage to be preserved – archaeological and historical artefacts, modern materials and industrial heritage, and audiovisual and photographic heritage – as well as to teaching the practices of unearthing and scientifically investigating cultural heritage (i.e., field archaeology and conservation science).

Students enrol in one of the programme’s focus areas to participate both in interdisciplinary classes across courses and in focus seminars by the respective teachers or visiting scholars in the specialties unique to their field. Course topics for the audiovisual/photographic preservation curriculum thus range from cultural to film and photo history; manual photography retouching to digital moving image processing; general materials science to photographic chemistry; and collection surveys and passive conservation to film reconstruction and restoration. Within the curriculum, the choice of individual projects, course and thesis subjects, and external internships allows students to pursue a somewhat broader education, or to focus on a particular area of interest (for instance, film preservation or sound restoration).

The school offers both a Bachelor’s degree and a subsequent Master’s programme. Given certain prerequisites, candidates with Bachelor’s degrees from other programmes may directly enrol for the Master’s degree, offering further opportunities for those with previous moving image studies or preservation training or credentials. Graduates from the programme have thus found employment in institutions ranging from EYE Filmmuseum to the Deutsche Kinemathek, from the Swedish Film Institute to the Bundesarchiv/German Federal Archives.

Teaching is both in German and English; thus a German language certificate is indeed required for the programme. That being said, international visitors have always been a vital and  integral part of the student body, and the programme continues to embrace an international, global approach. 

Thus, international candidates interested in studying moving image preservation in Germany in one of the world’s most vibrant municipalities are emphatically encouraged to apply.

The course brochure (in English) can be downloaded HERE. [not working]


Prof. Dr. Ulrich Rüdel

Tel: 49 30 5019-4356

Fax: 49 30 5019-48-4356

Email: Ulrich.Ruedel@HTW-Berlin.de

Bucharest, Romania

National University of Theatre and Film I.L. Caragiale

Masters in Audiovisual Archives: Preservation and Programming


The Master's programme Audiovisual Archives: Preservation and Programming is the first of its kind in Romania and Eastern Europe and is taught in English. For two years, the programme will provide its students with in-depth theoretical and practical training in these two central areas of audiovisual heritage preservation and valorization. A comprehensive restoration project requires documentation skills, a vast knowledge of the historical context and the aesthetic and technical codes of the period and space in which the film was made, as well as practical skills in identification, handling, cleaning, repairing, scanning, digital image and sound restoration and color correction. Similarly, putting together a film programme requires a broad film culture, curatorial vision, multi-register writing skills and the ability to moderate discussions with guests and audiences; an excellent knowledge of the materiality of the medium is also essential. This Master’s programme aims to form professionals who will be equally competent in all of these activities.

Courses and Perspectives

Some of the lectures and seminars that will promote the understanding of audio-visual heritage as a dynamic subject in continuous dialogue with the present will be: “Histories and practices of audio-visual curation", "Preservation practices in the Romanian audio-visual context" or "Digital
film restoration". Combining theoretical and technological education, the Audiovisual Archives: Preservation and Programming programme will train multi-skilled specialists, up to date with the most current technical, methodological and ethical issues in the field and able to work in cinemas, festivals, media libraries, video libraries, museums, foundations, associations or private companies owning or producing audiovisual collections around the world.

DURATION: 2 years
ADMISSION: September


Email: arhive.audiovizuale@unatc.ro
Universitatea Nationala de Arta Teatrala si Cinematografica "I.L. Caragiale"
Strada Matei Voievod 75-77
Bucharest, Romania

Frankfurt, Germany

Goethe Universität Frankfurt (Frankfurt Institute for Theater, Film and Media Studies) / DFF - Deutsches Filminstitut & Filmmuseum

Masters program “Film Culture: Archiving, Programming, Presentation”


The Masters program “Film Culture: Archiving, Programming, Presentation” prepares academic personnel for working in film and media archives and other film culture institutions. It is the first program of its kind in a German university, and is offered by the Goethe Universität (Institute for Theater, Film and Media Studies) in conjunction with the DFF – Deutsches Filminstitut & Filmmuseum in Frankfurt am Main.

