film preservation & restoration school india, 2015

FILM PRESERVATION & RESTORATION SCHOOL, INDIA 1

FILM PRESERVATION & RESTORATION SCHOOLINDIA, 2015


SPONSORS

Film Heritage Foundation in collaboration with Martin Scorsese’s The Film Foundation and World Cinema Project, Cineteca di Bologna, L’Immagine Ritrovata and the International Federation of Film Archives (FIAF) is hosting the Film Preservation & Restoration School India from February 22nd–28th, 2015 to provide training in film preservation and restoration to help safeguard India’s cinematic heritage.

The seven-day course consists of a customized five-session module on film preservation developed under the aegis of FIAF by David Walsh, technical head of FIAF and Head of the Digital Collections of the Imperial War Museum in London, along with Kieron Webb of the British Film Institute and Camille Blot-Wellens of FIAF; lectures by experts on film archiving and preservation from the foremost archives and studios around the world; screenings of restored films; and ten practical modules on film restoration conducted by the staff of L’Immagine Ritrovata. The course is being held at the Multi-Purpose Hall in Films Division, while screenings of restored classics will take place at Liberty Cinema, New Marine Lines, Mumbai.

Before the commencement of the week-long course, selected participants will have to start with prepa-ratory reading material that is shared with them online in seven sessions from January 21st to February 11th, 2015. The goal of the programme is to address current issues surrounding film preservation and restoration, while providing participants with practical training in current restoration and archival best practices. For more information, please visit www.filmheritagefoundation.co.in.

The Yusuf and Farida Hamied Foundation

The Hemendra Kothari Foundation

Anurag Kashyap Nivedita Dempo Siddharth Roy Kapur

Bachchans Aamir Khan & Kiran Rao Farhan Akhtar

22-28 FEBRUARY, 2015Films Division, Peddar Road,Mumbai, India.

SCHOLARSHIP SPONSORS

Imperial Film Photograph

FILM PRESERVATION & RESTORATION SCHOOLINDIA, 2015

Cover Still: Devdas, 1955 | Bimal Roy Productions

Amar Jyoti, 1936


Karna, 1928 | Courtesy: Damle family


The journey that led to the birth of Film Heritage Foundation began when I read an inter-view of Martin Scorsese’s where he spoke about Cineteca di Bologna and how they were breathing life back into classic films with their restoration work, as well as the Il Cinema Ritrovato Festival, which showcased these stunning restorations. This lead to my first visit to Bologna in 2010 and I have been going every year since.

During the making of my documentary Celluloid Man (2012), I discovered that the loss of our moving image legacy has been colossal and that we continue to lose more every day. This discovery triggered the thought of a foundation that would be dedicated to preserving and restoring our cin-ematic heritage.

When we set up the Film Heritage Foundation in January 2014, it was with a sense of urgency with regards to saving this heritage. We had a million ideas on how to put our cause on the map and to awaken people to the fact that India has a singular cinematic legacy that is endangered and must be protected.

It’s been a rollercoaster ride since the incep-tion of the foundation. We started off by curating an Indian retrospective titled ‘The Golden ‘50s: India’s Endangered Classics’ at the Il Cinema Ritrovato Festival in June 2014 in collaboration with the National Film Archive of India (NFAI) and

Films Division. The package included eight land-mark films from the 1950s that are in imminent danger of being lost to the world if urgent steps are not taken for their preservation and resto-ration. Each film was preceded by a contempo-rary Films Division newsreel—screened outside India for the first time—that reflected the social and political scenario of newly independent India. On this occasion, Film Heritage Foundation pub-lished a brochure with a note from the curator and writings on each film by contemporary Indian filmmakers and film historians.

Education being the other core concern of our foundation, we launched our pilot project ‘Watch, Learn, Grow!: Learning through Film’ in a few schools in South Rajasthan. In September 2014, we successfully conducted our first teach-er-training workshop, which had a very enthusi-astic response. The director of this project is Ms. Irawati Harshe, an award-winning actor, working in conjunction with our educational consultant Ms. Havovi Kolsawalla who has been working with the British Council in India for the last 17 years.

Having attended a few classes at the Summer Restoration School in Bologna on one of my trips, I couldn’t think of a better launch pad for our cause than collaborating with Cineteca di Bologna to conduct a film preservation and restoration course in India. I knew this would be a unique and

INTRODuCTION shivendra singh dungarpur

Amar Jyoti, 1936


Bharatiya Mahila Bank was kind enough to sup-port this initiative as was Patrizia Gambarotta of the Istituto Italiano di Cultura di Mumbai. Bank of India too came out in support thanks to the Zonal Manager, Dharamveer Shekhawat. Special thanks to Vishal Sinha of TUI India for his support.

