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Programming Online Film Heritage:

The FIAF Programming Game

Access the online form HERE.

You are probably aware that a page of the FIAF website maintained by the FIAF Programming and Access to Collections Commission (PACC) references FIAF affiliates’ websites, YouTube channels and other streaming platforms that provide free access to a wide range of film heritage gems from all over the world – amateur films, documentaries, newsreels, short fiction, animation, recently restored feature films, etc… That’s literally tens of thousands of films for us to enjoy, at a time when so many cinemas have been closed and billions (!) of us around the world have been confined to our homes with our computers, tablets, and smartphones, because of the COVID-19 pandemic.

While we are strongly encouraging all film buffs out there to explore the large online film collections of the dozens of streaming platforms referenced on that dedicated webpage, we know that browsing through tens of thousands of titles can be a rather daunting experience. So we thought that we could ask YOU to play programmer and suggest a personal programme of films selected from all those freely accessible online. It will then be published below, for everyone's enjoyment.

If you are interested in contributing to this collective programming exercise, please open, fill in and submit this ONLINE FORM. Do add a short introduction explaining your programming choices if you can (it doesn't have to be in English), as well as the title, date (if known), running time and exact URL of each film in your programme, and the institution it comes from. Note that if you are a registered member of the FIAF community and you are logged in, your personal details will already be filled in. Also note that you will be still able to modify or remove your programme even after you have submitted it (you will receive a unique URL by email allowing you to access your form).

The only rules we would like to set are as follows:

  • The total length of the programme must not exceed 90 mins, unless it includes a feature-length film, as the purpose of this exercise is to encourage creative programming within a limited timeframe rather than endless playlists;
  • Please do not include more than one film from any one streaming platform.

You can find below the list of all programmes already submitted (the most recently-submitted one appears on top).