In addition to the various departments and archives of the DFF, the program benefits from a diverse, well-developed and enduring partnership with a wide range of cultural and audiovisual institutions located in the Frankfurt region, and also collaborates with numerous national and international bodies.

Archiving, Programming, Presentation

The process of digitization has resulted in a fundamental transformation of all areas of research and practice in film culture. There is thus a clear demand from institutions for qualified academic personnel with a profound knowledge of film history and theory, who can meet the present challenges through critical thinking, long-term vision and with the specific tools of the discipline.

At the same time, we can presently observe an “analogue turn”, and, above all, a renewed deployment of the concept of the archive in artistic practice, as well as in preservation and exhibition practices. Phenomena such as the archival preservation of the world’s film heritage, the experimental use of film materials by curators and artists, and the presentation of moving images (both digital and analogue) for a public whose configurations are equally in motion, represent a field of tension and a significant challenge for work in film culture and academic reflection.


The Masters in Film Culture prepares academic personnel for working in film and media archives. The program also represents a response to the question of how smaller disciplines, which do not train students for teaching in schools, can support their graduates in their transition to professional careers.

Completing the program qualifies students for professional roles in cinémathèques, film and media archives, print and television journalism, museums and collections with an emphasis on film and audiovisual media, film production and distribution companies, and independent organizations and initiatives, as well as for curatorial activities in both the exhibition sphere and in cinemas and festivals. There is also the possibility of progressing to doctoral study.


DFF - Deutsches Filminstitut & Filmmuseum: Dr. Ines Bayer, bayer@dff.film

Goethe University Frankfurt: Bettina Schulte Strathaus, b.schulte-strathaus@tfm.uni-frankfurt.de

Lisbon, Portugal

Universidade Lusófona de Humanidades e Tecnologias

Film Heritage (MA)


The Universidade Lusófona MA in Film Heritage offers an interdisciplinary training in two years that aims to meet the growing needs for documentation, conservation and restoration, programming and acces to audio-visual archives. Because of the technological evolution and the rapid expansion of various media, the MA main goal is to train specialists in the various areas of film collections, videos and new digital formats to promote the idea of a living archibe. Future professionals acquire solid theoritical and practical skilss throught disciplines related to film history and technologies, collections preservation and managments, film museology, and heritage curatorship among others.

The main learning objectives of the MA in Film Heritage are the acquisition of skills in the various areas of film and audio-visual collections management such as:

- the dissemination of cinematographic heritage through multiple national and international actions and programs;

- the preventive conservation measures for audio-visual collections, including its cataloging;

- the acquisition of critical, ethical and analytical skills to restore a film based on a historical, aesthetic and socio-cultural research in the era of digital technology;

- the practice of analogue and digital restoration;

- the knowledge of the various technologies of image and sound over time and their main deteriorations;

Among other institutions, the MA in Film Heritage collaborates with the Portuguese Cinemateca-Film Museum and the National Archive of Moving Image, as well as with digital laboratories specialized in film restorations as IRMALUCIA and Cineric. 

Classes are in Portuguese and English.


Email: ines.gil@ulusofona.pt
Universidade Lusófona de Humanidades e Tecnologias
School of Communication, Architecture, Arts and Information Technologies
Campo Grande, 376
1749-024 Lisbon

London, United Kindgom

Birkbeck, University of London

Film Programming and Curating (MA)


Duration: One year full-time or two years part-time

Attendance: Two days a week full-time or one day a week part-time, October to July

A first of its kind, this MA in Film Programming and Curating explores the diverse ways in which films are selected and presented to an audience. Studying in the heart of London, one of the world’s leading media hubs, this MA takes full advantage of its location to help you build professional networks, visit various sites of exhibition (from galleries and museums to film festivals and cultural centres) and learn about contemporary film programming and curatorial practice. 