I would like to thank my friend Manish Tibrewal who very kindly offered to sponsor the bags for the school. Prashant Kanyalkar of KA Advertising has been a true supporter from the day we started, doing all our design work for no charge. Several other friends too came forward to help with invaluable advice and support, especially Chaitanya and Mona Pande and Manisha Sharma. I cannot forget my friend Sumit Bagaria who put in a lot of time to hand-hold and help us put together the proposal to raise funds for this project; my brother Sudhir Singh Dungarpur; and my parents, who despite their concerns about this new ven-ture, stood by me as always.

I want to thank our Advisory Council compris-ing Shyam Benegal, Gulzar, P.K. Nair, Kumar Shahani, Girish Kasaravalli, the eminent Polish filmmaker Krzysztof Zanussi, filmmaker and cinephile Mark Cousins, and Gian Luca Farinelli of the Fondazione Cineteca di Bologna, and espe-cially Jaya Bachchan, who opened doors for us and responded to my countless calls and mails with invaluable advice. I would also like to thank the Bimal Roy family and the Damle family for agreeing to let us use images from their films for our promotional material.

We were fortunate that various departments of the government extended their patronage to this project—Mr. V. S. Kundu, Director-General, Films Division, who set the ball rolling by offer-ing the Films Division premises as a venue for the school; Mr.Jawhar Sircar, CEO of Prasar Bharati; Mrs. Vijayalakshmi Chhabra, Director-General, Doordarshan, who generously sponsored four candidates from Doordarshan to attend the course; and Mrs. Dipali Khanna, Member Secretary, and Mrs. Veena Joshi, Joint Secretary respectively of the Indira Gandhi National Centre for the Arts, who are sending two of their key per-sonnel for the school. Mrs. Alpana Pant Sharma,

Director, and Mr. Kiran Dhiwar, Film Preservation Officer at the NFAI too came out in support of this project, helping out both in terms of providing material for the course, as well as sending two people from the NFAI to be trained. We would also like to thank the Ministry of Information & Broadcasting, with special reference to Mr. K. Sanjay Murthy, Joint Secretary and Ms. Nirupama Kotru, former Director – Films, Mr. Deepak Kumar, Deputy Secretary, and Mr. Naganathan, Under Secretary for their assistance and support.

I would like to make a special mention of our team from Film Heritage Foundation—Bishaldeb Halder, Pravin Singh Sisodia and Rohan Desai—and the team from Dungarpur Films—Varsha Venkatesan, Sunil Jhurani, Jaykant Mulge, Shloka Patwardhan, Akshay Mulajkar, Parag Walawalkar, Sneha Paul, Jayant Patel, Shailesh Dongre, Dinesh Shakapuram and Rajesh Sarmalkar—who pitched in enthusiastically and lent their unques-tioning support to a start-up foundation.

Last, but not least, I would like to thank my wife Teesha Cherian and Irawati Harshe who have worked tirelessly (long before the foundation even became a reality) on every idea, every aspect of every project. None of this would have been pos-sible without their support.

I am sure that the Film Preservation & Restoration School India 2015 will be a huge suc-cess, given the superb content of the programme, the calibre of our international guest faculty and our carefully selected first batch of candidates, who represent the cream of the crop of a flood of applications. We have designed the curriculum to lay equal emphasis on film preservation and restoration, knowing that without preservation, there will be nothing left to restore. Our dream is that our first batch of students will be inspired to become torch-bearers for the cause and take it forward, so that the school becomes a regular event which creates an indigenous resource of film archivists and restorers committed to saving our cinematic heritage.

Shivendra Singh Dungarpur is the Founder-Director of the Film Heritage Foundation.

pioneering initiative for a country that has sadly failed to recognize cinema as an art form, or to acknowledge its worth as a visual document of the times which must be protected and preserved for posterity. I felt that the school would be an ideal way to create awareness about this unrec-ognized cause and light that first spark to build a movement to save our cinematic heritage.

