Portuguese Film Archive
Vickiana Sconyers
This film archive, compiled by Dr. Ines Lehmann, contains materials from the entire span of Portuguese film history, from silent movies and the films of the Estado Novo to new Portuguese cinema. The materials touching on the life and work of the famous Portuguese director Manoel de Oliveira are a special focus. The archive consists of fourteen ring binders and forty-nine archive boxes containing approx. 300 copies of newspaper articles on Portuguese film, reviews, interviews, scripts, film programs, film leaflets, photographs, documents on Portuguese film law and so on.
Cinemateca Portuguesa is a public institution dedicated to the diffusion and preservation of the filmic arts in Portugal and, in particular, of Portuguese Cinema. It functions as a film archive and promotes daily screenings of worldwide films at its headquarters, now located on Rua Barata Salgueiro in Lisbon. It was established in 1948.[1]
Filipa Csar is an artist, filmmaker, educator, and community organizer. Since 2011, Csar has been collectively researching the militant cinema practice of the African Liberation Movement in Guinea-Bissau, through the production of workshops, archives, films, performances, publications, and community gatherings.
If you have any questions about accessibility or require accommodations to participate in this event, please contact us at bam...@berkeley.edu or call us at (510) 642-1412 (during open hours) with as much advance notice as possible. More information on accessibility services.
Moving images and sound are part of our most cherished cultural heritage. They capture time and place, and give shape to memory and history. They are also fleeting: they unfold in time, and are affected by time. Environmental factors, material decomposition, and increasingly also technological obsolescence threaten the carriers on which they are held, and therefore, endanger their accessibility.
In the Professional Master's programme in Heritage Studies: Preservation and Presentation of the Moving Image, we consider how we can deal with such threats. How can we preserve audio-visual materials for future generations? How can we present them, whether as a source of information, entertainment, or aesthetic enjoyment, and whether to broad audiences or specialist ones?
In recent decades, the use of digital technologies has profoundly transformed the ways in which moving images and sound are produced and consumed. Such developments also affect our audio-visual heritage, and the ways in which we preserve them and make them accessible. Inevitably, then, digital standards, tools and workflows figure prominently in the discussions we have in class and during field trips.
During their training at UvA, students in the Preservation and Presentation of the Moving Image programme consider different types of moving images and sound, focusing alternately on cinema, broadcasting, and media art objects (all of those in analogue and digital manifestations). In the first year of the programme, students spend acquiring critical knowledge; in the second, they put it into practice during an extensive internship.
Applications generally close with CSU at the end of November for the year before study commences. If you wish to apply, please try to meet this date. Applications after this date will be accepted if places are available.
If you are enrolling into the Graduate Certificate in Audiovisual Archiving (4 subjects). Note that if you wish to take only one subject, you can enrol as an Associate Student.
Teaching is both in German and English; thus a German language certificate is indeed required for the programme. That being said, international visitors have always been a vital and integral part of the student body, and the programme continues to embrace an international, global approach.
The Universidade Lusfona MA in Film Heritage offers an interdisciplinary training in two years that aims to meet the growing needs for documentation, conservation and restoration, programming and acces to audio-visual archives. Because of the technological evolution and the rapid expansion of various media, the MA main goal is to train specialists in the various areas of film collections, videos and new digital formats to promote the idea of a living archibe. Future professionals acquire solid theoritical and practical skilss throught disciplines related to film history and technologies, collections preservation and managments, film museology, and heritage curatorship among others.
Among other institutions, the MA in Film Heritage collaborates with the Portuguese Cinemateca-Film Museum and the National Archive of Moving Image, as well as with digital laboratories specialized in film restorations as IRMALUCIA and Cineric.
The MA provides a strong academic foundation and relates the latest theoretical thinking to critical practice. It encourages an independence of intellectual thought and spirit, equipping you with the necessary skills and historical and critical knowledge to nurture film and film culture. This MA offers a historical, intellectual and conceptual understanding of film programming, curatorial practice and moving image culture. The curriculum involves:
The MA combines these strong historical, theoretical and academic foundations with site visits across London, as well as providing internships at leading cultural institutions and film centres, such as the ICA and BFI. You will have the chance to programme events for organisations as diverse as BFI Education, the Korean Cultural Centre and other film centres around London.
This Master is the only program devoted to conservation in cinema, television and photography; hence our special interest in reaching agreements with film libraries in Latin America. We would be delighted to send them an informative brochure about the Program.
The Moving Image Archive Program is a two-year course of study that trains future professionals to manage preservation-level collections of film, video, new media, and other types of digital works. The program provides prospective collection managers and archivists with an international, comprehensive education in the theories, methods, and practices of moving image archiving and preservation.
INAsup provides a two-year course organized in three semesters of coursework and a semester working as an intern within a company. The program combines hands-on training and theoretical studies. The teaching involves professional actors together with university professors.
The programme is based on:
This specialisation is characterised by the fact that the first year takes place at Paris 8, and the second year in international mobility in one of the countries of the network of international partner institutions, the multicultural dimension being a specificity of this training and of the fields of activity of conservation and dissemination of film and audiovisual heritage. The Master includes two professional internships of at least three months' duration, the first year in the Paris region and the second year abroad.
A long-term internship (at least three months) in a structure that promotes film heritage (company, festival, museum film library or film archive), completed by a methodological seminar, functioning as a follow-up to the studies and the internship.
During the two internships, the student will the various tasks normally carried out in the archives and the ongoing work in progress; they may also carry out a particular programme of investigation. In all cases, a detailed internship report is written by the student and approved by the double internship supervisor.
At the end of the first year, the student presents a report on the state of the art of his/her subject of study, clearly presenting the problematic and the corpus, bibliography and references of the sources consulted or requested.
N.B.: As international mobility in the second year does not allow for a make-up session, all the courses in the curriculum must have been taken and validated, and their grades obtained before the M1 defence held in June. At the end of the second year, the student presents and supports a final thesis for the award of the Master's degree.
The collaboration with Filmmuseum Potsdam, the university's artistic and practical degree programs as well as numerous Berlin-Brandenburg-based institutions preserving film culture ensures that practice is added to the theoretical parts of the program. Audiovisual media have an ever-increasing impact on daily life in our societies. The settings in which these media are produced and used as well as the involved technologies and materials are becoming more and more diverse and complex. While the number of films is increasing every day, the period during which they are "new" is steadily decreasing. Every film that premieres today will be part of the film culture heritage of tomorrow. At the same time, every "old" film may be considered a "new" film as long as it hasn't been integrated in the canon or received enough attention.
In the future, there will be an increasing demand for specialists who review, archive, re-contextualize, and deal with the vast number of films that potentially belong to the global film heritage, who make them available to the public, and who ensure the transfer of knowledge about them.
The L. Jeffrey Selznick School of Film Preservation, established in 1996, is the longest-standing program of its kind worldwide, and the first in the United States. L. Jeffrey Selznick (1911-1997), the son of film producer David O. Selznick, chose George Eastman Museum as the place where he could fulfill his vision of a specialized venue for the education and training in the art and science of preserving cinema as an art form and, more broadly, as a cultural phenomenon.
b) the MA strand, officially called The Selznick Graduate Program in Film and Media Preservation, is a two-year curriculum held in conjunction with the University of Rochester and offers a Masters of Arts in English.
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