Submitted Programmes

Madeleine Mendell - Moving Image Archiving and Preservation, New York University
Mushroom of My Eye (60 min)
Finding a mushroom can be serendipitous; finding an edible shroom all the more so. Mushroom foraging in the wild requires skill, yes, but also a symbiosis with an ecosystem that resists agricultural control. Mushroom foraging evokes a special knowledge. Per Anna Tsing, the act of mushroom foraging is haunted by the commons. Foraging’s governmental (and technoscientific) regulation reveals how mushrooms can trouble systems of public and private. An elated woman picks a mushroom in the wild; a doctor warns wild mushrooms can kill; agricultural science lays claim to the cultivation and harvest of mushrooms. These five films visualize how mushrooms inspire joy, provoke fear, and therefore require control.
Films:
1920 (11 min)
Eye Filmmuseum
1951 (24 min)
Cinémathèque de Bretagne
1951 (14 min)
Centre national du cinéma et de l'image animée
1978 (7 min)
National Library of Scotland
1951 (4 min)
National Film and Sound Archive of Australia
Seraphim Arlievsky - New York University
Escape from the Kingdom of Shadows: Color in Silent Film (78 min)
In 1896, following a presentation of the Lumiere cinematograph, the Russian writer Maxim Gorky described the moving images he saw as a “Kingdom of Shadows,” representing “not life but its shadow,” a world of “ashen grey” that “invade(s) your mind and your consciousness begins to wane and grow dim…” Theorists as varied as Eisenstein, Bazin and Metz agreed that the basic material of the cinema was an impression of reality, the point of discussion centered on how the material is to be treated. But it was a grey shadow of reality, as Gorky noted, its mystique stemming from the uncanny valley effect of this filtered mirror. Film captured the rays of light at a particular moment in time, and so reconstructed an impression of a specific moment. The art of the cinema constitutes an effort to expand and construct a sequence from these moments, the raw material being transformed into a meaningful work. With montage and other effects, the uncanny valley can be filled. Gorky’s “Kingdom of Shadows” is separated from reality by a plurality of factors, but chief among them are the two-dimensionality of the cinema (the fact that if one turns away for a moment the illusory nature of the film image becomes obvious), the lack of sound, and the lack of color. Since the technology for virtual reality was too far in the future, the silent era saw numerous attempts to incorporate sound and color into film. While much has been said about the use of music and sound effects in silent film, the use of color in this period is not as prevalent in our cultural memory. Sound appears to have been the most important of the three aforementioned aspects, as, when synchronized, it closely ties the image to a soundscape and a specific reality, even without color or a third dimension. However, color can be played with if the image is not tied to an audial reality. Indeed, color in silent film often exacerbates the uncanny valley, and creates a more mysterious, esoteric cinema. Without a voice, the screen images gain a surreal, ghostly feeling. After all, color is completely subjective, depending entirely on lighting, but sound is more easily measured. Lack of sound gives film a surreal, ethereal quality. Color in this context creates a unique aesthetic that is not often seen. This program presents a number of silent films which represent various methods of incorporating color into film and display an uncanny, mystical effect stemming from silent color films. Development of methods for creating color film, from hand-painting individual frames to the more modern dye system later adopted, can be traced through these short films, as well as color’s thematic engagement; elevating the magical elements of a fantasy, heightening the documentation of important locales, and amplifying a call to war. La fee carabosse (1906), a typically creative short from the French magician Georges Melies, exhibits one of the earliest attempts at film colorization. Each frame was painstakingly hand-painted by workers in Melies’s studio, the bright colors augmenting the fantastical elements on screen. Melies was not concerned with color as a property of reality, but as a way of extending the theatricality of his work, which features a witch casting spells, fairy-tale monsters and ghosts amongst other such elements. Aesthetically, the sets and backdrops look artificial, and are typical of theatrical productions. Colorization in this case comes not from manipulation of the photograph, but from the medium of paint, being more in tune with the theatricality and intentional artificiality of the film. Melies’s films are grounded in the traditions of fine arts (especially as incorporated into theatrical arts), and this dictates how he employs color. Der Heimat Schutzengraben (1916) would not be considered to be a color film in the usual sense, but color plays an important role. This German propaganda film, dating to the First World War, urges its audience to buy war bonds. Exemplified here is a standard utilization of color in the silent era; that is, the tinting method. Film reels would be stained, tinting the image a particular color. Films would often switch from black/white to sepia, green, white, blue or yellow. At times, a director would intentionally tint certain segments a certain tone (Abel Gance’s Napoleon, for instance, contains a finale which, as originally conceived, would have three projectors running against three screens, each projector loaded with film of a different tint, so that the triptych seen by the audience would resemble the French flag in its colors). But many films have not been consistent in their tinting across prints. Nevertheless, it was the main way in which color was used throughout much of the silent era, and this short piece represents the typical ways in which color shifts were experienced in film of the time. [Sujets Suissess Pathe-Revue. Suisse-Berne-Fribourg.] (1920) is an authorless nonfiction vignette depicting “Swiss Themes,” showing historical and tourist sites of Switzerland. The colorization process used here marked an advance from previous methods, employing stencils to tint certain parts of the screen specific colors. Allowing for colors that corresponded more closely to reality as we perceive it, this specificity of color was a shift that pulled film out of its shadowy world, with the possibility that it could reflect reality even more closely. Etude de la lumiere (1923) is an experimental film by Maurice Audibert, an early example of film using a trichrome method for color. According to the Cinematheque Francais, its current parent, it used a method that captured three images through three primary color filters, which were then conflated to create a color image. Audibert was an automobile manufacturer, but became interested in the potential of color film. Ultimately, a tri-color system using dyes was adopted as the standard, but the filter method used in this film was important in that it marked a shift from hand-painting and tinting to capturing the natural colors on the celluloid itself. Etude is short and non-narrative, acting as a vehicle for showing off the new technology. The colors are darker and less defined as the standard colorization process of later years, capturing the colors of the most important shapes in the frame, but shrouding the rest in darkness. Father and Kid NYC (c. 1940s), the final entry in this program, is an example of the color film that is familiar to us. While it shows the finale of the progression traced here, it is also unique as a silent film. Home movies were silent for many years after sound became a major component of professional motion pictures. Father and Kid shows the aesthetic of silent color film continuing years after the silent era is generally thought to end. Indeed, any evaluation placing the end of silent film in the late 1930s ignores decades of amateur home footage. The arrival of home movies was a revival of the aesthetic of early silent film, in which the ghostly nature of the shadowy reflection gave mundane, everyday subjects a captivating, mysterious quality. As we watch family life in 1940s New York City, this banal subject becomes surreal and ethereal. Their lack of a voice makes them curious, and provides a tinted window into a world long gone.
Films:
1906 (13 min)
Cinematek Royale de Belgique
1916 (8 min)
Deutsche Kinemathek
1920 (14 min)
CINÉMATHÈQUE SUISSE
1923 (27 min)
Cinémathèque française
c. 1940s (16 min)
Museum of Modern Art (NYC)
Roberto Carlos Ortiz - Independent Scholar
Al Cinema Transnacional (35 min)
Brief archival exploration intersecting cinema, sexuality and transnational journeys, which are fundamental to the histories of national cinemas. / Breve exploración archivística intersectando cine, sexualidad y jornadas transnacionales, que son fundamentales para las historias de las cinematografías nacionales.
Films:
1934 (4 min)
Moving Image Research Collections
1917 (2 min)
Musée Albert-Kahn
1921 (4 min)
Svenska Filminstitutet
1931 (9 min)
Cineteca Nacional de México
1932 (5 min)
Cinemateca Portuguesa
1953 (2 min)
Hungarian National Film Archive
1962 (2 min)
Museo del Cine
1947 (1 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1924c (1 min)
Národní filmový archiv
1934 (3 min)
Library of Congress
Klavier Wang - Moving Image Archiving and Preservation, New York University
Food for Life – The private face and the public face of food (86 min)
Food is one of the most intimate friends to human beings. It is the daily bread that feeds us, and our stomachs and souls are therefore gratified. Food connects atomic individuals; and food bonds singularities into entities. Food is one of the most significant weapons to a society. Due to its intimacy with every social aspect, food, hence, can carry profound messages from the nation to the people. Everyday choice of food and decision making on the usage of food matters profoundly. Food and drink touch all aspects of human life and influence human society as a whole – politically, economically, socially and culturally. Our understanding of food, from cooking methods, cultural implication, to scientific facts about a wide range of foods, has existed and ceaselessly advanced since the earliest day human beings were on the earth planet. Through moving image records from archives around the world, we take a kaleidoscopic glance at the multi-dimension of food: how food has played different roles in our private and public lives?
Films:
1931 (5 min)
National Film and Sound Archive of Australia
1949 (3 min)
BFI
1929 (2 min)
University of Southern Carolina Digital Collection-Fox Movietone News Collection
1928 (6 min)
University of Southern Carolina Digital Collection-Fox Movietone News Collection
1923 (3 min)
University of Southern Carolina Digital Collection-Fox Movietone News Collection
1916 (1 min)
BFI
1920 (3 min)
University of Southern Carolina Digital Collection-Fox Movietone News Collection
1920 (4 min)
University of Southern Carolina Digital Collection-Fox Movietone News Collection
2007 (5 min)
National Film and Sound Archive of Australia
1919 (3 min)
University of Southern Carolina Digital Collection-Fox Movietone News Collection
1920 (4 min)
University of Southern Carolina Digital Collection-Fox Movietone News Collection
1934 (10 min)
National Film and Sound Archive of Australia
1933 (7 min)
National Film and Sound Archive of Australia
1951 (4 min)
National Film and Sound Archive of Australia
1941 (6 min)
BFI
1944 (9 min)
Academy Film Archive
1917 (5 min)
George Eastman Museum
Barbara Nováková - University of Amsterdam
Sites of Memory: monuments (86 min)
History is a reconstruction and interpretation of past events and it preserves fluid memory in various forms what French historian Pierre Nora calls sites of memory (les lieux de mémoire). Sites of memory are places, concepts or objects, material or non-material, whose purpose is to represent the past of a certain collective. "The lieux are mixed, hybrid, mutant, bound intimately with life and death, with time and eternity; enveloped in a Mobius strip of the collective and the individual, the sacred and the profane, the immutable and the mobile." (Between Memory and History: Les Lieux de Mémoire, p.19) For the purpose of this game, I have chosen one particular site of memory - monuments. In my selection below are included films depicting monuments that have been erected in various parts of the world throughout the 20th and the 21st century. The list comprises of documentary films about monuments honoring important historical events (The Battle of Mohács, WW I), groups of people (mothers), individuals considered to be national heroes (soldiers who fought in WW I, Stalin and writers) as well as monuments that serve to celebrate religious ceremonies (the ninth day of Novena in Nijmegen). On the occasion of a monument being unveiled, processions and speeches by politicians and religious leaders are held. This public act "performed" by these representatives involves various kinds of "props": wreaths and flowers are laid and national symbols can be seen on flags, ribbons and medals. Memory plays an important role in the formation of the identity of individuals as well as nations. Political and religious leaders select among memories of past events the ones that fit their ideological frameworks and create a coherent narrative - history. Understanding how memory, individual and collective, works and how our leaders can manipulate it, is the first step toward understanding where we have come from (our history) and who we are (our identity). Films, themselves sites of memory, serve to remind us of our past.
Films:
1926 (5 min)
Magyar Nemzeti Filmarchívum / Hungarian National Film Archive
1925 (2 min)
Irish Film Institute
1945 (4 min)
Det Danske Filminstitut
1924 (19 min)
Cinémathèque royale de Belgique
1949 (2 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1948 (2 min)
Cineteca Nacional (Mexico)
1953 (24 min)
Arkivi Qendror Shtetëror i Filmit / Central State's Film Archive of Albania
1966 (4 min)
Kansallinen audiovisuaalinen instituutti / National Audiovisual Institute
2001 (2 min)
National Film and Sound Archive of Australia
Kanako Nakanishi - Kawasaki City Museum
Visual rhyming (64 min)
Meredith Monk explained her early performance work “16 Millimeter Earrings” which was presented in 1966 as “visual rhyming”. It refers the repetitive movements in her visual and material world of performances which creates a type of poetry with colors, sounds, and textures. Inspired by this term, the program explores the clues of repetitive movement in the films which resonate with life.
Films:
1889-1904 (28 min)
Cinémathèque française
1926 (4 min)
Eye Filmmuseum
1935 (4 min)
National Film Archive of Japan
1955 (4 min)
National Library of Scotland Moving Image Archive
1979 (24 min)
Yale Film Archive
HSIEH I-Hsuan - Taipei Film Festival
Metamorphosis (54 min)
Transition, transformation, translation. I approached these platforms quite by intuition. I want to explore what these archives will surprise me. One film from Japanese Animated Film Classics captured my eyes, titled Spring Song, it's a film made by one of a notable animator Ofuji Noburo. This short film is kind of like music video but without sound track, it shows how to sing this lovely song graphically. I found it's quite interesting how this small clip bridges two kinds of medium. On the one hand it refers to a song, a piece of music, on the other hand it is a film, a moving image. I am fascinated by this idea, how film creates a whole new interface from one medium to another, from invisible into visible. It captures the transition of forms, figures, movements, the rhythm of life. It gives abstract idea a material body.
Films:
1911 (15 min)
Cineteca MNC
1965 (2 min)
Nemzeti Filmintézet Filmarchívum
1968 (3 min)
Yale Film Archive
1931 (3 min)
Japanese Animated Film Classics
1915 (3 min)
Kansallinen audiovisuaalinen instituutti / National Audiovisual Institute
1947 (2 min)
Danish Film Institute
1973 (26 min)
Irish Film Institute
Anna Briggs - Moving Image Preservation of Puget Sound
Cats! (89 min)
Celebrity cats rule the internet, but who were the cinematic felines that graced the screens of old?
Films:
? (2 min)
Chicago Film Archives
? (1 min)
British Movietone
1957 (1 min)
Istituto Luce
1928 (3 min)
University of South Carolina Moving Image Research Collections
1961 (1 min)
Institut National de l'Audiovisuel
1968 (1 min)
Texas Archive of the Moving Image
1968 (1 min)
Texas Archive of the Moving Image
1965 (3 min)
British Pathé
2019 (2 min)
National Football League Films Archive
2018 (2 min)
BBC Archive
1956 (9 min)
Ciclic
1958 (1 min)
Home Movies Archivio Nazionale del Film di Famiglia
1947 (22 min)
Prelinger Archives
1940s (1 min)
Oddball Films
2008 (1 min)
Yui Kugimiya artist's archive