We were very fortunate that Margaret Bodde and Jennifer Ahn of The Film Foundation, Gian Luca Farinelli and Cecilia Cenciarelli of Cineteca di Bologna, Davide Pozzi of L’Immagine Ritrovata and Christophe Dupin of FIAF were so sup-portive of this initiative and agreed to collabo-rate with our foundation to make this happen. Additionally, Christophe Dupin persuaded David Walsh, technical head of FIAF and Head of the Digital Collections of the Imperial War Museum in London; Kieron Webb of the British Film Institute; and Camille Blot-Wellens, consultant to FIAF, to put together a specially customized lecture series on film preservation for our school. Andrea Kalas, Vice-President of the Paramount Studio Archives very graciously accepted our invitation to come to India for the school and endorse our cause. I am very grateful to FIAF for agreeing to certify the course and for giving two scholarships for deserv-ing students. I would like to extend my deepest thanks to all these individuals and organizations for making our vision a reality.

I would also like to give special thanks to Prof. Ray Jiing, Dean of the School of Sound and Image Studies, Tainan National University of the Arts; and Maciej Molewski of the KinoRP Project, Poland for taking the time out to come and share their expertise with our students. I also want to express my deepest gratitude to Peter Becker whose support made it possible for Lee Kline and Ryan Hullings of The Criterion Collection to come to Mumbai and share the remarkable story of the restoration of Satyajit Ray’s Apu Trilogy.

We opened the school to applicants not just from India, but also from Sri Lanka, Nepal and Bhutan, neighbouring countries, which have nei-ther a culture of film archiving, nor any infrastruc-ture for the same. Given the lack of awareness of

the subject in this part of the world, we were over-whelmed by the response to our call for registra-tions. We received an excellent and eclectic mix of 126 applications from all over the country, includ-ing some from Sri Lanka and Nepal. We had our work cut out for us to shortlist candidates for the school and had to resort to a long waitlist as we were spoilt for choice.

We have travelled all over the country and knocked on every door in our attempt to create awareness about our cause and to raise funds for the school. Support came from the most unex-pected quarters, as well as a few expected ones. Our first patron was Dr. Y.K. Hamied, Chairman of Cipla, who gave us our first donation through the Yusuf and Farida Hamied Foundation. Our next donor was the Hemendra Kothari Foundation. Both these patrons gave us the hope that a fledgling foundation like ours had a chance. Sudhanshu Vats, Group CEO of Viacom 18, was the first person from the film industry to under-stand the import of our mission and came on board as our main sponsor, actively taking up our cause with the government and the film industry. Aditya Chopra of Yashraj Films, one of India’s big-gest film producers, showed keen interest in our work and agreed to support us. Mr. M. Ravindran of GAIL India Ltd. and Sai and Kavita Prasad of the Prasad Group generously agreed to sponsor one session each at the school. The Prasad Group is also sending three members from the organiza-tion to participate in the course. Other members of the film industry including Amitabh and Jaya Bachchan, Vinod Chopra and Rajkumar Hirani, Aamir Khan and Kiran Rao, Farhan Akhtar, Anurag Kashyap, Siddharth Roy Kapur, Namit Malhotra of Prime Focus Ltd., Rohit Khattar of Cinestaan Film Company, and my friends Abhimanyu Singh (of Contiloe Entertainment), Puranjaya Singh and Nivedita Dempo offered scholarships enabling a substantial number of deserving students to do the course for free. Dr. Anil K. Khandelwal, former Chairman and Managing Director, Bank of Baroda, and J.P. Choksey, journalist and film critic, played an important role in advocating our cause. Usha Ananthasubramanian of the


ON THE FILM RESTORATION SCHOOLgian LuCa FarineLLi

Since 2007 Cineteca di Bologna—in collab-oration with FIAF, ACE and UE MEDIA Plus Programme—has been promoting and hosting the FIAF Film Restoration Summer School in Bologna. The course has been taking place during ‘Il Cinema Ritrovato’, a festival devoted to the safeguarding of film heritage and the discovery of world cinema. We have always felt that combining the festival with the school was particularly right, with the festival showcasing the best restorations from archives around the world and thus offering a unique meeting point for experts and learners to discuss and share their experience.

In 2013, after hosting six editions in Bologna, the Restoration School moved to Singapore and received 40 students from 40 Asian coun-tries (including Taiwan, Thailand, Hong Kong, Indonesia, Malaysia, New Zealand, the Philippines, Singapore). It has now found a home in Mumbai. Cineteca di Bologna looks forward to this forth-coming Restoration School: this will be the eighth for us, a tradition that has acquired through the years a more and more international vocation.