The MA provides a strong academic foundation and relates the latest theoretical thinking to critical practice. It encourages an independence of intellectual thought and spirit, equipping you with the necessary skills and historical and critical knowledge to nurture film and film culture. This MA offers a historical, intellectual and conceptual understanding of film programming, curatorial practice and moving image culture. The curriculum involves: 

  • theories of spectatorship, the audience and the changing conditions of film reception 
  • sites of exhibition and the architecture of the filmic experience 
  • the role of the archive, film canons and the exhibition of great collections 
  • the practicalities involved in programming a film and locating audiences for it. 

The MA combines these strong historical, theoretical and academic foundations with site visits across London, as well as providing internships at leading cultural institutions and film centres, such as the ICA and BFI. You will have the chance to programme events for organisations as diverse as BFI Education, the Korean Cultural Centre and other film centres around London. 

The MA’s teachers are internationally distinguished academics, while visits from cultural practitioners will introduce you to experienced film programmers, curators and art practitioners. Making full use of the opportunities offered by our proximity to London’s vibrant film culture, this MA provides a first step towards building a career in film programming and exhibition, or for further research into the cultures of curating and curatorial practice.

Los Angeles, USA

UCLA’s Department of Information Studies and Department of Film, TV and Digital Media

Moving Image Archive Studies


UCLA is at the forefront of educating and training the next generation of audiovisual archivists.

Over the past two decades, the technical and cultural challenges to preserving our moving image heritage have steadily increased. UCLA plays a key part in meeting those challenges – not only through the outstanding preservation and research conducted by the UCLA Film & Television Archive, but also by training the emerging generation of information professionals to anticipate, manage, and solve the preservation problems of audiovisual media.

Established in 2002, UCLA’s Moving Image Archive Studies (MIAS) MA degree program is the first degree-granting graduate program in North America to offer specialized training in audiovisual preservation. In a reflection of the highly interdisciplinary nature of the media preservation field, MIAS is jointly sponsored by UCLA’s Film and Television Archive, Department of Information Studies and Department of Film, Television and Digital Media.

MIAS is an intensive two-year course of study consisting of specialized seminars, directed studies, an extensive practicum program, workshops, screenings, guest lectures and technical demonstrations. In order to meet the increasing demands upon archival preservation and access that come with rapid technological change and the dramatic expansion of media types, MIAS’s principal goal is to ensure that each generation of moving image archivists can learn from the past and lead in the future.

Beyond the Classroom

MIAS links theory with practice. The MIAS practicum program supports hands-on training opportunities at archives, libraries, and laboratories in the Los Angeles area as well as at UCLA’s own Film & Television Archive. Its graduate seminars encompass the aesthetics and history of film and television, preservation and restoration philosophy, access and programming for the public, collection management, cataloging and documentation. The unique combination of UCLA faculty, award-winning preservationists, technical experts and archival specialists who are at the core of our program keeps MIAS at the very cutting edge of archival education.


Snowden Becker, MIAS Program Manager, becker@gseis.ucla.edu

UCLA Moving Image Archive Studies

P.O. Box 951622

Los Angeles, California 90095-1622

Madrid, Spain

Complutense University of Madrid (School of Communication)

Master Program Audiovisual Heritage. History, Restoration and Management


It is an official Master Program focused on research (for institutions or doctorates) with later employment possibilities in the audiovisual sector.

The 60-credit Master Program is taught in afternoon sessions at the School of Communication.

Compulsory subjects (6 credits each) are:

  1. The history of cinema as an area of research.
  2. The history of photography as an area of research.
  3. The history of television as an area of research
  4. Recovery and documentation of audiovisual heritage.
  5. Management of audiovisual heritage and relevant legislation.