1925 (2 min)
Nasjonalbiblioteket
1961 (1 min)
Ngā Taonga Sound & Vision
1956 (4 min)
National Library of Scotland Moving Image Archive
1908 (9 min)
Eye Filmmuseum
1959 (8 min)
Yorkshire Film Archive and North East Film Archive
Fabian Palacios Ceferino - Cinemateca Nacional del Ecuador
Hypnosis by Fire (85 min)
Amy Winehouse died on July 23th 2011, that day I watched a great fire in my neighborhood: a place that creates sculptures was burning. I will never forget the sound and the image of the fire burning everything. It was hypnotizing. Fire creates and destroys: take the burning houses in Andrei Tarkovsky's The Mirror (1975) and The Sacrifice (1986), the boy who looks a campfire at the end of Michael Haneke's Time of the Wolf (2003), the woman who burns to death in Ingmar Bergman's Fanny and Alexander (1982), and the entire forest which catches fire in Oliver Laxe's Fire will come (2019). Fire is a destructive and creative element at the same time, it is a constant in films of all times and geographies. A short program about fire and its relations with the human presence: fire as war, as a domestic accident, as a romantic help sign, as a key element to cook food, as a political destabilizer, or as Johnny Cash's song Ring of fire. A weird fire call is the reason for this program. Do you have the matches ready?
Films:
1981 (26 min)
Cinemateca Nacional del Ecuador
1987 (2 min)
Repozytorium Cyfrowe FINA
1936 (10 min)
Filmoteca Valenciana - Institut Valencià de Cultura
1936 (11 min)
National Film Archive of Japan
1962 (2 min)
National Library of Scotland Moving Image Archive
1912 (9 min)
Eye Filmmuseum
1911 (16 min)
Museo Nazionale del Cinema
1960 (9 min)
Cinemateca Portuguesa
Brian Meacham - Yale Film Archive
Rails on Reels (89 min)
From the earliest experiments of the Lumiere brothers and Porter's "Great Train Robbery" to the films of Keaton, Hitchcock, Ozu, and Bong Joon-ho, cinema and railways have a shared history of mechanical ingenuity, global ubiquity, and the obsessive love of devoted fans. Trains, like films, take their passengers on a journey, and have over the years afforded riders and filmgoers a chance to see views otherwise inaccessible through eye-opening travelogues and hair-raising chases. This series of films from five continents shows the ways in which trains are manufactured, used, enjoyed, and, when a particularly cherished line is endangered, even mourned. "Railways For Ever!"
Films:
1970 (7 min)
British Film Institute
1930 (8 min)
Moving Image Research Collections - University of South Carolina
1930 (8 min)
Nasjonalbiblioteket Norway
1930 (8 min)
Filmoteca de Catalunya
1927 (12 min)
Museo del Cine
1939 (12 min)
Ngā Taonga Sound & Vision
1974 (1 min)
Arquivo Nacional
1964 (3 min)
Institut Audiovisuel de Monaco
1965 (9 min)
Australian Centre for the Moving Image
1896 (1 min)
San Francisco Silent FIlm Festival
Bhavesh Pratap Singh - National Film Archive of India
Cricket, beyond the stadium (24 min)
Glimpses of cricket, not just as a competitive sport, but how it has been part of PSAs, newsreel animation, commercials around the world, in the past century.
Films:
1984 (11 min)
Australian Centre for the Moving Image (ACMI)
1924 (1 min)
British Film Institute (BFI)
1950s (1 min)
National Library of Scotland
1985 (1 min)
Ngā Taonga Sound & Vision
1948 (10 min)
National Film and Sound Archive of Australia
Klára Trsková - NARODNI FILMOVY ARCHIV
On the margins (35 min)
In the times of the pandemic people on the periphery can experience worsening of their marginalization. Therefore this programm of two short documentary films reminds the history of the secondary position of the Afro-Brazilian community and the European Romani community. The films show the spheres of various daily activities people go through to make a livelihood.
Films:
1960 (21 min)
Cinemateca Brasileira
1932 (14 min)
The Moholy-Nagy Foundation
Benoît Carpentier - Cinémathèque16
Le cinéma d animation comme langage universel / Animation cinema as a universal language (63 min)
Nous vous proposons ici un voyage kaléidoscopique faussement chronologique dans une matière instable, celle du cinéma d’animation. Un public de 7 à 77 ans pourra ici découvrir un cinéma protéiforme et poreux, un cinéma qui s’affranchit des formes esthétiques et des techniques académiques, du ruban 35mm colorié au feutre au fascinant écran d’épingles d’Alexeieff et Parker. Il semblerait même que ce cinéma se joue des technologies de son temps, redistribuant sans cesse les cartes et infusant ou se laissant infuser par d’autres formes. Il ne sera pas interdit d’y trouver des impuretés et des intrusions ! Il conviendra toutefois d’accompagner la séance via la distribution d’un livret ou en bonimentant la projection. ----- Here we offer you a falsely chronological kaleidoscopic journey through an unstable subject, that of animation. Audiences aged 7 to 77 will be able to discover here a protean and porous cinema, a cinema that breaks free from aesthetic forms and academic techniques, from 35mm tape colored in felt to the fascinating screen of pins of Alexeieff and Parker. It even seems that this cinema is playing with the technologies of its time, endlessly redistributing the cards and infusing or allowing itself to be infused by other forms. It will not be forbidden to find impurities and intrusions! However, the screening should be accompanied by the distribution of a booklet or by pitching it during the screening.
Films:
1896 (1 min)
San Francisco Silent Film Festival
1920 (3 min)
UCLA
1929 (7 min)
Nga Taonga
1939 (10 min)
NFA
1935 (4 min)
NFAJ
1955 (4 min)
National Library of Scotland
1963 (11 min)
CNC
1970 (1 min)
Museo del Cine Pablo Ducrós Hicken
1978 (10 min)
Yale
1982 (5 min)
National Library of Scotland
1992 (5 min)
Svenska Filminstitutet
Ana David - Batalha Centro de Cinema
To beer or not to beer (40 min)
A look back at the joys of communal life.
Films:
1900 (6 min)
Library of Congress
1910 (2 min)
Cineteca Nacional de Chile
1918 (2 min)
Eye Filmmuseum
1938 (6 min)
Cinemateca Portuguesa
1952 (15 min)
Det Danske Filminstitut
1967 (1 min)
South West Film and Television Archive (SWFTA)
1980 (5 min)
Northern Ireland Screen's Digital Film Archive
1980 (2 min)
Media Archive for Central England
1985 (1 min)
Ngā Taonga Sound & Vision
Jannike Curuchet - Mexican Film Institute
For the love of film (75 min)
In these times where most cinemas are closed around the world, this excercise seeks to serve as a reminder of the beautiful and significant value that cinemas have. A glimpse into the work of projectionsits who exist in the shadows and bring the film to life, but also to the inmense dedication of those film lovers who wish to take the film to remote places.
Films:
1944 (4 min)
Moving Image Research Collections
1962 (9 min)
La Cinémathèque française
1964 (23 min)
Lichtspiel / Kinemathek Bern
1956 (12 min)
BFI
1951 (14 min)
National Library of Scotland
1976 (13 min)
Cineteca Nacional
KJ Relth-Miller - UCLA Film and Television Archive
Sans dialogue: Wordless Abstractions From Beyond The Silent Era (77 min)
Relying on the power of cinema’s primary language, this program is an attempt to connect with seeing audiences of all ages and from every region of the globe through the symbiosis of visual abstraction and non-verbal sound. Wordless storytelling has always been a strength of the moving image, dating back to the first five decades of filmic expression when visual representation superseded the spoken word as the primary means of unfurling a narrative. Looking well beyond the silent period to these works, which range in date from 1958 to 1978, we find a collection in which artists, amateur filmmakers and documentarians actively reject spoken dialogue as their primary mode of meaning conveyance. Seeking an emotional resonance in a register beyond language, this playful array of films engages the synchronicity of abstract music, sound, color and shapes to convey the very human emotions of anxiety, confinement, joy and wonder. No visual subject is off-limits: illuminated buildings in Bangkok inhabit the same sense of marvel as the whirs and electric lights of a pinball machine; geometric shapes take on surprisingly anthropomorphic characteristics; and the collage techniques that depict a 19th-century battle convey the same pain and erasure as the free-floating "figurillas" from the 6th and 7th centuries. Similar in experimental approach is each work’s avant-garde soundscape (save for the lone silent piece, “Today, 12 August 1968…”) rich with complex compositions and tonal experimentations far outside one’s expectations of a traditional film score. Beyond mere psychedelia and "visual acid for the eyes" (though there's a bit of that, too!), this collection considers stop-motion and hand-drawn animation, clay portraiture, nighttime cityscapes and playful montage as articulations of non-linear narratives unique to the moving image.
Films:
1970 (3 min)
BFI National Archive
1978 (10 min)
Yale Film Archive
1969 (7 min)
Det Danske Filminstitut
1958 (8 min)
Ngā Taonga Sound & Vision
1966 (6 min)
Cinémathèque royale de Belgique
1972 (11 min)
Magyar Nemzeti Filmarchívum / Hungarian National Film Archive
1973 (13 min)
Cineteca Nacional
1977 (9 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1963 (6 min)
George Eastman Museum
Guillaume Lafleur - Cinémathèque québécoise
Fugues en ligne (84 min)
Une promenade d'environ 80 ans à travers le monde et le cinéma. Le programme proposé entremêle des portraits de villes documentaires ou poétiques, des travelogues et des films plus officiels qui visent à documenter des événements sociopolitiques et culturels marquants. L'occasion nous est ici donnée de vagabonder à travers l'histoire du cinéma, les époques et les pays en observant les constantes et les variantes dans la manière de représenter et documenter la réalité sociale principalement liée à la vie urbaine.
Films:
1912 (1 min)
Cineteca, Torino
1910 (10 min)
National Film Archiv, Japan
1919 (1 min)
Jugoslovenska Kinoteka
1927 (28 min)
Cinémathèque française
inconnue (11 min)
Film archiv Thailand
1933 (10 min)
Cineteca Chile
1950 (2 min)
Bibliothèque et archives du Canada
1965 (10 min)
Kinemathek, Bern
1978 (10 min)
Cinémathèque de Toulouse
Tzutzumatzin Soto - Cineteca Nacional de México
Washing day (39 min)
A range of thoughts and sensations are born on any given day. In this program we will surrender to the discomfort of the everyday, exploring its details, sometimes with humor. Un abanico de pensamientos y sensaciones nacen en un día cualquiera. En este programa nos entregaremos a la incomodidad de lo cotidiano explorando sus detalles, a veces con humor.
Films:
1896-1900 (1 min)
San Francisco Silent Film Festival
1935 (4 min)
National Film Archive of Japan
1980 (1 min)
FINA The National Film Archive
1972 (4 min)
Institución Lichtspiel / Kinemathek Bern
1967 (1 min)
Museo del Cine Pablo Ducros Hicken
1964 (1 min)
Ngā Taonga Sound & Vision
1915 (17 min)
Library of Congress
1978 (10 min)
Yale Film Archive
Varja Močnik - Slovenian Cinematheque
The Dinamics of Freedom (58 min)
A free atmosphere, person, society, or even an object always have a special and its distinctive dynamic. An air of freedom: we feel it or we miss it, we all know exactly what it means but everybody describes it differently. The history of film is definitely a trajectory of freedom of cinematic expression. And, film excels in tangibly describing very concrete and at the same time, even exactly the same moment, totally abstract concepts. That’s why I believe a film or a film program can connect us in understanding freedom, and also offers us some freedom while watching it. Let us think further – this program could definitely come with an antagonist program titled Stillness of Captivity or The Grip of Oppression. Also, this program would most definitely be totally different if I were making it in the context of my immediate knowledge and not in the context of The 2021 FIAF Programming Game. And here, once again, the beauty and freedom of cinema reveals itself, as beyond the (sometimes oppressive?) canon there are not only films but chapters of film history not yet known to us (but many times most important to some other). Is freedom a thing of perspective? Most definitely, and so is film history. Let’s enjoy the freedom it carries and reveals.
Films:
c. 1897-1901 (1 min)
San Francisco Silent Film Festival
1922 (16 min)
Österreichisches Filmmuseum
1935 (4 min)
National Film Archive of Japan
1958 (3 min)
Lichtspiel / Kinemathek Bern
1959 (14 min)
National Library of Scotland Moving Image Archive
1967 (3 min)
Yale Film Archive
1977 (8 min)
UCLA Film and Television Archive
2001 (4 min)
Ngā Taonga Sound & Vision
György Ráduly - National Film Institute Hungary- Film Archive
Rhythm (36 min)
Pulsation,movement, transitation.  In this short animation selection you can see different approaches to express the essence of the rhythm.
Films:
1965 (5 min)
Cinémathèque française
1985 (6 min)
National Film Institute Hungary - Film Archive
1932 (2 min)
National Film Archive of Japan
1960 (14 min)
EYE Film Institute
1969 (7 min)
Danish Film Institute
1947 (2 min)
Danish Film Institute
Katia MENDEZ BEST - La Cinémathèque française
Sur le chemin du culte - On the way to workship (61 min)
Venez parcourir un long chemin aux lieux de culte du Mexique au Tibet parmi les foules, chose qui pourrait nous paraître inconcevable aujourd’hui. Le voyage, l'arrivée au lieu, la vénération, l'apaisement, la joie, le temps passé ensemble et la promesse de recommencer l'année d'après...
Films:
1972 (21 min)
Cineteca Nacional de México
1967 (2 min)
Jerusalem Cinematheque- Israel Film Archive
Années 50 (4 min)
Institut Jean Vigo - Cinémathèque euro-régionale
Années 20 (12 min)
Filmoteca Valenciana - Institut Valencià de Cultura
1960 (17 min)
Cinémathèque de Bretagne
1940 (5 min)
BFI National Archive
Jakub Zgierski - Filmoteka Narodowa – Instytut Audiowizualny (FINA)
Stranger in the Village (57 min)
This program is inspired by James Baldwin’s 1953 essay “Stranger in the Village”, in which he describes his winter holidays in a secluded village in the Swiss Alps. “Naïve racism” of children parading blackface and shouting "Neger! Neger!" at him inform the main point of the essay – which is that Europe still approaches the issue of race with an illusion of innocence, while Americans no longer have the luxury of pretending Baldwin’s a stranger to them. We begin in a European village. In Northamptonshire a black girl is crowned as the Queen of May by her white peers. In Alsace, Senegalese infantryman are goofing around with white officers. These idyllic images were produced, respectively, by the British Colonial Film Unit and the French army at times when both these colonial powers needed fresh recruit (1943 and 1918). We conclude this part with a reality check – a story of Australian indigenous war veterans returning from service. The second part takes us to the USA in 1944, where segregated colleges are supposedly at the forefront of both “black progress” and the war effort. Then we peek behind the iron curtain to see how Polish communist propaganda trying to leverage the same idea of “black progress”, while inadvertently doubling down on stereotypes about Africa. We conclude with a short by Skip Norman – an African-American filmmaker working in Germany – who used Amiri Baraka’s play to explore the mythologies of racism, looking for its roots in sexual repression (bringing to mind another Baldwin masterpiece -- "Going to Meet the Man").
Films:
1944 (7 min)
British Film Institute
1918 (16 min)
CNC French Film Archive
2010 (4 min)
Australian Centre for the Moving Image
1943 (9 min)
Indiana University Libraries Moving Image Archive
1964 (4 min)
Filmoteka Narodowa–Instytut Audiowizualny
1969 (17 min)
Deutsche Kinemathek - Museum für Film und Fernsehen
Maria Coletti - CSC - Cineteca Nazionale
Nous, les Autres. (80 min)
Le programme est à considérer comme une proposition de voyage dans le regard du cinéma coloniale du XX siècle. Un cinéma souvent exotique qui a placé les femmes au centre de l'écran pour dépeindre les «autres» comme une présence menaçante ou apprivoisée, comme dans les deux premiers titres. Dans le troisième titre on voit la tentative de démasquer et de déconstruire ce regard colonial. Pour enfin arriver à un regard empathique dans le quatrième film, qui rend hommage à un peuple consideré "autre" par excellence. Alors que dans le dernier film le regard est inversé: ce sont les jeunes filles algériennes qui parlent d'elles-mêmes et de leur rôle dans la société à la première personne.
Films:
1911 (14 min)
Cineteca del Friuli
1915 (7 min)
CNC French Film Archives
2001 (13 min)
Cinémathèque Française
1950 (24 min)
Cinémathèque Française
1966 (22 min)
Cinémathèque Française
Otto Kylmälä - KANSALLINEN AUDIOVISUAALINEN INSTITUUTTI / NATIONAL AUDIOVISUAL INSTITUTE
Archives as DJs (65 min)