Among all the activities that Cineteca di Bologna carries out—from conservation to programming, publishing, theatrical release of classics, festival production—training new film restorers is probably what I care about the most personally. First of all, because it gives us the opportunity to carry on the tradition of the Summer Schools originally organized by FIAF, which have been for many years an essential tool for training future restorers and tackling resto-ration matters. When we decided to create our own restoration laboratory, L’Immagine Ritrovata, FIAF and its members offered their precious help. The fact that we were partially supported by public institutions in this effort was in itself quite unique: the farsightedness shown by the City of

Bologna, the Emilia-Romagna Region and the Ministry of Culture has allowed us to create a lab-oratory that is now among the most advanced and well-respected in the field.

At that crucial moment of transition, a great number of archives sent their own technicians to help us. I’m thinking in particular of Enno Patalas and Kevin Brownlow, the two founders of modern restoration, and pioneering film preservationist Harold Brown (extremely active within the FIAF Technical Commission), whose suggestions and knowledge have helped trained generations of archivists. He personally brought us a machine that he had himself devised, the ‘Mark IV’, a step printer for dealing with shrunken and non-stan-dard perforation film—a perfect tool for the most difficult restorations, for the oldest and most damaged films. Also Eric de Kuyper, at the time vice-director of the Nederlands Filmmuseum, who first decided to restore coloured silent films on colour stock, allowing the international com-munity to discover the importance of colour in silent cinema.

The history of restoration is paved by passions and people. Thanks to the guidance and experi-ence of these amazing people, we have realized how central restoration is in our mission. While the preservation and dissemination of cinema remains the primary task of a film archive, res-toration too is a necessary step. One of our great-est challenges today is to expose viewers to the beauty and vitality of past cinema; in order to do that at our best, the quality of the images we screen is most important. Therefore, we need to foster a true discussion on restoration, which is certainly not enough to grant eternity to a film but is, nonetheless, a significant means for film preservation.

However, restoration, by its very nature, is

quite closely connected to technology. That is why each restoration is a product of its times: sub-ject to the restraints and possibilities of its time period, as well as the restorer’s interpretation of the film. And that is why high-level training is so crucial: all those who approach restoration work must be aware of the responsibilities that this process entails, which are not only of a technical nature but also concern the study of the work, its author’s intentions, the colour, the light and the sound of a film. In other words, restoring a work of art requires looking at it with full awareness.

We believe that meeting, exchanging experi-ences and discussing different approaches with colleagues is crucial to developing such aware-ness; it is definitely useful in implementing shared restoration practices. That is why we have decided to travel with our school, following the very supra-national nature of cinema, an art that has always overcome boundaries. Audiences from around the world have always watched films belonging to different genres, in different languages, from different time periods. Think, for instance, of the global fame that Charlie Chaplin attained in the 1910s (a fame which only historical figures had achieved up to that moment) and you will realize the immense possibilities of cinema: a universal language that is able to create strong relation-ships between distant people and countries.

Just as every film production is valuable for every film lover across the world, every problem is a shared problem. Regardless of the country,

any loss of film patrimony is a loss for humanity. In this regard, when Martin Scorsese decided to launch a project devoted to safeguarding the film heritage of neglected countries, we immediately and gladly accepted a partnership in this import-ant mission, which aims to raise restoration awareness to a new level, considering cinema as a whole in which each part has an equal value and dignity.

In 2015 the Restoration School docks in Mumbai, India, a country that enjoys an extraor-dinary film tradition, recognized and awarded throughout the world. There is the artistic vision of filmmakers like Satyajit Ray of course, but also a Ritwik Ghatak or Guru Dutt, as well as the productions of today’s Indian film industry. This celebrated tradition belongs to all of us, and it is vital not only to preserve this patrimony, but also to make people aware of its uniqueness and its potential, and do everything possible to restore and rediscover it.

One thought for all those who will attend the Restoration School: do not feel alone in this jour-ney. You are part of an international community which is inspired by a great love for cinema. An international community which looks ahead to technological innovation, but whose heart is close to the great history of cinema.

Gian Luca Farinelli has been the director of the Cineteca di Bologna since 2000. He is recognized as one of the foremost film restoration experts in the world.