Master thesis (18 credits)

Optative subjects (6 credits each) are:

  1. Photography: research, documentation and management methodologies. Case histories
  2. Television: research, documentation and management methodologies. Case histories
  3. Cinema: research, documentation and management methodologies. Case histories
  4. Practicum: students who so wish can spend a two-month internship in any part of the world during the second semester 

This Master is the only program devoted to conservation in cinema, television and photography; hence our special interest in reaching agreements with film libraries in Latin America. We would be delighted to send them an informative brochure about the Program.

This academic year (2018-2019), we are teaching the 6th edition of this Master Program.  It has received excellent quality assessments.

Enrolment opens in February each year and continues until May. Access to the Complutense University is via official or Europe-certified qualifications.

As a European Master Program, Erasmus rules regarding exchange and mobility apply.

This year, the average cost of a Master program has been 45,02€ per credit (ECTs). Some extra fees apply to non-Community students.


Master Programe web page: https://www.ucm.es/master_patrimonio_audiovisual

UCM official web page: https://www.ucm.es/english



Please feel free to contact us for further information: Loreto Corredoira : loretoc  @ ucm.es

New York City, USA

Tisch School of the Arts, New York University

The Moving Image Archive Program


The Moving Image Archive Program is a two-year course of study that trains future professionals to manage preservation-level collections of film, video, new media, and other types of digital works. The program provides prospective collection managers and archivists with an international, comprehensive education in the theories, methods, and practices of moving image archiving and preservation.

Dan Streible is the program’s Director, and Howard Besser and Mona Jimenez are Associate Directors.

 The curriculum covers all aspects of moving image archiving, including:

Film History/Historiography and Film Style

Conservation, Preservation, Storage, and Management

Legal Issues and Copyright

Laboratory Techniques

Moving Image Cataloging

Curatorial Work and Museum Studies

Programming; New Media and other Digital Technologies

Metadata and Access to Archival Holdings


Moving Image Archiving and Preservation

Department of Cinema Studies

721 Broadway, Room 600

New York City, NY 10003

Tel: 1 212 998-1600

Fax: 1 212 995-4061

Email: tisch.preservation@nyu.edu

Paris, France

French National Audiovisual Institute School (INAsup)

Masters of Audiovisual Heritage Management



The Audiovisual Heritage Management Master presentation document can be dowloaded here.

Drawing on INA’s core activity and know-how, this master aims at providing a new academic program, combining culture and technique. Audiovisual archives managers are facing new challenges at present, such as carrying out digital migration from analogical formats, set out and manage new offers for audiovisual documents, both commercial and cultural, run vast amounts of data and metadata. INAsup Audiovisual Heritage Management course intends to give an answer to these main challenges. Graduates acquire a set of hybrid skills that span organizational and management skills, technological literacy and intellectual propriety management and protection, therefore contributing to shape a new generation of audiovisual archivists.

Course and Diploma

INAsup provides a two-year course organized in three semesters of coursework and a semester working as an intern within a company. The program combines hands-on training and theoretical studies. The teaching involves professional actors together with university professors.
The programme is based on:

  • A multidisciplinary education foundation intended to provide an audiovisual, digital and managerial culture (law, economics, audiovisual techniques, history and management) ;
  • Fundamental and professional education linked to conservation, preservation, valorization, and assessment of sounds and images collections. The teaching is completed by conferences, master classes, visits, study trips and presence during professional events such as film festivals.

Practical Information

Courses start in October, end in June.
French language level required to apply is B1.
15 students are selected each year. Applicants must have at least a Bachelor’s degree level or diploma and be no more than 27 years old in the year they register. They are selected through an online application followed by an interview.

For more information, please check website.