Music and film link together in various ways. Film has captured music in all of its varied forms: everything from unpolished documentary footage, film scenes to technical presentations of recording sessions. Animation has offered different ways to visualize music particularly well, but also the fluid limbs of jazz legend James Berry. Like film, music expresses identity of nations and cultures effortlessly, crossing borders without having to queue at the customs office for hours. Fado singers from Portugal and the Carlos Gardel of Finnish tango, Olavi Virta both channel passion in their own way, as does the Hungarian rock band with their British pop infused folk song. Whether it is a dusty small town road in Romanian village or a glamorous gathering in Paris, music instantly communicates about heritage.
Films:
1940 (4 min)
National Film Preservation Foundation
1932 (1 min)
Jugoslovenska kinoteka
1937 (4 min)
Cinemateca Portuquesa
1954 (2 min)
National Audiovisual Institute of Finland
1967 (7 min)
Nemzeti Filmintézet Filmarchívum
1938 (11 min)
Svenska Filminstitutet
1944 (10 min)
British Film Institute
1958 (17 min)
Eastman Museum
Annick Girard - Cinémathèque française
Pina : Dansez, Dansez, sinon nous sommes perdus. (57 min)
Du film documentaire des Archives de Monaco ou du Canada jusqu'au film expérimental Ephemeral Blue, en passant par Pas à deux, qu'on soit triste ou gai, heureux ou malheureux, la danse est parmi nous. En attendant le monde d'après, continuons à aimer la danse.
Films:
1896 (1 min)
San Francisco Silent Film Festival
1899 (2 min)
Museo Nazionale del Cinema
1961 (3 min)
Institut Audiovisuel de Monaco
1949 (10 min)
Library and Archives Canada / Bibliothèque et Archives Canada
1988 (6 min)
Eye filmuseum
1911 (11 min)
Cinémathèque Royale de Belgique
1934 (8 min)
Japanese Animated Film Classics National Film Archive
1960 (16 min)
George Eastman House
Felicidad - La Cinémathèque française
La Jeunesse des années 1960 (47 min)
Cette programmation a pour thème « La jeunesse des années 1960 » et est constitué majoritairement de documentaires. A travers ces films nous pouvons voir les contrastes de vies entres différents jeunes à travers le monde. Les films offrent des témoignages forts, « El dia de la boda » de Alfonso Munoz et Gaston Martinez, film à caractère anthropologique, nous immerge dans les noces d’un jeune couple de la communauté Nahua. « Elles » d’Ahmed Lallem se fait porte-parole des revendications des femmes en Algérie. « It Goes On and On » de Cheryl Hunter (étudiante à la UCLA) rompt le silence sur la sororité et le mal être des étudiants.
Films:
1968 (11 min)
Cineteca Nacional (Mexico)
1966 (22 min)
La Cinémathèque française
1967 (14 min)
UCLA Film and Television Archive
Lucile Genoulaz - Cinémathèque des Pays de Savoie et de l'Ain
Panorama industriel (62 min)
Retrouvez dans ce corpus non exhaustif, des femmes et des hommes au travail mais aussi des moments collectifs plus légers comme la fête des Catherinettes aux Usines Lumières en 1951. L’occasion d’un voyage dans le temps vers des métiers et des gestes parfois oubliés. Ce programme de films professionnels comme amateurs fait écho au projet Interreg Entre2prises porté par la Cinémathèque depuis un an et qui explore les archives audiovisuelles de l’industrie.
Films:
1907 (4 min)
Centre national du cinéma et de l'image animée
1918 (15 min)
Eye Filmmuseum
1934 (21 min)
Cinemateca Portuguesa
1951 (3 min)
Cinémathèque des Pays de Savoie et de l'Ain
1961 (1 min)
Irish Film Institute
1918 (8 min)
Bundesarchiv
Marianne Bauer - Cinémathèque française
Artisanat et métiers au féminin, entre tradition et modernité (56 min)
Cette séance regroupe films primitif, d’actualités, éducatif, documentaire et rushes réalisés entre 1897 et 1950, et présente le monde du travail au féminin. Les femmes effectuent tous types de métiers, des métiers traditionnels dans le domaine de l’agriculture et de l’artisanat, mais aussi des métiers attribués habituellement aux hommes, notamment pendant la guerre, ou encore des métiers périodiquement interdits aux femmes. A l’exception d’un exemple sonorisé dans le cadre de sa restauration, le programme est muet.
Films:
1897 (1 min)
Filmoteca espanola
1918 (12 min)
Imperial War Museum
1925 (10 min)
Cinémathèque de Bruxelles
1927 (23 min)
Cinémathèque de Toulouse
1936 (2 min)
Cineteca Nacional (Mexico)
1937 (1 min)
Cinémathèque de Bretagne
1950 (2 min)
Institut Jean Vigo
Young Jin Eric Choi - Korean Film Archive
To Wed! (77 min)
Having exchanged marriage vows with my wife just months before the pandemic hit and having attended many of the crowded weddings of my friends, colleagues, and loved ones before then, the marital ceremony as we know it has come to personally symbolize a sense of normalcy. While the specific customs vary from culture to culture, its fundamental concept as a festive gathering of loved ones witnessing the joining of two families is a tradition shared by billions around the world. It is but one of the many customs that have been negatively impacted by the current state of the world. But life goes on. This programme aims to showcase a selection of footage of wedding ceremonies recorded throughout the decades, hopefully reminding us that no matter how dire the world may seem now, the wedding and all its characteristics (the restlessness of the bride and groom, the seemingly neverending posing for photographs, the cheery marching procession of guests, etc) will never die.
Films:
(unknown) (1 min)
CSC - Cineteca Nazionale
1906 (2 min)
DFF - Deutsches Filminstitut & Filmmuseum
c. 1914 (3 min)
Australian Screen
1930 (2 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1937 (5 min)
Jugoslovenska Kinoteka
1938 (2 min)
Eye Filmmuseum
1947 (2 min)
Australian Centre for the Moving Image (ACMI)
1947 (11 min)
Kansallinen audiovisuaalinen instituutti / National Audiovisual Institute
1950 (18 min)
Filmoteca Espanola
1951 (3 min)
National Library of Scotland
1954 (8 min)
Institut Jean Vigo - Cinémathèque euro-régionale
Katerina Kampoli - ECPAD (Établissement de Communication et de Production Audiovisuelle de la Défense)
20th century advertisements, publicités, reklame, publicidades around the world (67 min)
We love them or hate them. They are silent, noisy or soothing, in color or in black and white, animated or with actors, serious or playful. They include various shots, or just a few. They make us dream, desire or provoke criticism. Retrospectively, they are potentially racial and gender biased. Their songs and punchlines can get stuck in our heads. They have adopted the moving images right from the start and have conquered every screen. They have permitted to directors and animators to make ends meet or to get noticed. They have a sole and unique purpose: to promote and sell! Ladies and gentlemen: 20th century advertisements, publicités, reklame, publicidades around the world.
Films:
19XX (5 min)
Academy Film Archive
1920 (1 min)
Cinémathèque royale de Belgique
1930 (6 min)
Cinémathèque suisse
1933 (1 min)
Svenska Filminstitutet
1935 (2 min)
Ngā Taonga Sound & Vision
1935 (2 min)
Centre national du cinéma et de l'image animée - Direction du patrimoine cinématographique
1937 (1 min)
Nasjonalbiblioteket / National Library of Norway
1945 (13 min)
Cinémathèque de Bretagne
1949 (4 min)
Fondazione Cineteca Italiana
1950 (1 min)
Museo del Cine Pablo Ducrós Hicken (Argentina)
1956 (9 min)
Det Danske Filminstitut
1960 (1 min)
Irish Film Institute
1963 (2 min)
National Library of Scotland Moving Image Archive
1964 (2 min)
Film Archive (Public Organization), Thailand
1973 (1 min)
Indiana University Libraries Moving Image Archive
Anders Annikas - Swedish Film Institute
Music, people (83 min)
No narration, just observation, and music. A few professional performers here and there, but mainly just ordinary, if gifted, people, playing and listening to music. COUNTRY JAZZ; a documentary about a jazz festival in the small town of Dubbo, Australia; plays out like a fast version of the influential documentary about Woodstock from the year before: aerial shots and close-ups, rehearsals and performances, snapshots of the audience listening, dancing, bathing. A beautiful gem, directed by Bob Kingsbury. STREET MUSIC is a near feature length direct cinema exposé of street performances from all over the United States, shot and directed by future Emmy winner Nick Doob – a D.A. Pennebaker associate who in the same year worked as a cinematographer on Town Bloody Hall and Ziggy Stardust and the Spiders from Mars. Look out for Gene Palma, in a performance reminiscent of his short scene in Taxi Driver. HELA HEDEMORA SJUNGER OCH SPELAR ("All of Hedemora sings and plays") is the odd choice here, but I wanted to include something from my home country Sweden, and this montage of people in the small town of Hedemora playing all kinds of music follows in the same vein as the other two films. Director Roland Engvall, an amateur filmmaker, has shot/directed hundreds of short documentaries. If nothing else, a great document on 80s fashion in the Swedish countryside.
Films:
1971 (11 min)
National Film and Sound Archive of Australia
1979 (58 min)
Yale Film Archive
1984 (14 min)
Swedish Film Institute / Filmarkivet.se
Nuno Sena - Cinemateca Portuguesa-Museu do Cinema
Get a Life (66 min)
Looking at the life’s of others was one of the motivations behind cinema’s initial success and probably the main reason for its longstanding popularity. Even in lockdown (or even more so), our nature of incorrigible peeping toms drags us to watch for our humanity in the fragments of any life (real or imaginary) projected or displayed on a screen. Following Jean-Luc Godard’s famous bashing of any categorical definitions of fiction and documentary films (“All great fiction films tend towards documentary, just as all great documentaries tend toward fiction”), this program proposes a journey through an imaginary person’s life through disparate films (either factual or fictional) and regardless of any geographic or temporal limitations. Seen together and in a specific order, they form a kind of narrative arch that illustrate what’s more general and invariable in any human life (birth, childhood, adolescence, adulthood, old age and death). But here (by cinema´s powers to evoke the universal through the singular) each of these stages is made particular, detailed and picturesque.
Films:
1948 (11 min)
Indiana University Libraries Moving Image Archive
1964 (12 min)
Academy Film Archive
1951 (12 min)
British Film Institute
1910 (10 min)
EYE
1912 (17 min)
Library of Congress
1946 (4 min)
Cinemateca Portuguesa-Museu do Cinema
Mariana Hristova - Bulgarian National Film Archive
Only Here for the Beer (76 min)
Through newsreels, documentaries and commercials, this program zooms into beer production, prohibition, promotion and consumption; as well as into its social and political function. The selection starts with two humorous early silent miniatures featuring a contagiously happy beer drinker and a thirsty corpse who sneaks out of the coffin in a chase for few sips. The next two films make a twist to more serious topics such as the Prohibition Law in USA and the beer tax announcement, however the cheerful mood comes back shortly with a reportage on a contest between goats that compete for a beer brand award. Beer brewing is represented by a technical documentary about a brewing plant installed on the board of a ship which was supplying British servicemen in the Far East with the spirit rising liquid. The following four pieces provide examples on different approaches in been advertising throughout different periods and cultures: from the detailed overview on production and consumption of the Bulgarian historical beer brand Shumensko pivo to music based, stop-motion and drawn animation commercials. Joyful newsreels provide insights to beer consumption habits on Polish streets and at a Brasilian beer festival, just before the program wrap up – a Finnish documentary about two friends who enjoy bar hopping around twelve beer pubs in central Turku in order to experience the lush folk culture of beer drinking.
Films:
1897 (1 min)
British Film Institute
1903 (1 min)
Library of Congress
1919 (4 min)
Moving Image Research Collections - University of South Carolina
1932 (3 min)
Moving Image Research Collection - University of South Carolina
1934 (4 min)
Moving Image Research Collections - University of South Carolina
1932 (14 min)
Bulgarian National Film Archive
1954 (3 min)
Kansallinen audiovisuaalinen instituutti / National Audiovisual Institute
1960 (1 min)
Irish Film Institute
1961 (1 min)
Indiana University Libraries Moving Image Archive
1968 (1 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1970 (2 min)
Arquivo Nacional
1992 (24 min)
Kansallinen audiovisuaalinen instituutti / National Audiovisual Institute
Arianna Turci - CINEMATHEQUE ROYALE DE BELGIQUE / KONINKLIJK BELGISCH FILMARCHIEF
Mi manca il profumo del mare (67 min)
During the pandemic, one of the things I missed most was being able to see the sea and to breathe its smell. This short programme - entitled "Mi manca il profumo del mare/I miss the smell of the sea" - is dedicated to the sea. When you are born to the sea, if you cannot experience it for a long time, you develop a feeling of lack. Those who, like me, come from the sea, will be able to understand the feeling of missing one of the five elements: water.
Films:
1935 (15 min)
Svenka filminstitutet
1972 (20 min)
National Library of Scotland
1912 (4 min)
EYE
1925 (4 min)
Academy Film Archive
1946 (16 min)
Cinémathèque de Bretagne
1950 (2 min)
Archivio Nazionale cinema d'Impresa
1940 (1 min)
Institut Jean Vigo
Eva Hielscher - Altonaer Museum/Stiftung Historische Museen Hamburg (currently)
(Feeling) Blue?! A blue-inspired Journey through Silent Cinema (90 min)
The challenging times we are living in leave many of us feeling blue. However, while the color blue is associated with a low feeling in the expression “I’m feeling blue,” it has many different meanings, shades and facets. For instance, blue is linked to the cold, the sky and the sea, to distance and infinity, to nobility (blue blood) and to excellence, distinction and high performance. It is also said to have a calming and pleasant effect. So – let’s take a journey through silent cinema with the power of the color blue! And feel the blue tints and tones! Because, as we will see, blue in silent cinema has a lot to offer – water, the sea, winter and ice, the night (of course!) and being outdoors. It also appears as THE object of desire that, in some cases, can even bring love, fortune and happiness?! The latter is true from a cinéaste's perspective, for sure, as even cinema itself receives a blue shade. And as, finally, there is nothing more beautiful than the combination of a blue tone with a pink tint. And keep in mind, blue also only makes sense (visually and emotionally) in combination, contrast and alternation with other colors, including black and white.
Films:
1915 (2 min)
Museo Nazionale del Cinema
1920-21 (4 min)
Museo del Cine Pablo Ducrós Hicken
1909 (7 min)
Cinémathèque royale de Belgique
1917 (14 min)
Eye Filmmuseum
1922 (5 min)
Nasjonalbiblioteket / National Library of Norway
1913 (56 min)
Det Danske Filminstitut
Chloé Cavillier - Fondation Jérôme Seydoux - Pathé
Sur le ring (60 min)
De la fiction burlesque Robinet boxeur (Luigi Maggi, 1913) à Combat de boxe, œuvre expérimentale réalisée par Charles Dekeukeleire en 1927, la représentation de la boxe au cinéma traverse aussi bien les genres que les époques et les territoires. Les films de cette programmation mettent en scène des anonymes comme des grands noms de la boxe, tels les poids lourds Joe Louis et Max Schmeling, qui livrent en 1936 un combat mémorable dont la Library and Archives Canada a conservé la trace. Ils se déroulent tantôt devant une foule captivée, avide de divertissement, tantôt dans l’intimité d’une rivière thaïlandaise, à l’ombre des regards, et suivent les athlètes depuis leur entraînement quotidien jusque sur le ring. Un montage rapide met parfois en valeur la tension présidant à un affrontement tandis qu’ailleurs, l’usage du ralenti insiste au contraire sur la précision ou la beauté chorégraphique d’un geste. La boxe est enfin un lieu d’expression privilégié des minorités, qui inversent alors les rapports de force habituels, à l’image des femmes immortalisées par Thomas A. Edison dans Gordon Sisters Boxing (1901), démontrant que la force n’est pas l’apanage des hommes.
Films:
1901 (2 min)
Eye Filmmuseum
1913 (5 min)
CSC – Cineteca Nazionale
1927 (8 min)
Cinémathèque royale de Belgique
1936 (21 min)
Library and Archives Canada
1963 (24 min)
Film Archive (Public Organization), Thailand
Alexandra Vasile - Harvard Film Archive
Gone Fishing (86 min)
You did not kill the fish only to keep alive and to sell for food, he thought. You killed him for pride and because you are a fisherman. You loved him when he was alive and you loved him after. If you love him, it is not a sin to kill him. Or is it more? —The Old Man and the Sea, Ernest Hemingway