Mela, 1948


SUNDAY, 22 FEBRUARY 2015

01.30 PM-02.30 PM Registration and Collection of ID cards

02.30 PM-04.00 PM

OrientatiOn: Film PreservatiOn and restOratiOn WOrkFlOWIntroduction to the Film Preservation and Restoration School by Gian Luca Farinelli (Cineteca di Bologna)sPeakers Gian Luca Farinelli (Cineteca di Bologna), Jennifer Ahn (The Film Foundation), Andrea Kalas (Paramount Pictures), Cecilia Cenciarelli (Cineteca di Bologna/World Cinema Project), Davide Pozzi (L’Immagine Ritrovata), Kieron Webb (BFI/FIAF), Camille Blot-Wellens (FIAF), Shivendra Singh Dungarpur (Film Heritage Foundation)

6.00 PM - 07.00 PMliberty Cinema

OPeninG CeremOnyGuest of Honour: The Hon'ble Chief Minister of Maharashtra, Shri Devendra Fadnavis Chief guest: Amitabh BachchanFelicitation of P.K. Nair (Founder, NFAI) and Gian Luca Farinelli (Director, Cineteca di Bologna)

8.00 PM - 10.00 PMliberty Cinema

OPeninG Film: a FistFUl OF dOllarsDirector: Sergio LeoneItaly-Spain-Germany, 1964 | 100 mins | Col | English | DCPScreening Courtesy: Unidis Jolly FilmsIntroduction: Gian Luca Farinelli (Cineteca di Bologna), Jennifer Ahn (The Film Foundation)

MONDAY, 23 FEBRUARY 2015

09 AM - 11 AMHistOry OF Film teCHnOlOGy Part 1sPeakers: Kieron Webb (BFI/FIAF), Camille Blot-Wellens (FIAF)

11.00 AM - 11.30 AM Coffee / Tea Break

all events will be held at the Multi-purpose hall, Films division, peddar road, unless otherwise stated. screenings will be held at Liberty Cinema, new Marine Lines, Churchgate.

SCHEDuLE

Mahal, 1949


11.30 AM - 01.00 PMtHematiC aPPrOaCH tO tHe restOratiOn WOrkFlOW sPeakers: Davide Pozzi (L’Immagine Ritrovata), Emanuele Vissani (L’Immagine Ritrovata)

01.00 PM - 02.00 PM Lunch Break

02.00 PM - 04.00 PMHistOry OF Film teCHnOlOGy Part 2History of TV and Video TechnologysPeakers: Kieron Webb (BFI/FIAF) & Camille Blot-Wellens (FIAF)

04.00 PM - 04.30 PM Coffee / Tea Break

04.30 PM - 06.00 PMa mUltidisCiPlinary aPPrOaCH tO sOUnd On Film sPeaker: Gilles Barberis (L’Immagine Ritrovata)

06.00 PM - 07.00 PMtHe CHaPlin PrOjeCt: CatalOGUinG, restOrinG and redisCOverinG CHarlie CHaPlin’s GeniUssPeaker: Cecilia Cenciarelli (Cineteca di Bologna/World Cinema Project)

08.00 PM- 10.00 PMLIBERTY CINEMA

Film sCreeninGsFOUR CHAPLIN SHORTS

kid aUtO raCes in veniCe Director: Henry Lehrman USA, 1914 | 7 mins | B&W | DCP

a niGHt in tHe sHOWDirector: Charles ChaplinUSA, 1915 | 25 mins | B&W | DCP

easy streetDirector: Charles ChaplinUSA, 1917 | 26 mins | B&W | DCP

tHe immiGrantDirector: Charles ChaplinUSA, 1917 | 24 mins | B&W | DCPScreening Courtesy: Cineteca di Bologna, Lobster Films, The British Film InstituteIntroduction: Cecilia Cenciarelli (Cineteca di Bologna/World Cinema Project)

TUESDAY, 24 FEBRUARY 2015

09 AM - 11 AMPreservatiOn OF Film and videOsPeakers: Kieron Webb (BFI/FIAF) & Camille Blot-Wellens (FIAF)


11.30 AM - 01.00 PMCase stUdy OF a stUdiO arCHive – ParamOUnt PiCtUres arCHivessPeaker: Andrea Kalas (Paramount Pictures)


02.00 PM - 04.00 PM restOratiOn sCHOOl PraCtiCal Class 1



06.30 PM - 7.30 PMrestOrinG HitCHCOCkThe restoration and presentation of Alfred Hitchcock’s nine surviving silent filmsIntroduction: Kieron Webb (BFI)

08.30 PM - 10.30 PMLIBERTY CINEMA

Film sCreeninG: snOWDirector: Geoffrey JonesUK, 1963 | 8 mins | Col | DCPScreening Courtesy: BFI, LondonIntroduction: Kieron Webb (BFI)