INA, Bry-sur-Marne (Paris area), France

Email: acabart@ina.fr

Paris, France

Université Paris 8 Vincennes – St-Denis

Master's degree in Arts – Film Studies. Specialisation in Film Heritage


This specialisation is characterised by the fact that the first year takes place at Paris 8, and the second year in international mobility in one of the countries of the network of international partner institutions, the multicultural dimension being a specificity of this training and of the fields of activity of conservation and dissemination of film and audiovisual heritage. The Master includes two professional internships of at least three months' duration, the first year in the Paris region and the second year abroad.

 The programme for each of the two years of study covers the following four areas:

- Film History, Aesthetics and Theory.

- Theoretical, methodological, and legal aspects of film archive management.

- Techniques and problematics of conservation and restoration.

- Programming, distribution, and promotion of film and audiovisual heritage.

 A long-term internship (at least three months) in a structure that promotes film heritage (company, festival, museum film library or film archive), completed by a methodological seminar, functioning as a follow-up to the studies and the internship.

During the two internships, the student will the various tasks normally carried out in the archives and the ongoing work in progress; they may also carry out a particular programme of investigation. In all cases, a detailed internship report is written by the student and approved by the double internship supervisor.

At the end of the first year, the student presents a report on the state of the art of his/her subject of study, clearly presenting the problematic and the corpus, bibliography and references of the sources consulted or requested.

 N.B.: As international mobility in the second year does not allow for a make-up session, all the courses in the curriculum must have been taken and validated, and their grades obtained before the M1 defence held in June. At the end of the second year, the student presents and supports a final thesis for the award of the Master's degree.

More information in the leaflet [in French]



Postdam, Germany

Filmuniversität Babelsberg KONRAD WOLF / Filmmuseum Potsdam

Masters program “Film Heritage”


The collaboration with Filmmuseum Potsdam, the university's artistic and practical degree programs as well as numerous Berlin-Brandenburg-based institutions preserving film culture ensures that practice is added to the theoretical parts of the program. Audiovisual media have an ever-increasing impact on daily life in our societies. The settings in which these media are produced and used as well as the involved technologies and materials are becoming more and more diverse and complex. While the number of films is increasing every day, the period during which they are "new" is steadily decreasing. Every film that premieres today will be part of the film culture heritage of tomorrow. At the same time, every "old" film may be considered a "new" film as long as it hasn't been integrated in the canon or received enough attention.

In the future, there will be an increasing demand for specialists who review, archive, re-contextualize, and deal with the vast number of films that potentially belong to the global film heritage, who make them available to the public, and who ensure the transfer of knowledge about them.

Career opportunities for graduates are based on the following dimensions of film heritage:

  • the constantly changing definition of film heritage and the process of canonization (e.g., science, journalism, politics, education)
  • films as part of the cultural memory of humanity (e.g., UNESCO)
  • the safeguarding, evaluation, restoration, and reconstruction of films (all types of public and private archives)
  • cataloging and contextualization (databases, metadata)
  • institutionalization (management and public relations)
  • media politics and media law
  • programming and editing for different media (cinemas, festivals, museums and exhibitions, online platforms, DVDs and Blu-rays, TV)
  • film education (didactic materials and strategies)
  • the artistic, scientific, and commercial use of archive material


Program Manager: Prof. Dr. Chris Wahl, c.wahl@filmuniversitaet.de

Program Office: Christiane Großkopf, c.grosskopf@filmuniversitaet.de

Rochester, USA

Selznick School of Film Preservation

The Selznick Graduate Program in Film and Media Preservation



The L. Jeffrey Selznick School of Film Preservation, established in 1996, is the longest-standing program of its kind worldwide, and the first in the United States. L. Jeffrey Selznick (1911-1997), the son of film producer David O. Selznick, chose George Eastman Museum as the place where he could fulfill his vision of a specialized venue for the education and training in the art and science of preserving cinema as an art form and, more broadly, as a cultural phenomenon.