This selection of films explores the complex, dependent, and intimate relations between humans and creatures of the deep. Whether fishing for entertainment, sustenance, commerce, or sheer pride, people from around the world have engaged in this exploit of the waters. The program voyages through the varying ways that humans seek, interact with, portray, or utilize these aquatic beings. A fishing competition, a whaling expedition, a portrait of coastal life, a cooking companion, a tranquil day of angling—some of the works appear barbaric, while others are eerily dreamlike or comically playful. These documentary and fictional images encourage us to ask ourselves, why does this fascination with fish and fishing exist? Is it just the thrill of the chase, necessity, greed, or something else? What role does the water-based individual play in each of the narratives, different cultures, or singular lives? Why do we seek to destroy the things we cherish—the things of scintillating and organic beauty and allure? Perhaps we are driven by the illusion of purpose, or maybe we just do not know any other way.

Films:
1944-1948 (2 min)
Cinémathèque des pays de Savoie et de l'Ain
1912 (10 min)
Library of Congress
1925 (3 min)
Eye Filmmuseum
1947 (24 min)
Cinémathèque française
1947 (18 min)
Svenska Filminstitutet
1940 (7 min)
BFI National Archive
1950 (3 min)
National Film and Sound Archive of Australia
1982 (2 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
Oksana Sarkisova - Blinken OSA at CEU
Phantom Rides: Camera explores the world (84 min)
Since the early years of cinema, travelogues were important and much favored parts of film programs. They took the armchair travelers to most diverse parts of the world while shaping a particular “tourist gaze” which structured the world according to the naturalized categories of modern, exotic, and colonial. Travelogues were not only produced for commercial distribution, they were also made by amateurs and state officials. The program presents a range of travel films from the pre-WWII world to foreground multiple desires embedded in them – those of exploring and entertaining, mapping and registering, conquering and domesticating. The films in this selection demonstrate diverse approaches to representing space and expose a deep entanglement of cinema and colonialism. The image decay exposes the materiality of the medium and the transient nature of memory. With the pandemic challenge to our customary mobility, the program encourages us to revisit the desires of the early film publics for cinematic travels, the power of mediated image to structure the world, and our own perception of space and travel.
Films:
1897 (4 min)
National Library of Scotland
1913 (13 min)
EYE Institute
1924 (14 min)
Národní filmový archiv
1928 (10 min)
IWM
1930 (14 min)
Nasjonalbiblioteket
1923 (27 min)
Ngā Taonga Sound & Vision
ca. 1930 (2 min)
LA CINÉMATHÈQUE DE BRETAGNE
Andy Robson - BFI Film Audience Network
Green Monster (90 min)
Green Monster is an exploration of people’s changing relationship with their environment and the impact this has had on climate change and land use. It’s a glimpse into the various ways filmmakers have explored the connection between peoples’ way of life and their environment, and how these relationships have transformed over time. I was inspired by the British artist John Akomfrah’s Purple, a six-channel archive video installation focusing on the threat of climate change, exhibited at the Barbican in 2018. While selecting the archive film material, Akomfrah noticed that no matter what era or context of film there were key visual motifs present that add up to a history of the human impact on our shared environments. Akomfrah named this the ‘green monster’, adding a contemporary layer to overfamiliar footage of industrialisation, technology advancement and over-consumption.
Films:
1985 (25 min)
filmarkivet.se
1925 (4 min)
Academy Film Archive
1963 (7 min)
BFI National Archive
1954 (9 min)
Imperial War Museum
1972 (8 min)
Wisconsin Center for Film and Theater Research
1973 (4 min)
UCLA Library Film and Television Archive
1985 (25 min)
filmarkivet.se
1944 (8 min)
Library and Archives Canada
Chau Hei Aki Kung - Reel to Reel Institute (Hong Kong)
Establishment of the Destiny (81 min)
Moving image and sound shall be a form of non-verbal communications, representing a conceptual actuality and complexity in life. In ancient Chinese philosophical discourses, realising the ‘decree’ and ‘fate’ means knowing one’s own position, by learning as much as you can the profound truth of all things in the universe, and understanding as deep as you can the nature of all beings. So as to establish and control one’s own ‘destiny’ by knowing it’s position and what ought to be done in life. The selected shorts are seemingly the realisation of this process, through their unconventional and unique storytelling, no matter how the endings are. And the sequence itself is a course of human life. There is not necessarily an answer, yet what the protagonists encounter in life, and how they treat themselves in relation with the environment are universal, regardless of the language and culture.
Films:
1977 (17 min)
Film Archive (Public Organization), Thailand
1960 (11 min)
George Eastman Museum
1976 (4 min)
Harvard Film Archive
1964 (33 min)
National Library of Scotland Moving Image Archive
1959 (16 min)
Cinémathèque française
Elena Iannetti - Filmarchiv Austria
Keep phantasy loud! (72 min)
The invention of cinema changed the way of looking at and conceiving reality in the 20th century: an incredible magical and story-telling tool, capable of manipulating the world, deforming it in an ironic, surreal, grotesque and dreamlike way. The real was no longer based on the principles of verisimilitude or coherence but on those of escape towards a poetic, magical and suggestive universe. It was more like a daydream, a stunning surprise, a phantasmagoria. Even when the succession of images were concatenated in a story, the absence of precise rules for the construction of the discourse made the narrative anarchic and discontinuous. Some sequences of the silent films of that era, despite the apparent fairytale and childlike simplicity, lull an essential metaphorical depth. This program celebrates the will of the silent cinema to strike the viewer's eye, his attention and his imagination, claiming his nature as an art for the masses.
Films:
1905 (1 min)
Ngā Taonga Sound & Vision
1896 (3 min)
Cinémathèque française
1912 (3 min)
Cinémathèque de Toulouse
1911 (7 min)
BFI National Archive
1908 (5 min)
Centre national du cinéma et de l'image animée - Direction du patrimoine cinématographique
1905 (4 min)
Cinémathèque royale de Belgique
1911 (8 min)
CSC - Cineteca Nazionale
1907 (11 min)
Det Danske Filminstitut
1912 (14 min)
Eye Filmmuseum
ca. 1923-1930 (2 min)
Cineteca Nacional (Mexico)
1927 (4 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1936 (10 min)
Cinémathèque de Bretagne
Lukas Maria Dominik - DFF - Deutsches Filminstitut
Events and Encounters (81 min)
In times of social distancing and lockdowns this programme tries to explore an international real and cinematic past of mass events and public spaces with all their random or intended encounters, the good ones as well as the bad ones, now only found on and possible in film.
Films:
1953 (2 min)
Filmoteka Narodowa - Instytut Audiowizualny
1956/1957 (20 min)
DFF - Deutsches Filminstitut und Filmmuseum
1973 (9 min)
UCLA Film and Television Archive
1957 (4 min)
Svenska Filminstitutet
1960 (10 min)
National Film and Sound Archive of Australia
1957 (23 min)
Cinémathèque française
1960 (2 min)
Magyar Nemzeti Filmarchívum / Hungarian National Film Archive
1969 (11 min)
Deutsche Kinemathek - Museum für Film und Fernsehen
Igor Prassel - Slovenian Cinematheque
Resistance Through Cinema (68 min)
The first idea for the thematic programme came when i recalled The Idea, one of the most important political films that i watched. It is the only film made by the Bohemian animation film director Berthold Bartosch, who was a collaborator of Lotte Reiniger and Paul Wegener. Based on woodcuts by Frans Masereel, with music by Arthur Honegger, Bartosch's only surviving film was made single-handely in Paris between 1930 and 1932. Almost 45000 frames were animated on four different levels simultaneously, often with as many as 18 superimpositions made in the camera. I hope i am not breaking the rules of the game, as no FIAF related institution uploaded the film, but AFCA (https://www.afca.asso.fr/ressources/patrimoine/Bartosch) and CNC are in charge for the distribution of the restored 35mm film print. The programme pays hommage also to the early suffragettes fight, the anarchists fight against fascism in Barcelona and the Italian partisans fight against nazism. A special gem in the programme is Santiago Alvarez documentary on the struggle against racial segregation in the USA. The words of the song NOW refers to the urgent need of fighting with more efficient methods to obtain equality of civil rights for the Black American citizens.
Films:
1913 (1 min)
BFI
1930-1932 (25 min)
no institution uploaded the film, but AFCA and CNC are in charge for the distribution of the 35mm print
1936 (22 min)
Filmoteca Española
1965 (5 min)
ICAIC
1968 (15 min)
CSC - Documentalia
Alice Dupin -
Les Chats (38 min)
J'ai 12 ans et J'adore les chats. J'en ai deux chez moi. J'ai donc choisi le thème des chats pour ce jeu. C'était facile parce qu'il y en a beaucoup dans les films! :-)
Films:
1901 (1 min)
BFI National Archive
1945 (1 min)
FINA
1906 (1 min)
Eye Filmmuseum
1955 (6 min)
Cinémathèque de Bretagne
1954 (4 min)
Cinémathèque des Pays de Savoie et de l Ain
1973 (1 min)
Indiana Univesity
1951 (1 min)
Det Danske Filminstitut
1913 (9 min)
Museo Nazionale del Cinema
1973 (1 min)
Indiana Univesity
1945 (1 min)
Det Danske Filminstitut
1971 (1 min)
Kansallinen audiovisuaalinen instituutti
1969 (11 min)
National Library of Scotland Moving Image Archive
Mara Rusch - Munich Film Museum
100 years ago: 1921 (75 min)
Charlie Caplin released his heart-warming first feature film “The Kid” 100 years ago in 1921. Based on the film’s anniversary this programme goes back in time and takes a look at the world in 1921. Starting with a Chaplin competition in Australia it travels to India with Prince Edward, shows the Bavarian countryside and the picturesque landscapes of Belgium and Canada in the 20th century, follows an expedition to Indonesia and finally arrives at an ordinary American home. It shows, that while some things may change dramatically, others stay the same – even in times of a pandemic.
Films:
1921 (1 min)
National Film & Sound Archive of Australia
1921 (5 min)
Bundesarchiv
1921 (39 min)
Cinémathèque royale de Belgique
1921 (7 min)
Library and Archives Canada
1921-1922 (2 min)
Eye Filmmuseum
1921 (3 min)
UCLA Film & Television Archive
Julie Dragon - La Cinémathèque de Toulouse
Album souvenir (50 min)
Ouvrons l’album aux images. Fragments, bribes, souvenirs…, une vie se dessine. Qui est-elle ? … Nous ne le saurons pas vraiment… Pour ce jeu, j’ai eu envie d’assembler des pièces, de fabriquer une histoire intime aux chaînons manquants. A travers des films de familles, amateurs, documentaires, fictions ou publicités, à vous d’écrire maintenant cette vie imaginaire, le portrait en pointillés d’une femme.
Films:
1935 (9 min)
Cinémathèque de Bretagne
1904 (1 min)
Filmoteca Española
1944 (1 min)
Library and Archives Canada
1929 (1 min)
Filmoteka Narodowa – Instytut Audiowizualny (FINA)
inconnue (1 min)
Det Danske Filminstitut
1957 (4 min)
Svenska Filminstitutet
1930 / 1940 (1 min)
National Library of Scotland Moving Image Archive
1963/1965 (1 min)
Archivio Nazionale Cinema d'Impresa / CinemaimpresaTV
1963 (1 min)
Indiana University Libraries Moving Image Archive
1960/1970 (1 min)
Irish Film Institute
1947 (1 min)
ACMI Collections - Australia
1949 (1 min)
Archivio Nazionale Cinema d'Impresa / MI RICORDO - L'archivio di tutti
1956 (1 min)
memoryscapes Il cinema privato online
1940 (24 min)
Yale Film Archive
1937 (1 min)
Library of Congress
inconnue (1 min)
Cinémathèque de Toulouse
Nicola Gallani - British Film Institute
This Working Life (75 min)
Since the Lumiere Brothers first filmed workers leaving a factory, the world of work has been a popular subject for filmmakers. As the nature of work continues to evolve and our relationship to work changes, this programme looks at how film has captured the lost traditions of working lives, the innovation and rhythms of the factory floor, and the idealistic promises of meaningful work and leisure for all. Featuring work from the Mutoscope and Biograph Company, Indian cinema pioneer Bimal Roy, and cinematographer Jack Cardiff amongst others, the films are often beautifully crafted and shot through with a sense of camaraderie and humanity.
Films:
1904 (2 min)
Library of Congress
192? (6 min)
Filmoteca Valenciana
1942 (15 min)
National Library of Scotland
1913 (17 min)
Centro Sperimentale di Cinematografia
1936 (2 min)
Cineteca Nacional Mexico
1952 (8 min)
IWM
1946 (7 min)
BFI
1972 (15 min)
Cineteca Nacional Chile
Elodie IMBEAU - La Cinémathèque Française
Tu me fais tourner la tête... (53 min)
On se fait beau, on se prépare pour aller à la fête . Là les manèges, les automates, la foule... la tête se met à tourner, on n'est plus très sûr de ce que l'on voit, les images se diffractent et on entre dans un grand cercle, celui de la danse mais aussi celui de la vie. Une balle qui s'échappe, la lune qui joue des tours et la danse qui tourne, tourne, jusqu'au bout de la nuit.
Films:
1928 (2 min)
Cinémathèque des pays de Savoie et de l'ain
1930 (11 min)
Filmoteca Espagnola
1935 (4 min)
National Film Archive of Japan
1958 (2 min)
Lichtspiel / Kinemathek Bern
1956 (6 min)
Australian Centre for the Moving Image (ACMI)
1905 (4 min)
CINEMATEK
1908 (8 min)
Filmoteca de Catalunya
1988 (5 min)
Eye Filmmuseum
1976 (11 min)
Cinémathèque de Bretagne
Débora Butruce - Brazilian Association of Audiovisual Preservation
Latin American culture: a journey through music (75 min)
This program celebrates Latin American culture through films that address one of its most striking aspects: the music. This selection presents unique records of the musical richness of different countries in Latin America, such as Brazil, Ecuador, Mexico, Argentina and Chile. The music produced in these places has its own unique characteristics, and show the diversity and freedom of creation. Whether folk, traditional or popular, each genre express itself with the sonority of the culture it belongs, through presentations or popular festivities. We will see the record of a performance of Brazilian samba singers and musicians like Clara Nunes and Nelson Cavaquinho at the legendary Teatro Opinião, in Rio de Janeiro; the evocation of the indigenous musical past of the Ecuadorian province of Pichincha from Quechua mythology point of view and the carnival in Tepoztlán, Morelos, in Mexico. Moving to the video format we will present a television record of the rock band Serú Girán, which has become a cultural reference against the Argentine dictatorship; and, to finish the program, the rise of the punk movement during the dictatorship in Chile from the impressions of a group of teenagers. Although all works can be categorized as documentaries, these films, made in different periods and using different formats (film and video), approach the context in which this music was created in diverse ways, enabling the understanding of social and historical aspects and the cultural values of each country. Music is part of the Latin American identity and its history can be told through it: embark on this journey with eyes and ears wide open.
Films:
1981 (18 min)
Cinemateca Nacional del Ecuador
1961 (13 min)
Cineteca Nacional (Mexico)
1978 (15 min)
Museo del Cine Pablo Ducrós Hicken
1984 (21 min)
Cineteca Nacional de Chile
Maria Lorgia - CINEMATECA DE BOGOTA - GERENCIA DE ARTES AUDIOVISUALES DEL IDARTES
Love Streams (54 min)
This program looks at the views of different authors on love expressions in the early 20th century. These first moving images about this matter are very important not only because of their technical and conceptual creativity, but also because they started shaping present views (and stereotypes) of our ways we relate to the other in the present. Most of the films produced during this period have a predominant, romantic conception of love, filmed from a male driven perspective. This program intends to reflect on the enormous value of these images in terms of the visual representation of a conservative society, but also to open a conversation about what the images themselves hide or avoid to tell, demanding for a more diverse portrayal of what we have been as a society.
Films:
1898 (1 min)
SF Silent Film festival.
1899 (1 min)
BFI National Archive
1907 (9 min)
Det Danske Filminstitut
1909 (9 min)
Eye Filmmuseum
1910 (13 min)
Museo Nazionale del Cinema
1911 (6 min)
Národní filmový archiv
1930 (7 min)
Cinémathèque française
1934 (8 min)
Animation Film Archives
Valentin Halna - Centre National du Cinéma et de l'Image Animée (CNC)
Evasion de personnes âgées dans le temps, l'espace, et le rêve (59 min)
La programmation que je vous propose est directement liée à l’une de mes missions au Centre National du Cinéma et de l'Image Animée (CNC) : mener des actions de médiation au cinéma auprès de maisons de retraite/EHPADs, à partir de films du patrimoine aidés par le CNC. Cette programmation est plutôt un essai de programmation car je viens tout juste de commencer à construire ce projet de médiation et je n’ai pas encore pu intervenir en maisons de retraite en raison de la crise du COVID 19. Un thème conducteur m’est toutefois rapidement venu en tête : l’idée de « l’évasion » au sens propre comme figuré, dans le temps, l’espace et le rêve… Les maisons de retraite étant souvent perçues comme un milieu fermé et enfermant, il m’a donc semblé intéressant de proposer des films qui pourraient faire voyager et explorer le lointain voire l'inatteignable pour ce public, temporellement et spatialement; faire découvrir ou redécouvrir par le cinéma des lieux et des époques qu’ils ont pu ou n’ont pas pu visiter ou connaitre au cours de leur vie; susciter le rêve et l’imaginaire et de le partager ensemble, le temps d’une séance/ atelier… Ces films issus des collections du CNC, des Cinémathèques de Savoie et de l'Ain, de Toulouse, de la Cinémathèque Suisse, du Irish Film Institute, et de la Filmoteca de Catalunya, présentent diverses formes d’évasion : évasion par le rêve et l’imagination, évasion par les effets des rayons du soleil, évasion gustative et humoristique, évasion sous forme de vacances à la mer, évasion sensorielle, évasion à travers une belle rencontre, et plus généralement évasion dans le temps avec des images d’archives d’une autre époque, évasion dans différents espaces du monde, voire sur d’autres planètes, et évasion dans l’espace infini de l’imagination. La mise en œuvre concrète d’une telle programmation, impliquerait de construire et de mener une activité ludique autours du film en amont de la projection et un débrief interactif après la projection.
Films:
1949 (17 min)
Centre National du Cinéma et de l'image animé (CNC)
2019 (5 min)
Cinémathèque des Pays de Savoie et de l'Ain
1977 (21 min)
Irish Film Institute (IFI)
1909 (8 min)
Filmoteca de Catalunya
1930 (2 min)
Cinémathèque Suisse
1912 (6 min)
Cinémathèque de Toulouse
Rastislav Steranka - Filmotéka, študijná sála SFÚ - Slovak Film Institute
Sweet Dreams or For a Better Future Through Sugar (67 min)
From sugar beet to dried fruits. A timeless journey from black and white sugar beet processing, sugar cane harvesting and male mateship through colorful maple tree sapping and sweet festivities in the snow and frozen delights straight into raisin future ruled by women. Sugar – to many a friend but just the same to many a foe. As explained in Sugar it’s only a bit of water, carbon dioxide and sunlight. And a secret only nature holds plus some industrial processing. The Cane Cutters from Australia are humble, hard-working men but if you cut cane with a man you’ll soon find out what‘s he like. A good mate’s a good mate and that’s that. It’s Maple Sugar Time in Canada and sugaring-off parties celebrate the first batch of the new year. The winter is behind and summer is ahead. You can’t go wrong mixing liquid sugar with milk and cream and freezing it because when summer comes, it’s All About Ice Cream. It’s on record that many of famous New Zealand athletes include ice cream in their diet. Whether they are training or not. But what does the future hold? A Hundred-odd Years from Now? Forget Men. Raisins are the real deal.
Films:
1946 (10 min)
Národní filmový archiv
1948 (10 min)
National Film and Sound Archive of Australia
1941 (8 min)
Library and Archives Canada / Bibliothèque et Archives Canada
1964 (22 min)
Ngā Taonga Sound & Vision
1968 (17 min)
Australian Centre for the Moving Image (ACMI)
Nuria Castellote Herranz - Filmoteca Valenciana - Institut Valencià de Cultura
Poetics of the Body (68 min)
Movement and an anthropocentric approach are at the origin of cinema. So, from science to sport, this program focuses on physicality and sensuality of bodies in motion, which were object of fascination to early films viewers and even before, in pre-cinema experiences. The scientific approach is headed by Étienne-Jules Marey’s chronophotographic films. Those captivating images of naked men walking and jumping, with their harmonious constitutions, are conjured up by medical films about motion difficulties in patients with different diseases. Non-normative bodies and functional diversity also fit into the poetics of body. Back to forerunners of the Cinematographe, the lonely voyeurs of Edison's kinetoscope took pleasure in looking at Sandow’s bulging muscles. For its part, the Pathé flipbook Lutteurs introduces hand-to-hand combat (or is it a dance?), which we also find in one of the first sumo matches filmed in Japan and in Sport's hypnotic slow-motion boxing lessons. As in Sport fragments, which shows a female boxer, instruction in women’s self-defense is the subject of Hints to the Ladies on Jiu-Jitsu (“it behoves every girl today to be able to protect herself”), an unusual short film loaded with queer ambiguity. Whereas in Sport and Hints to the Ladies on Jiu-Jitsu women are empowered through sport, The Key to Beauty encourages them to stay in shape in order to fit the standards of feminine beauty (“why be fat if proper exercising will make you thin? ”). Les Six soeurs Dainef terrific show could be a resounding answer: why be thin if you can be chubby and amazingly flexible and strong? The frenetic rhythm of the Dainef sisters contrasts with the poetic magnetism of images at the beginning of Pelota Vasca. The physicality of vigorous bodies is devoured by the degradation of film footage. Is there a better metaphor to depict body vulnerability over time? But let's go for a happier end, because young people who train and flirt at Muscle Beach are unaware of that vulnerability. Joseph Strick’s short is a beautiful and sensual film in which bodybuilding is mixed with summer laziness, children's games and curious glances. A tribute to the body, but also to socializing and touching each other, those simple pleasures we miss so much in times of pandemic...
Films:
1889-1904 (27 min)
Cinémathèque Française
1898-1901 (7 min)
Arhiva Naţională de Filme
1894 (1 min)
Ngā Taonga Sound & Vision
1896 (1 min)
San Francisco Silent Film Festival
1900 (6 min)
National Film Archive of Japan
1920 (5 min)
Eye Filmmuseum
1926 (4 min)
BFI National Archive
1917 (3 min)
George Eastman House
1903 (3 min)
Filmoteca Española
1925 (2 min)
Museo del Cine Pablo Ducrós Hicken
1948 (9 min)
Academy Film Archive
Stéphanie Louis - Ecole nationale des chartes
Le livre dans tous ses états (ou presque) (60 min)
C'est en découvrant la publicité d'Huilor que l'idée de ce programme est devenue une évidence. Traquer les images du livre à travers les collections en ligne des affiliés m'a permis de voyager dans bien des pays et des époques, de me glisser d'une foire à un atelier, d'une chambre à coucher à un bibliobus. Vous verrez: le livre est partout! Films publicitaires, documentaires, propagande, fictions, films professionnels ou amateurs: le livre inspire et nous met aussi dans bien des états. Vous jetez un oeil?
Films:
1925 (7 min)
Národní filmový archiv
1939 (25 min)
Det Danske Filminstitut
1965 (4 min)
National Library of Scotland
1941 (7 min)
Imperial War Museum
1969 (2 min)
Indiana University
1950 (2 min)
CNC
1952 (11 min)
Cinémathèque de Bretagne
Kate Saccone - MA Preservation and Presentation of the Moving Image (University of Amsterdam)/Women Film Pioneers Project (Columbia University)
Dynamic Lines (75 min)
This program celebrates early forays into cinematic animation, offering a transnational sampling of different techniques (e.g., stop-motion, cutout, hand drawing), influences, and generic and tonal approaches used during the silent film era. Although presented in chronological order, I’m not suggesting any sort of formalized aesthetic or technical evolution. Interspersing advertisements and trick films, narrative storytelling and abstract experiments, educational initiatives and political cartoons, the selected films--made by the well-known, the less familiar, and the unidentified--are meant to be appreciated collectively as an impression of early cinematic animation at both the local and global level. Film animation, as we know it today, is at once bound up in the very history of cinematographic movement and constituted its own emerging artistic and technical practice during the industry’s first two decades. Here are films that rejoice in their own constructedness and, in different ways, present the unpresentable by transcending the limits of the photographic image.
Films:
1833-1897 (19 min)
Cinémathèque française
1900 (2 min)
UCLA Film & Television Archive
1909 (5 min)
Filmoteca de Catalunya
c. 1910s (1 min)
Irish Film Institute
1916 (10 min)
Cinémathèque royale de Belgique
1919? (1 min)
Eye Filmmuseum
1921-2 (3 min)
Museo del Cine Pablo Ducrós Hicken
1924 (7 min)
Svenska Filminstitutet
1926 (14 min)
National Film Archive of Japan
1929 (7 min)
Ngā Taonga Sound & Vision
Jacques Verdier - Institut Jean Vigo
La guerre d'Espagne (69 min)
L’Institut Jean Vigo possède dans ses collections un film 16mm amateur, L’exode d’un peuple, avec des images rares de la « retirada », l’exode des républicains espagnols. Du 28 janvier au 13 février 1939, ce sont 475 000 personnes qui passent la frontière française, en particulier au col du Perthus. Pour mettre ce film en perspective, je vous propose un programme autour de la guerre civile espagnole uniquement constitué de films amateurs ou professionnels réalisés à l’époque. Tout d’abord trois films avec des images de guerre issus de l’Academy Film Archive, le la Cinemateca Portuguesa et de la Filmoteca de Catalunya. Suivent deux films sur la présence étrangère dans les rangs républicains issu de la Filmoteca Valenciana et la Filmoteca de Catalunya. Vient ensuite le film de l’Institut jean Vigo sur l’exode de républicain. Enfin, le programme se termine par un film issu de la Cineteca Nacional de Mexico sur l’accueil des enfants de républicains par le Mexique.
Films:
1936 (7 min)
Cinemateca Portuguesa
1938 (3 min)
Filmoteca de Catalunya
1937 (2 min)
Filmoteca Valenciana - Institut Valencià de Cultura
1939 (30 min)
Institut Jean Vigo
1938 (13 min)
Cineteca Nacional (Mexico)
Archer Neilson - Yale Film Archive
How We Roll (88 min)
It's wheels on reels with this selection of cycling films, which begins with a tour through the the history, mechanics, and responsibilities of riding. We then look at the lifetime of delights bikes can bring, from childhood exploration through sports and stunts. Enjoy the ride, but remember: "you have a duty to the world when you ride on your bike."
Films:
1965 (25 min)
Library of Congress
c. 1970 (14 min)
Indiana University Libraries Moving Image Archive
1949 (9 min)
Irish Film Institute
1940s (2 min)
Museo Nazionale del Cinema
1951 (15 min)
National Library of Scotland Moving Image Archive
1945 (8 min)
Imperial War Museums
c. 1950 (5 min)
National Film and Sound Archive of Australia
1947 (10 min)
BFI National Archive
Mafalda Melo - IndieLisboa International Film Festival
Dos and don'ts: a field guide to 2021 (90 min)
Either you decide to follow unsolicited advice or you don't, here is a compendium that just might get you through this year (or is it era?). Cigarettes help with stress, but also do sports, and in this program they are not mutually exclusive. Don't let people tell you you're unfit for anything you'll find, make up your own mind. And remember that your personal hygiene today will influence your future tomorrow. Don't worry, here you won't find wellness gurus but you will discover practical information on how to have fun, keep clean, or maintain viruses afar. And other essential survival skills are also included: knowing how to recognize potentially deadly animals, and potentially deadlier political regimes. In the end, a dream of equality and longed freedom. And one last cigarette puff to finish the evening. I hope you find pleasure in this array of unsolicited guidance.
Films:
1982 (1 min)
Academy Film Archive
1971 (11 min)
Australian Centre for the Moving Image (ACMI)
1938 (9 min)
CSC - Cineteca Nazionale
1921 (1 min)
BFI National Archive
1930 (2 min)
Cinémathèque suisse
1962 (29 min)
Indiana University Libraries Moving Image Archive
1914 (7 min)
Museo del Cine Pablo Ducrós Hicken
1957 (29 min)
Library of Congress
1980 (1 min)
Cinemateca Nacional del Ecuador
Juan José Pereira -
Points of view about paraguayan culture (79 min)
A journey through the different views of Paraguayan culture, made by foreigners. Emphasizing different areas, from archives of espionage by the government of the United States through the Condor Plan, historical archives of the Spanish conquest, archival images of the great natural and cultural treasures of Paraguay, such as the Iguazu Falls and the musical genre called guarania. Being able to go through both socio-political and natural facts enriches the program to expand the look made by foreigners about a country, in this case: Paraguay.
Films:
1971 (2 min)
Arquivo Nacional
1961 (30 min)
Filmoteca Española
1948 (9 min)
El avance del Plan Cóndor sobre América Latina
Tamara Shvediuk - Gosfilmofond of Russia, Moscow
Back in time. A brand new program for a Moscow cinema in 1909 (67 min)
On November 10th 1909, one of the first cinemas of Moscow opened and today, after a long period without any activity, it has re-opened again with its original appearance and architecture. This cinema is a symbol of endurance of film culture over a 112-year period and it can be celebrated with an imaginary program which includes the best of the international film productions of the time, together with some contemporary newsreels. This selection of titles is not random, but has been made according to what we know of the Russian distribution business of that period, that means the heavy presence of French and Italian films released by specific foreign companies, the genres that were offered to the audience, running times and number of films for every screening and so on.
Films:
1909 (3 min)
Nasjonalbiblioteket / National Library of Norway
1909 (8 min)
Filmoteca de Catalunya
1909 (4 min)
Museo Nazionale del Cinema
1909 (14 min)
CSC - Cineteca Nazionale
1909 (2 min)
Det Danske Filminstitut
1909 (36 min)
Cinémathèque française
Enrique Moreno Ceballos - Mexico Silent Film Festival
Diverse Forces: Women and Work in Early 20th Century (53 min)
How revealing can be early cinema about the diverse bodies and identities that faced with courage (and with no other choice) the heights of industrialization during the first decades of 20th century. In the light of Feminist Film History and free access of digital archive material, it is possible for us now to make cinematographic contact with women of different countries, and not only learn from their work experiences, but also to incorporate them into the collective demands of gender justice that are transforming the world we live in. In this regard, we encounter Argentinian factory employees that liberate their bodies in the public space by dancing on it; French young girls growing up in the middle of domestic labor and the manufacture of war materials; Mexican women active and visible in the photographic business; or Edison's workers whose faces remain hidden from the camera. Reunited, they invite us to think about how our contemporary societies have changed (or not) and how gender is still an element of importance for understanding the dynamics and transformations of our work spaces.
Films:
1904-11 (3 min)
Museo del Cine Pablo Ducrós Hicken
1914 (7 min)
Eye Filmmuseum
1926 (1 min)
Cineteca Nacional (Mexico)
1916 (1 min)
BFI National Archive
1916 (9 min)
Centre national du cinéma et de l'image animée - Direction du patrimoine cinématographique
1922 (24 min)
Library of Congress
María Hernández - MA Preservation and Presentation of the Moving Image (UvA) graduate
Collective Grief (60 min)
At a time when we are witnessing the impact of inordinate levels of loss globally, the amount of distress we may be experiencing can be identified as a collective sense of grief. In addition to human losses, we are mourning the loss of many other things that were part of our everyday lives until recently. We are mourning for the loss of control and normalcy, the absence of socialization and proximity to our loved ones, the economic costs and the insecurity for the future. And, while grief is natural, it can easily become overwhelming, especially under forced isolation, making it difficult to find connections and heal. It is more important than ever to be reminded of the value of relying on social support in order to cope with grief. Paying respects to the victims is as important as giving meaning to what we feel, allowing us to move forward. This is something that has been reflected in funerary rites since the origins of humanity. This selection of films reflects how important it is, has been, and will be, the development of communal rituals to process loss. Across different geographic spaces and time periods we find common grounds. Music, signs, costume etiquette, recitation of commemorative speeches, and, above all, the collective presence of people, whether members of a living community, political supporters or family members.
Films:
1923 (3 min)
Moving Image Research Collections - University of South Carolina
1964 (5 min)
BFI National Archive
1917 (8 min)
Eye Fimmuseum
1935 (6 min)
Filmoteca de Catalunya
2007 (1 min)
Indiana University Libraries Moving Image Archive
1910 (17 min)
Cineteca MNC
1910 (4 min)
Film Archive Thailand
1960 (9 min)
Cinemateque Bretagne
1910 (7 min)
National Film Archive of Japan
David Havas - Narodni filmovy archiv in Prague
Television: Friend or Foe? (85 min)
Television as a media term is currently dissolving. Former cinema rival faces a similar re-evaluation as cinemas faced at the time of the advent of television. Vilem Flusser, Shirley Clarke or Rene Berger saw television as early as in the 1960s as an instrument of anti-communication and imperative, which forgets to engage in dialogue with the viewer, but also as a medium whose potential has never been fully realized. Can television archeology suddenly become a cinema programme? Can experimental television works by Chris Marker, Jean Renoir, Peter Greenaway and other authors be discovered for the film viewer? The following selection of short films includes works that revise television technology and its beginnings as a playful tool that stood at the birth of video art and multimedia, as a source of ontological certainty of man, as well as a powerful ideological tool that must be subjected to subversion of the audience and auteurs. However, this kind of subversion has always found it very difficult to gain space in television broadcasting. NOTE: For the first pioneering multimedia work by Ludwig Hirschweld-Mack, please scroll down at the website as there is no direct link for the "Cross-Play."
Films:
narrated print 1965 (original 1923) (10 min)
Harvard Film Archive
1951 (4 min)
Ngā Taonga Sound & Vision
1971 (33 min)
Wisconsin Center for Film and Theater Research
1972 (1 min)
Imperial War Museums
1978 (9 min)
Filmoteka narodowa - Instytut Audiowizualny (FINA)
1969 (26 min)
Filmoteca Española
1964 (2 min)
UCLA Film and Television Archive
Federico Striuli - Film festival programmer / Ph.D graduate (Film studies)
WAR/VIRUS. A silent tribute to doctors, nurses and patients (77 min)
The current COVID-19 pandemic outbreak is a war to mankind not too different from the conventional warfare among troops in the early 20th century. This is all the more true from the point of view of the people on the other side of the “barricade”, namely doctors, nurses and patients, authentic unknown heroes on the “battlefield”. In the silent period of cinema, a significant number of newsreels focused on the plain portrayal of hospitals and on the promotion of new health services. Within this category, we find the most classical non-fiction films, where the visits of aristocrats, politicians or officers were shown at length to the detriment of an honest depiction of pain and illness, which was almost always missing. Then, particularly during the first world war and maybe not too much on purpose, newsreels and scientific footage showed what violence and death actually meant, and those images are still a shocking lesson for us all. Some of these harrowing pictures have been rediscovered quite recently and they will not fail in appalling the audiences, not for the footage itself, but for the sense of unfairness and cruelty they convey. All this would be too unbearable, and so some useful suggestions on how to protect ourselves from a “non-specific” pneumonia virus (echoing the current war on the virus) and the fact that it is still possible to laugh about doctors, nurses and patients (and together with them) will close the program, leaving us on a high note and, possibly, with a little more hope for the future.
Films:
1917 (9 min)
Národní filmový archiv
1913 (7 min)
Jugoslovenska Kinoteka
1918 (11 min)
Cinémathèque Royale de Belgique
1918 (7 min)
Bundesarchiv
1919 (18 min)
BFI National Archive
1918 (7 min)
Imperial War Museums
1915 (10 min)
Eye Filmmuseum
Ruben Treiber - MA Film Heritage programme, Filmuniversität Babelsberg Konrad Wolf
Capturing Ethnics (90 min)
Deeply interwoven with the advent of film is the will of filmmakers to present the foreign to the audience in their home cinemas. The early ethnographic films offered the western, entertainment thirsty gaze, a never-ending pool of unique and in the long run seemingly repetitive images full of unusual appearances and exotic traditions and customs. Later films still used comparable imagery. Seen from a contemporary, critical perspective, the films reveal colonial structures. They are sometimes shown indirectly, for example when western travellers wave into the camera during local ceremonies, and sometimes directly, when the British responsibility for its colonies is addressed. The selection of curated films offers the audience space to reflect on some generally practiced self-evident aspects of filmmaking.
Films:
1984 (1 min)
Library of Congress
1940 (27 min)
Imperial War Museums
1960 (1 min)
Magyar Nemzeti Filmarchívum / Hungarian National Film Archive
1917 (2 min)
Arhiva Naţională de Filme – Cinemateca Română
1960 (3 min)
Arquivo Nacional
1904 (3 min)
BFI National Archive
1919/1930 (8 min)
Library and Archives Canada / Bibliothèque et Archives Canada
1937 (8 min)
Cinemateca Brasiliera
1961 (16 min)
Indiana University Libraries Moving Image Archive
1962 (16 min)
Det Danske Filminstitut
Maren Vöge - MA Film Heritage programme, Film University Babelsberg Konrad Wolf
A Ghost Picture Show (81 min)
This compilation brings ghosts and phantasmagoria from all round the globe to your screen. Ghost stories have been passed on from generation to generation worldwide, whether to teach a lesson, to amuse or to shock and provoke fear. Ghosts are versatile, they can be evil or good, and each culture has its own traditions and tales of nasty creatures from the underworld or of good-hearted, helpful spirits. Naturally, this abundance of ghost stories also found its way into the world of cinema. But how to portray the transcendental on-screen? Drawing on examples from several different countries, with some dating back to the very beginnings of the “horror genre”, this film selection illustrates the sheer variety of on-screen ghostly appearances: from haunted houses, through Greenland’s ghost myths, a Japanese genie, to games with the devil; from amusing illusions to animations and travelogues. The range of stories portrayed encompasses different perspectives and transcends genres, proving that ghosts are indeed everywhere and never cease to amaze.
Films:
1896 (3 min)
Ngā Taonga Sound & Vision
1908 (6 min)
Filmoteca de Catalunya
1911 (1 min)
Eye Filmmuseum
1925 (16 min)
National Film Archive of Japan
1931 (6 min)
Det Danske Filminstitut
1958 (3 min)
Lichtspiel / Kinemathek Bern
1965 (25 min)
Irish Film Institute
1975 (12 min)
Fondazione Cineteca di Bologna
1977 (3 min)
National Film and Sound Archive of Australia
Leona Schwarzer - MA Film Heritage programme, Film University Babelsberg Konrad Wolf
FOOD DIMENSIONS! (72 min)
As the old saying goes, "you are what you eat." Making decisions about what we eat is a key part of our everyday lives. Food not only satisfies our daily need for energy and sustenance, it has also become an increasingly political issue over the decades. A scarce resource in times of crisis; a mass product in times of affluence, ever available in the neon-light-drenched aisles of the local supermarket. Having dinner, cooking meals, talking about food: All signs of how ingrained food is in our social lives. Food's ability to literally "bring people together" is exploited at the hands of advertisers, who turn this essential commodity into merchandise. But there are also more pertinent issues at stake: Under which conditions is the food we eat produced? Who profits - and who does not? How can food production be made sustainable when the very future of our planet is at risk? Will the shift to organic food consumption solve this problem once and for all or is there more to consider? This collection of films is designed to give an impression of the multitude and variety of contexts in which food has always been a central and highly debated topic within and throughout societies.
Films:
1927 (9 min)
Eye Filmmuseum
1941 (6 min)
BFI National Archive
1960 (1 min)
Academy Film Archive
1926 (14 min)
National Film Archive of Japan
1948 (10 min)
National Film and Sound Archive of Australia
1985 (2 min)
Cinémathèque royale de Belgique
1982 (10 min)
National Library of Scotland Moving Image Archive
1917-1920 (10 min)
National Archives and Records Administration
1972 (6 min)
Lichtspiel / Kinemathek Bern
1945-1946 (1 min)
Cinémathèque des pays de Savoie et de l'Ain
1938 (1 min)
Filmoteca de Catalunya
1957 (1 min)
Nasjonalbiblioteket
Sina Blum - MA Film Heritage programme, Film University Babelsberg Konrad Wolf
Capital Cities Around the World (87 min)
Film has always had the power to transport us to new places, faraway or close. During a time in which we can no longer move as freely as we used to, the power of film to connect us with the rest of the world seems even more marvellous and vital. The following collection of films takes us on a tour of twelve capital cities all around the globe. Through the films, we are not only able to travel geographically but also to travel in time. We can visit cities as they existed in times long past, as in the case of Amsterdam in 1927. We can also witness them in times of change and upheaval, as in Bangkok in the 1950s. We travel to long-standing capitals like Edinburgh and can contrast them with cities that have only become their nation's capital more recently, like Brasília, or cities that held this status for a particular time, only to lose it again later, like Bonn. These historical perspectives challenge us to be more than mere tourists on a virtual trip around the world. The film about Copenhagen may not take itself too seriously, but most of the films in this collection are not as innocuous. Capital cities have, after all, always been at the centre of political attention. As such, their depiction on film is especially vulnerable to propaganda. Jack Cardiff's film of New Delhi in the 1930s is a particularly stark example. However beautifully shot the film may be, there is no denying its colonial overtones. This serves as a reminder that films should always be viewed in the appropriate historical context of their creation and the intentions of their makers. Thanks to film archives, we are able to explore these perspectives.
Films:
1939 (1 min)
Kvikmyndasafn Íslands
1927 (5 min)
Eye Filmmuseum
1960 (17 min)
Det Danske Filminstitut
1932 (1 min)
Jugoslovenska Kinoteka
1949 (1 min)
Filmoteka Narodowa – Instytut Audiowizualny (FINA)
1938 (9 min)
BFI National Archive
1957 (20 min)
Film Archive (Public Organization), Thailand
1994 (16 min)
Cinemateca Nacional del Ecuador
1976 (7 min)
Arquivo Nacional
Milan Bath - MA Film Heritage programme, Film University Babelsberg Konrad Wolf
How We See Animals (87 min)
This selection of films reveals the wide range of roles animals play in human life; how they can serve as a source of nourishment, companionship, entertainment and transport, but also as trophies or as a source of danger and disease. Jointly, the films reveal the versatile and contradictory ways in which animals shape our culture and ultimately our identity as a species.
Films:
1909 (7 min)
Cinémathèque royale de Belgique
1915 (6 min)
DFF – Deutsches Filminstitut & Filmmuseum
1918 (6 min)
Bundesarchiv
1914 (13 min)
Eye Filmmuseum
1930 (1 min)
BFI National Archive
1929 (2 min)
Cinémathèque des pays de Savoie et de l'Ain
1957 (1 min)
Filmoteka Narodowa – Instytut Audiowizualny (FINA)
1943 (11 min)
Imperial War Museums
1915 (7 min)
Nasjonalbibliotheket
1926 (5 min)
Kansallinen audiovisuaalinen instituutti
1908 (4 min)
Museo Nazionale del Cinema
1977 (1 min)
Lichtspiel / Kinemathek Bern
1972 (3 min)
National Archives and Records Administration
1949 (8 min)
National Film and Sound Archive of Australia
1938 (9 min)
Svenska Filminstitutet
Fernando Chaves Espinach - Film programmer and writer
By the Sea (79 min)
Basking in the sun or swimming in cold waters, there is plenty of fun to be had on the beach. FIAF archives offer us endless glimpses of the world’s seashores and an opportunity to reflect on how the sea shapes a community’s understanding of itself, from Greeland to Australia and back to Venice. Fun in the sun, toilers at sea, and icy seashores soak the programme in the endless maritime possibilities and make us think of the vacations we had planned before the pandemic forced us indoors. Though we might not go on holiday any time soon, these archival treasures remind us of that day on the beach, when we fell in love with the waves.
Films:
1976 (1 min)
Irish Film Institute
N.A. (7 min)
Mémoire Filmique Pyrénées-Méditerranée
1956 (11 min)
Cinemateca Portuguesa
1953 (14 min)
Svenska Filminstitutet
1955 (7 min)
Ngā Taonga Sound & Vision
1947 (14 min)
National Library of Scotland
1970 (9 min)
National Film and Sound Archive of Australia
1924 (11 min)
Library and Archives Canada
N.A. (4 min)
Museo Nazionale del Cinema
Ager Mendieta and Violeta Cussac​ - Filmoteca Española
Festivals, popular festivities and carnivals of the world (64 min)
We've compiled a series of documentary films which celebrate life in squares, theaters, villages... From the great Rio do Janeiro carnival to the most traditional festivals in Madrid neighbourhoods, including Thai ceremonies and regional Mexican fairs.
Films:
1930 (11 min)
Filmoteca Española
1976 (4 min)
Arquivo Nacional (Brasil)
1937 (2 min)
Filmoteca de Catalunya
1961 (10 min)
ACMI Collection (Australia)
1932 (1 min)
Jugoslovenska Kinoteka
1920 (2 min)
National Audiovisual Institute (Finland)
1964 (3 min)
Institut Audiovisuel de Monaco
1905 (13 min)
Cinémathèque Suisse
1936 (8 min)
Cineteca Nacional (México)
Ager Mendieta and Violeta Cussac​ - Filmoteca Española
Agricultural world in images (88 min)
A lot of festivities are celebrated at this time of year along the northern hemisphere, celebrating the awakening of nature and the fertility of the land. Thanks to the FIAF archives we can have a picture of many customs and relatioships with the agriculture over time. This is a compilation of the agrarian life and a look to the agricultural sector, from France to Mexico at the beginning of 20th century, until Ecuador and United States in the 1960s.
Films:
1952 (3 min)
Arquivo Nacional (Brasil)
1947 (15 min)
ACMI Collections (Australia)
1920 (10 min)
CNC French Film Archive Collections (France)
192? (5 min)
CulturArts IVAC (Spain)
1940 (10 min)
Wisconsin Center for Film and Theater Research
1965 (27 min)
Cinemateca Nacional Ecuador
1961 (17 min)
Indiana University (USA)
Isabelle Vanini - Forum des images
A la découvertes des trésors du cinéma d'animation (II - long-métrage) (75 min)
Pour les curieux qui ont un peu de temps, un long métrage d’animation hongrois magnifique, l'épopée romantique et psychédélique du réalisateur hongrois Marcell Jankovics. « Ce film raconte les aventures extraordinaires du jeune berger János Vitéz, qui abandonne son village natal pour rejoindre une compagnie de hussards en route pour la France, afin de mieux combattre l’invasion turque. Avec très peu de dialogues, des dessins très stylisés, une palette de couleurs très étendue et une galerie de personnages mythologiques à la forme changeante, "Jànod Vitéz" le premier film d'animation hongrois, est un magnifique voyage. Il s’agit d’une commande officielle, destinée à commémorer le 150 ème anniversaire de Sandor Petofi, poète national. » (http://www.baz-art.org/archives/2019/06/14/37427253.html)
Films:
1973 (75 min)
Magyar Nemzeti Filmarchívum / Hungarian National Film Archive
Isabelle Vanini - Forum des images, Paris
A la découvertes des trésors du cinéma d'animation (I - courts-métrages) (63 min)