The L. Jeffrey Selznick School of Film Preservation offers both a Certificate Program and a Masters of Arts Program:

a) the one-year Certificate program runs from September to June of each year, and is held in the premises of George Eastman Museum and in selected archival and laboratory venues.

b) the MA strand, officially called The Selznick Graduate Program in Film and Media Preservation, is a two-year curriculum held in conjunction with the University of Rochester and offers a Masters of Arts in English.

Admission to the school is limited to a maximum of 15 students per academic year. Class size varies from time to time, but it typically consists of 10 to 14 students, with an ideal mix of certificate and MA students in equal parts. From the outset, the Selznick School was conceived as an international program; over the years, it has recruited from 29 different countries of all continents, from Canada and Mexico to Zimbabwe, Serbia, France, The Netherlands, South Korea, Japan, and New Zealand.

For further information about the program visit http://eastman.org/selznickschool/. The school’s administrator, Jeffrey L. Stoiber, Assistant Curator of the Moving Image Department at George Eastman Museum, is happy to answer questions and can be reached jstoiber@geh.org, (585) 271-3361 ext.333.


Jeffrey Stoiber, selznickschool@geh.org

The L. Jeffrey Selznick School of Film Preservation

George Eastman Museum

Motion Picture Department

900 East Avenue

Rochester, NY 14607

Tel: 1 585 271-3361, ext. 333

Fax: 1 585 271-3970

Rome, Italy

Scuola Nazionale di Cinema

Conservazione e management del patrimonio audiovisivo


Il corso di Conservazione e Management del patrimonio audiovisivo ha come oggetto di studio l’intera gamma di attività legate alla salvaguardia del cinema, sia nelle sue manifestazioni storiche (pellicola) sia in quelle più recenti (immagine digitale).

Il corso triennale non è limitato agli aspetti tecnici del lavoro di Cineteca: la sua missione coinvolge infatti un ampio ventaglio di competenze necessarie alla conoscenza, alla gestione e alle opportunità di diffusione del patrimonio audiovisivo. Un aspetto qualificante del programma di insegnamento è la sua attenzione per l’amministrazione, il management e il controllo intellettuale delle collezioni: oltre alla chimica e alla tecnologia digitale, il corso affronterà altre materie fondamentali, quali la catalogazione dei reperti; la conservazione di materiali non-filmici (poster, fotografie, documenti cartacei e apparecchiature d’epoca); la proiezione analogica e digitale; il management delle collezioni (amministrazione, budgeting, workflows, ricerca e gestione dei finanziamenti, legislazione sul diritto d’autore); la ricerca storica sul patrimonio audiovisivo; la presentazione al pubblico delle opere restaurate in un contesto collettivo (festival, rassegne e convegni) e individuale (accesso alle collezioni via internet) ed infine all’apprendimento della letteratura tecnica in lingua inglese.

Il primo anno del corso persegue una duplice direttrice: da una parte, la teoria e metodologia del lavoro di conservazione dell’immagine in movimento; dall’altra, un’introduzione agli aspetti pratici del trattamento dei materiali d’archivio (il loro insegnamento è una costante in tutti e tre gli anni del corso).

Le lezioni del secondo anno approfondiscono ciascuna componente tecnica, amministrativa e curatoriale mediante lo studio dettagliato di case studies selezionati dal corpo docente ed esercitazioni in materie quali ispezione, identificazione e riparazione della pellicola; catalogazione; analisi comparativa delle leggi sul copyright; design e gestione dei depositi climatizzati; studio approfondito di tutti i formati analogici, elettronici e digitali; simulazione di un budget per il restauro e per la strategia di finanziamento e fundraising; trattamento conservativo dei materiali non-filmici; costruzione di un complesso conservativo per i materiali fotochimici e digitali; pratiche di proiezione su pellicola e di supporti digitali; creazione di un programma di esibizione pubblica di film restaurati e di accesso alle collezioni via internet.

Nel terzo anno, gli studenti intraprendono un progetto relativo a una delle attività di conservazione del patrimonio audiovisivo, seguendone tutte le fasi dall’inizio alla fine: la definizione degli obiettivi; gli aspetti finanziari e manageriali del lavoro; l’analisi delle implicazioni legali del progetto (leggi sul copyright); la preparazione dei materiali in vista del loro restauro; la realizzazione del restauro vero e proprio, mediante l’utilizzo delle apparecchiature in dotazione alla scuola; la presentazione del lavoro, in forma di pubblica esibizione e di redazione di un rapporto scritto (in italiano e in inglese). Queste ed altre attività sono condotte da ciascuno studente – su base individuale o come parte di un team – con l’obiettivo di raggiungere una piena autonomia decisionale, monitorata dal corpo docente al fine di garantire la migliore qualità del prodotto finale. Così facendo, gli studenti acquisiscono tutte le conoscenze necessarie a ottimizzare le loro possibilità di impiego in qualsiasi struttura – pubblica o privata – pertinente alla conservazione e diffusione del patrimonio culturale audiovisivo. È da sottolineare in tal senso l’importanza di una preparazione a 360 gradi in questa disciplina: idealmente, al termine del triennio, ogni studente deve essere messo in grado di concorrere con successo al conseguimento di un impiego in qualsiasi settore relativo alla salvaguardia delle opere cinematografiche.

Tra i docenti degli ultimi anni: Luca Bandirali (Storia del Cinema), Massimo Benvegnú (Giurisprudenza), Paolo Caneppele, Paolo Cherchi Usai, Simone Corelli (Conservazione materiali sonori), James Kendall (Lingua Inglese)Alessandro Marotto (Restauro fotochimico), Francesca Romana Melodia (Conservazione), Silvia Moras, Gabriele Perrone (Ispezione e Identificazione dei materiali filmici), Alice Plutino (Restauro Colore), Alessandro Rizzi (Conservazione supporti), Mirco Santi, Gianandrea Sasso, Marcello Seregni (Programmazione e Accesso).

San Sebastian, Spain

EQZE | Film Preservation Studies

Organized by: Elías Querejeta Zine Eskola | Basque Film Archive | San Sebastian International Film Festival | Tabakalera
Tabakalera - International Centre for Contemporary Culture - 
Donostia / San Sebastián



Elías Querejeta Zine Eskola is an international centre for thinking, research, experimental practice and pedagogical innovation based around the past, present and future of cinema.

Created and financed by Provincial Council of Gipuzkoa, Elías Querejeta Zine Eskola is opening in 2017 with a passionately regenerative spirit: its ultimate purpose is not to train technical staff by following traditional standardised training models, but to encourage the emergence of filmmakers with a comprehensive vision of cinema who are able to produce new (working, conceptual, creative, professional) realities on film.

EQZE is taking shape based on the fields of knowledge of the three agents that are taking part in its conceptualisation: the Basque Film Archive, San Sebastián International Film Festival and the Tabakalera cultural project. It is based in Tabakalera International Centre for Contemporary Culture where these institutions are also located.

The institutions involved in the development of the School are not teaching institutions but film institutions. This is why the School that they are promoting is also basically a film project: an idea of cinema that is taking shape as an educational project. This is the reason why the EQZE does not have a range of training programmes, but a single educational project made up of three postgraduate programmes.


The course poses the (theoretical, technical and ethical) dilemmas for students that cinema raises as a material and immaterial heritage. As well as tackling all those aspects related to identifying images and sounds on photochemical, magnetic and digital media, the speciality provides the tools for managing existing collections and creating new ones. The course also provides access to protocols and procedures for revising and restoring materials, using both mechanical and digital tools, which offers genuine practical experience in the laboratory.

Film Preservation studies are carried out in constant interaction with the work at the Basque Film Archive, which provides students with a real-life experience with a film archive officially certified by the FIAF.