Ce programme est une « balade » au sein des collections des différentes archives internationales de la FIAF, à la découverte des trésors qu’elles recèlent en cinéma d’animation. Non thématisé, suivant plutôt un classement chronologique, il témoigne de mes émerveillements et envies de faire découvrir à mon tour ces films.

1.Un des premiers, si ce n’est le premier documentaire animé de l’histoire du cinéma, signé Winsor Mc Cay – créateur de Little Nemo, pionnier du cinéma d’animation (Gertie le dinosaure) et artiste engagé (Le naufrage du Lusitania est un film de propagande recréant le naufrage en 1915 du paquebot britannique RMS Lusitania, lequel n'a jamais été photographié, afin de convaincre les Etats-Unis d’entrer dans la 1ère Guerre mondiale).

2. Pour rester sur les grands pionniers, voici un film du trop rare Segundo de Chomon, l’un des maîtres incontestés des premiers trucages cinématographiques et des débuts de la mise en couleurs des images animées.

3. On saute dans les années 40, avec ce film produit par le ministère britannique de l’Information de la Seconde Guerre mondiale, sur la sécurité routière encourageant les enfants à s’arrêter et à regarder avant de traverser la route.

4. Autre véritable découverte, pour moi qui aime beaucoup les films de marionnettes, une publicité de 1948, dans le fonds de la Cinémathèque suisse.

5. Voici le premier dessin animé thaïlandais réalisé par Payut Ngaokrachang dont je ne sais rien (il a une page wikipedia) ! Une belle curiosité…

6. Au gré de mes pérégrinations, je suis tombée sur le cinéaste d’animation danois Bent Barfod qui a contribué au renouveau de la production d’animation danois (et dont la marque de fabrique est le papier découpé). Une nouvelle cinématographie inconnue à explorer.

7. Petit bond dans les années 70, je découvre, dans les archives du Lichtspiel/ Kinemathek Bern, un très joli film de Bettina Truninger, dessinatrice, peintre, caricaturiste et illustratrice.

8. Pour ceux qui ne le connaissent pas, le grand réalisateur d’animation polonais Jerzy Kucia que j’ai eu le plaisir de fréquenter à plusieurs reprises, est à l’honneur à la Filmoteka Narodowa - Instytut Audiowizualny (FINA).

9. Un passage par le site du Eye Filmmuseum me permet de revoir un peu d’images de William Kentridge. Originaire d’Afrique du Sud, avant tout dessinateur, il est également graveur, sculpteur, cinéaste, acteur et metteur en scène. Son œuvre foisonnante offre une vision tout à la fois poétique et critique de sujets parmi les plus délicats comme la décolonisation, l’Apartheid, les conflits politiques ou le rôle de l’Afrique dans la Première Guerre mondiale.

10. Pour finir, deux œuvres de jeunes cinéastes des années 2010 :

* Dans le fonds d’Indiana University, je visionne un extrait d’un film en volumes à la personnalité forte, signé Kristin Dowell, qui n’est pas sans faire penser au travail des frères Quays.

* A l’époque, la découverte du court métrage d’Adrien Merigeau en festival fut un enchantement, le retrouver et le partager, est une joie : Old Fangs (co-réalisé avec Alan Holly) sélectionné à Sundance en 2010, est petit bijou du film d’animation dont le trait et le style semblent à première vue éloignés de l’univers « celtique » de Tomm Moore mais qui à y regarder de plus près contient déjà de jolies passerelles entre les deux cinéastes.

Films:
1918 (15 min)
Library of Congress
1923 (8 min)
Museo Nazionale del Cinema
1947 (1 min)
Imperial War Museum
1948 (8 min)
Cinémathèque suisse
1955 (7 min)
Thai Film Archive
1958 (6 min)
Danish Film Institute
1972 (3 min)
Lichtspiel/ Kinemathek Bern
1979 (2 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
2014 (1 min)
Indiana University Libraries Moving Image Archive
2010 (11 min)
IFI Film Archive
Oliver Hanley - Film University Babelsberg Konrad Wolf / Member of FIAF's Programming and Access to Collections Commission
Let's Go To The Movies! (88 min)
Famously described by Martin Scorsese as "the church of the 20th century", where the masses flock to worship a veritable pantheon of (screen) gods, the cinema has served as a key source of information and entertainment, as a valuable propaganda tool, and as a major place of social interaction - on physical, emotional and intellectual levels - for 125 years. Until only recently, the cinema has been a constant fixture in the lives of human beings of all ages, races, genders and creeds, and has endured even throughout humankind's darkest hours in the past (including two world wars). This programme brings together 14 short films and extracts of various forms and genres in a collective celebration of the dispositif cinema and the act of cinema-going. The films are presented below in chronological order, but viewers are welcome to dip in and out at any point they like. When the inept eponymous character of "Arthème opérateur" (played by Ernst Servaes, who also directs) answers a job ad for a cinema projectionist, chaos ensues. In "Al cinematografo, guardate... e non toccate" (At the Cinema Show), a production of the Turin-based Itala company, it is this time not the projectionist but a licentious audience member who wreaks havoc in the movie theatre. The German propaganda film "Das Kino als Berater" from animation legend Julius Pinschewer presents an advertisement for war bonds as a film-within-a-film. "Running a Cinema", from the British "Memoirs of Miffy" cartoon series, deftly sends up a typical cinema programme of the time. The Finnish educational film "Elokuvateatteri ennen ja nyt" (A Movie Theatre Before And Now) blends documentary and fiction techniques to inform on fire-safety measures at a (then) state-of-the-art cinema. In "Ein Parkett der Prominenten", a cavalcade of Hollywood stars can be seen parading before the camera at the gala premiere of Frank Lloyd's Academy Award-winning biopic "The Divine Lady". "Midt i Byens Hjerte" (At the Heart of the City) depicts the construction of the Palladium cinema in Denmark's capital Copenhagen. Out-take footage from a wartime American newsreel shows a mobile cinema used for entertaining American troops on the front lines being set up. The educational film "Let's Go To The Movies" presents a compact history of the American motion picture industry. Confectionery has been a common fixture of the cinema-going experience since time immemorial, as the silent advertisement for the Lyceum Cinema in Dumfries, Scotland, illustrates. A Hungarian newsreel item from March 1960 humorously demonstrates how not to behave at a cinema screening. A Thai news report from 1st October 1967 documents the introduction of automatic ticket dispensers at local cinemas. Another newsreel extract reports on the re-opening of the refurbished cinema at the Fluminense Federal University in Brazil in 1974. Finally, the short Mexican documentary "Cine Móvil México" chronicles an ambitious mobile cinema project by the Cineteca Nacional to bring the wonder of cinema to the remotest parts of the country.
Films:
1910 (7 min)
Eye Filmmuseum
1912 (6 min)
Museo Nazionale del Cinema - Fondazione Maria Adriana Prolo
1918 (2 min)
Bundesarchiv
1921 (7 min)
BFI National Archive
1929 (16 min)
Kansallinen audiovisuaalinen instituutti / National Audiovisual Institute
1929 (7 min)
Österreichisches Filmmuseum
1938 (8 min)
Det Danske Filminstitut
1944 (3 min)
Moving Image Research Collections - University of South Carolina
1948 (10 min)
Library of Congress
1950s (2 min)
National Library of Scotland Moving Image Archive
1960 (2 min)
Magyar Nemzeti Filmarchívum / Hungarian National Film Archive
1967 (3 min)
Film Archive (Public Organization), Thailand
1976 (13 min)
Cineteca Nacional (Mexico)
Laure Gaudenzi - CINEMATHEQUE UNIVERSITAIRE
Il y a des visages plus beaux que le masque qui les couvre (55 min)
Formule empruntée à Jean-Jacques Rousseau dans "Emile ou De l'éducation" . On ne s'évade pas du temps... De 1903 à 2020, voici un éventail de masques composé de huit propositions qui tendent vers toujours plus de fraternité, de complicité et de solidarité. Avec une pensée pour celles et ceux qui n'ont pas la tête à jouer un peu.
Films:
1993 (20 min)
Svenska Filminstitutet
1923 (4 min)
Magyar Nemzeti Filmintézet Filmarchivum
1942 (12 min)
Cineteca Nacional (México)
1931 (1 min)
Filmoteka Narodowa - Instytut Audiowizualny
1930 (3 min)
Cinemateca Portuguesa
1920 (3 min)
Moving Image Research Collections - University of South Carolina
2020 (11 min)
Cinémathèque française
Foteini Klini - MA Film Programming and Curating student, Birkbeck College
House: a structure that people live in (68 min)
Newsreels, documentaries, commercials and sponsored films shape this programme as an attempt to observe the multifaceted nature of the house. From a driftwood cabin made by Captain Adelbert Smith in 1929, to a prefabricated house chosen by the Hansen family in 1964, the house as a building varies in conception, construction process, shape, form and function. Focusing on the building process, verbally or visually, these films visit the house as a structure that produces space, shelter and relationships. The house in the programme acts as an experiment, as intellectual property, a work of art, a construction challenge, an opportunity to showcase craftsmanship and as a temple of dreams. The films date from the early 1920s to the late 1960s, with the final film offering a glimpse into what was then the future, into 1999. "So", as Adelbert Smith said in 1929, "I live here now all the time - I'm going to make it my home."
Films:
1923 (1 min)
Ngā Taonga Sound & Vision
1929 (5 min)
Moving Image Research Collections - University of South Carolina
1931 (3 min)
BFI National Archive
1946 (11 min)
National Film and Sound Archive of Australia
1956-1958 (14 min)
Cinémathèque de Bretagne
1964 (7 min)
Det Danske Filminstitut
1967 (1 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1967 (26 min)
National Film Preservation Foundation: Screening Room
Ann Cameron - National Library of Scotland Moving Image Archive
Scaling the Heights! (88 min)
Coming from Scotland, 'The Land of the Mountain and the Flood', I was drawn into the FIAF archives to find films that would take me somewhere far away from that overly romantic view of mists and heather! I wasn't disappointed. I have arranged 13 films chronologically to encourage you to escape and explore. I discovered some quirky examples of film-making in the mountains (try driving a car up one or having a sit down dinner on a bridge between them!) But what really struck me was the beauty of silence. A lot of the films in this selection happen to be silent, and I am in awe of those early pioneers, lugging their camera into dangerous situations to capture snapshots of a time and place now gone. Ascend Mount Hood in Oregon and join a phantom ride through The Lotschberg Tunnel back in the early 1900s at the click of your mouse. Sound features too, of course. For example, the Chilean Spanish commentary on copper mining in the Andes, the unusual music accompanying shepherds in Slovenia, or the intense explanation of rope exercises in the Pyrenees - although I couldn't always understand them such soundtracks inexplicably enhanced the experience of watching the films. Make sure you stay until the very end to watch an awe-inspiring film that brings together imposing scenic shots with sound and fury - this film as well as the others before demonstrate why it is quite unlike any other medium for transporting you to another time and place. (Finally, a thank you to all the FIAF archives for their careful preservation and documentation of all the films selected in this programme. Without the programme notes and catalogue information the films would certainly not be as meaningful)
Films:
1911 (1 min)
British Film Institute
1913? (1 min)
Eye Filmmuseum, Netherlands
1910 (4 min)
The New Zealand Archive of Film, Television and Sound Ngā Taonga Whitiāhua Me Ngā Taonga Kōrero
1917 (12 min)
National Film Preservation Foundation, USA
1930s (1 min)
Museo Nazionale del Cinema Film Collection, Torino
1934 (2 min)
Jugoslovenska Kinoteka
1937 (2 min)
Filmoteca de Catalunya
1940 (10 min)
National Screen and Sound Archive of Wales/Archif Sgrin a Sain
1955 (5 min)
National Library of Scotland Moving Image Archive
1957 (9 min)
National Film and Sound Archive of Australia
1957 (18 min)
Cineteca National de Chile
1967 (9 min)
Indiana University Audio Visual Center
1970 (14 min)
IFI Irish Film Archive
Florian Höhensteiger - MA Film Heritage programme, Filmuniversität Babelsberg Konrad Wolf / Zeughauskino Berlin
Booze and Us (84 min)
This compilation highlights the joys and dangers which come with the production and consumption of alcoholic beverages. We see the highly specialized processes of brewing beer, making wine and distilling cognac, followed by the always compulsory tasting at the end. We will be informed about the rich taste of Australian wine, enlightened about the secrets of a Scottish brewery located in the oldest inhabited building of the country and can enjoy the music of the Portuguese field workers while harvesting the grapes. However, each glass comes with the risk of loss of control and making a fool of yourself or in the worst case alcoholism. The second part of this film programme shows, why it is unwise to drink while boating, that too many drinks can make the camera swing in unison with the drunkard, as well as how to handle your liquor properly at an US college party and ultimately how liquor should be dealt with in the eyes of the prohibitionists: spilled out in the street. In between advertisements for Finnish beer, bourbon from New Zealand and others glamorize the ideal world of drinking and enjoying yourself, while the German filmmaker Harun Farocki satirizes the made up world of the commercials in an early student film.
Films:
1917 (1 min)
Danish Film Institute
1962 (12 min)
Australian Centre for the Moving Image
1960 (1 min)
Kansallinen audiovisuaalinen instituutti
1975 (6 min)
National Library of Scotland
1975 (5 min)
Cinémathèque des Pays de Savoie et de l'Ain
1982 (1 min)
The New Zealand Film Archive, Ngā Kaitiaki O Ngā Taonga Whitiāhua
1950 (12 min)
Filmarkivet Sweden
1955 (9 min)
Cinemateca Portugesa
1958 (1 min)
Nasjonalbibliotheket / National Library of Norway
1966 (5 min)
Deutsche Kinemathek
1917 (5 min)
BFI
1979 (5 min)
National Film & Sound Archive of Australia
1954-56 (1 min)
EYE Filmmuseum
1977 (15 min)
Indiana University Libraries Moving Image Archive
1928 (5 min)
University of South Carolina
Anke Hahn - Deutsche Kinemathek
Here is looking at you - KIDS! (84 min)
Children habe been popular "objects" for cameras ever since the beginning of cinema. They appear early in Home Movies, are seen in dramas and comedies as famous child actors or are focused on in educational or political documentaries. One might say that there is a natural affinity between children and cinema. Their (apparent) authenticity conveys truthfulness and charms the spectators. At the same time, they are the target of educational programs that put an end to their genuineness. The eleven films chosen for this programme combine these elements and include Home Movies, fiction films as well as documentaries from 1914 to 1969.
Films:
1928 (2 min)
Cinémathèque des pays de Savoie et de l'Ain
1913 (23 min)
Eye Filmmuseum
1914 (7 min)
Eye Filmmuseum
1969 (11 min)
Deutsche Kinemathek
1944 (1 min)
Library and Archives Canada
1936 (2 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1934 (2 min)
Cineteca Nacional (Mexico)
1962 (1 min)
Nemzeti Filmintézet Filmarchívum
1957 (2 min)
Australian Centre for the Moving Image (ACMI)
1956 (32 min)
Lichtspiel / Kinemathek Bern
1929 (1 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA
Massimo Benvegnú - Film Programmer
Massimo's Tour of Italy from His Living Room (80 min)
My homeland has been heavily hit. This programme is an hommage and a reminder of the affection Italy receives from the whole World. Almost every FIAF institution holds images coming from there - so I made a choice for the unusual and the aesthetically challenging instead of just going for the "grand tour" pretty postcard effect. Also, I made a point of selecting different formats (Super8, 16mm...) and narratives, have different voices be heard than the usual. What better moment than this, to dig a little deeper, and explore new territories, among the very familiar? So, heavily decayed nitrate film of Venice juxtapose with the fairly tinted frames of an untouched countryside in 1909, breath-taking aerial images of Rome and Pompeii taken from an airship (!) bounce on the deliciously pop colors of the Riviera in the 1950s. And while a solitary guard and his dog practice social distancing patrolling the snow caps of Vallée d'Aoste, it all ends with a kolossal production in Super8, soundtrack and all, with a group of French tourists hopping on and off through the most beautiful sights of Northern Italy. A good memory of what it was like, and a wish to be able to do it again soon. I hope you all enjoy the ride, and thanks again to the institutions for the materials I used. MB (Technical notes: Film 1 Italian intertitles, musical soundtrack. Film 2 Norwegian intertitles, silent. Soundtrack suggestion: Offenbach's 'Barcarolle'. Film 3 Italian intertitles, silent. Soundtrack suggestion: Chopin's 'Fantaisie Impromptu (Op.66)' or The Smashing Pumpkins' 'Tonight, Tonight'. Film 4 English titles, musical soundtrack. Film 5 French voice-over, sound. Film 6 French titles, musical soundtrack. In all cases full comprehension of texts and dialogues is not necessary to follow the narrative or appreciate the content of the films. Enjoy!)
Films:
190? (3 min)
Museo Nazionale del Cinema, Torino
1909 (3 min)
Nasjonalbiblioteket, Oslo
1920 (11 min)
CSC - Cineteca Nazionale, Rome
1954 (21 min)
National Library of Scotland - Moving Image Archive, Glasgow
1970 - 1973 (9 min)
Cinémathèque des Pays de Savoie et de l'Ain, Veyrier-du-Lac
1980 (33 min)
Cinémathèque de Bretagne, Brest
Nour Ouayda - Metropolis Cinema Association | Cinematheque Beirut
(G)rêve Générale - General Strike (68 min)
From trade union general strikes, to May Day marches, student revolts, queer uprisings, and anarchist riots this program looks at various figures of protest. Cinema and the media (much of the conserved footage are official newsreels) followed and recorded these events, creating an ever-growing archive of socio-political contestation that spans across the history of moving images. In the current global context and after months of multiple and simultaneous uprisings sparking all over the planet, looking back at these images places our bodies today in the continuity of those that lead similar fights before us.
Films:
1969 (8 min)
Fondazione Cineteca di Bologna
1919 (1 min)
Library and Archives Canada / Bibliothèque et Archives Canada
1911 (2 min)
National Library of Scotland Moving Image Archive
1947 (1 min)
Cineteca Nacional (Mexico)
1964 (1 min)
Arquivo Nacional
1970 (12 min)
Library of Congress
1913 (7 min)
BFI National Archive
1922 (2 min)
Irish Film Institute
1947 (1 min)
Filmoteka Narodowa - Instytut Audiowizualny (FINA)
1934 (4 min)
Filmoteca Valenciana - Institut Valencià de Cultura
Edoardo Milan -
Dance dance dance (22 min)
FIAF archives offer us access, amongst other things, to an incredible number of films showcasing cultural expressions from around the world. This selection brings together a series of videos witnessing powerful and diverse dancing traditions from Australia to Denmark, from Algeria to South Carolina. As Pina Bausch famously said: "Dance, dance, otherwise we are lost".
Films:
1895-1900 (3 min)
Cineteca di Bologna
1897-1899 (1 min)
Filmoteca Española
1928 (5 min)
Moving Image Research Collections - University of South Carolina
no date (2 min)
Cinémathèque de Bretagne
1915 ca. (6 min)
National Library of Scotland Moving Image Archive
1898 (1 min)
Library of Congress
1898 (1 min)
National Film and Sound Archive of Australia
1981 (1 min)
BFI National Archive
1930 (2 min)
Det Danske Filminstitut
Christophe Dupin - FIAF
Football! (85 min)
Over the last few weeks, many of us football (soccer) fans have been deprived of football games on television (in the stadium). However, FIAF archives are full of great films about the Beautiful Game. Here's below a programme of films about football. Match reports from all around the world (going back to the start of the last century), documentaries and short fiction about the game, interspersed with a few football-related adverts.
Films:
1911 (1 min)
Cineteca Nacionale de Chile
1918 (1 min)
Magyar Nemzeti Filmarchívum / Hungarian National Film Archive
1921 (1 min)
BFI National Archive
1970 (2 min)
Arquivo Nacional
1922 (6 min)
Cinémathèque royale de Belgique
1935 (6 min)
Eye Filmmuseum
1970s (1 min)
IFI Irish Film Archive
1959 (4 min)
Cinémathèque de Bretagne
1978 (2 min)
FINA
1922 (5 min)
Danish Film Institute
1972 (10 min)
Filmoteca Española
1941 (4 min)
Imperial War Museums
1960 (1 min)
KAVI
1930 (11 min)
Library and Archives Canada / Bibliothèque et Archives Canada
1924 (3 min)
Nga Taonga Sound & Vision
1950 (1 min)
Swedish Film Institute
1971 (26 min)
National Film and Sound Archive of Australia
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