Info & Admissions: www.zine-eskola.eus/en


Email: info@zine-eskola.eus 

Toronto, Canada

Ryerson University

Film & Photography Preservation and Collections Management



Fueled by the dramatic changes taking place in the world of both photography and film with the advent and growth of digital technology, our Master of Arts (MA) program in Film Photography Preservation and Collections Management now offers specializations in both film and photo preservation. Our unique curriculum is developed and delivered by a range of specialists, from historians of photography and film to library and archival professionals. The two-year course of study will prepare graduates to meet the challenges faced by institutions and organizations that strive to manage, maintain, and develop object- and digital-based collections.


Program Administrator


Ryerson University

350 Victoria Street

Toronto, Ontario, Canada

M5B 2K3

Tel: 1 416 979-5000, ext. 4839

Email: gradppcm@ryerson.ca

Udine, Italy

Università degli Studi di Udine, Dipartimento di Studi umanistici e del patrimonio culturale

Laurea Magistrale in Scienze del patrimonio audiovisivo e dell’educazione ai media [Audiovisual Heritage and Media Education Studies - International Master In Cinema And Audiovisual Studies (IMACS)


Blending humanistic traditions and technological innovation through a balanced approach, the Udine’s MA programme provides an advanced training in the fields of preservation of film and audiovisual heritage, media education and teaching of audiovisual disciplines. The course combines training activities on film works, documents, materials and technologies on the one hand, and the development of creative skills and practical abilities on the other one. It also involves a great deal of different disciplines and innovative teaching methods, based on the key-principles of participation and cooperation (applied interdisciplinary projects, use of digital resources and tools, intensive seminars, practical exercises, lab teaching, specific training internships, experts and professionals within the film and media industry involved as teacher in classes and seminar activities).

The programme is articulated into four specific learning curricula:

  • The Film and Media Heritage curriculum includes teaching activities and studies in the fields of historical research and archival practices, media archeology, media sociology and creative media practices, art history, film philology and publishing, theories and methodologies of film and audiovisual restoration, relying on film and video digitization and restoration laboratories and facilities.
  • The Media Education curriculum focuses on research areas such as media philosophy and sociology of cultural and communicative processes and includes classes devoted to the critical and expressive use of media in primary education by developing knowledge of teaching methods and technologies. It also includes the study of transmedia storytelling theories and practices, of the key principles of media legislation and design, of creative and professional media practices.
  • The Digital Storytelling curriculum includes teaching in design, graphics, history and sociology of media, copywriting and digital marketing devoted to the development of specific skills in digital storytelling and multimedia audiovisual communication. It also provides the knowledge to design events and digital environments to enhance historical-cultural, artistic, museum, tourist or corporate heritage (digital curatorship and management).
  • The Cinéma/Archives curriculum offers the opportunity to attain an international double degree with the University de Lille (FR). It has a specific focus on archival research and practices, theories and methodologies of film and audiovisual restoration. It also relies on film and video digitization and restoration laboratories and facilities.

The Master degree courses are closely connected with istitutions in film heritage, culture and education as well as with private companies: coming in such a close contact with a wide range of areas of knowledge (academic, professional, educational, archival and exhibitional ones), studentes are encouraged to develop very specific sets of skills and know-how. The MA programme included state of the art laboratories with a complete production chain: screenwriting and production planning (Centro Ricerche Sceneggiature); digital archiving and filmmaking (Cinemantica); film and video preservation and restoration (La Camera Ottica) and Media Education and Digital Humanities (Digital Storytelling Lab). The training program also includes the International Film Studies Conference and Magis International Film Studies Spring School (FilmForum).

Udine’s Master Degree course in Audiovisual Heritage and Media Education Studies is part of the I/MA/CS – (International Master in Cinema Studies) Network.


Laura Casella, MA coordinator laura.casella@uniud.it

Simone Dotto, simone.dotto@uniud.it

Dipartimento di Studi umanistici e del patrimonio culturale

Palazzo Caiselli, vicolo Florio 2/b

Udine (UD), 34170