Film sCreeninG: sayat nOva/ tHe COlOUr OF POmeGranates Director: Sergei Parajanov Armenia, 1969 | 77 mins | Col | Armenian with English subtitles | DCPScreening Courtesy: The Film Foundation – World Cinema ProjectIntroduction: Cecilia Cenciarelli (Cineteca di Bologna/World Cinema Project)

WEDNESDAY, 25 FEBRUARY 2015

09.00 AM - 11.00 AMdiGital teCHnOlOGy and etHiCs OF diGitisatiOnsPeakers: Kieron Webb (BFI/FIAF) & Camille Blot-Wellens (FIAF)


11.30 AM - 01.00 PMtHe aPU trilOGy: restOratiOn PrOCesssPeakers: Lee Kline & Ryan Hullings (The Criterion Collection)





07.30 PM - 10.00 PMLIBERTY CINEMA

sUrPrise sCreeninGIntroduction: Lee Kline & Ryan Hullings (The Criterion Collection)

THURSDAY, 26 FEBRUARY 2015

09 AM - 11 AMmanaGement and PreservatiOn OF diGital material / arCHive PreservatiOn POliCiessPeakers: Kieron Webb (BFI/FIAF), Camille Blot-Wellens (FIAF)


11.30 AM - 01.00 PM

tHe Film FOUndatiOn – WOrld Cinema PrOjeCt Case stUdies:kalPana, a river Called titassPeaker: Cecilia Cenciarelli (Cineteca di Bologna/World Cinema Project), Davide Pozzi (L’Immagine Ritrovata)



02.00 PM - 04.00 PM RESTORATION SCHOOL PRACTICAL CLASS 5


04.30 PM - 06.30 PM RESTORATION SCHOOL PRACTICAL CLASS 6

06.30 PM - 07.30 PMFilm HeritaGe in tHe diGital WOrld – betWeen FixinG and interPretinGsPeaker: Maciej Molewski (KinoRP Project)

08:30 PM – 10.30 PM

Film sCreeninG: badlandsDirector: Terrence MalickUSA, 1973 | 94 minutes | Colour | English | DCPScreening Courtesy: Park Circus LimitedIntroduction: Lee Kline & Ryan Hullings (The Criterion Collection)

FRIDAY, 27 FEBRUARY 2015

09 AM - 10.30 AMtHe FUtUre OF tHe asian arCHive in a time OF transitiOn: taiWan as an examPlesPeaker: Professor Ray Jiing


11.00 AM - 12 NOON

Panel disCUssiOnUniqUe CHallenGes OF Film PreservatiOn in india:Past, Present and FUtUrePanelists: Suresh Chabria (Former NFAI Director), Anurag Kashyap (Filmmaker / Producer), Kunal Kapoor (Filmmaker / Producer)Moderator: Shivendra Singh Dungarpur (Film Heritage Foundation)

12 NOON - 01.00 PMtHe HistOry OF early sOUnd reCOrdinGs in tHe indian sUb-COntinent (1899 -1915)sPeaker: A.N. Sharma





07.30 PM ONWARDSLIBERTY CINEMA

Film sCreeninG: il GattOPardO Director: Luchino ViscontiItaly, 1963 | 201 minutes | Italian version with English subtitles | DCPScreening Courtesy: Fox, TitanusIntroduction: Davide Pozzi (L’Immagine Ritrovata)

SATURDAY, 28 FEBRUARY 2015

09.00 AM- 11.00 AMLIBERTY CINEMA

Film sCreeninG: HirOsHima mOn amOUrDirector: Alain ResnaisFrance-Japan, 1959 | 92 mins | B&W | French version with English subtitles | DCPScreening Courtesy: Argos FilmsIntroduction: Davide Pozzi (L’Immagine Ritrovata)

11.30 AM - 12.00 PM Coffee / Tea Break





5.00 PM - 6.00 PM stUdents and FaCUlty q&a / FeedbaCk sessiOn

6.00 PM – 7.30 PMFILMS DIVISION

OUtside tHe mUseUm

FiaF CertiFiCatiOn and ClOsinG CeremOnyWith Christophe Dupin (FIAF), Davide Pozzi (L’Immagine Ritrovata), Shivendra Singh Dungarpur (Film Heritage Foundation)\

7.30 PM ONWARDSFILMS DIVISION

ClOsinG dinner

Sairandhri, 1933


SCREENINgS OF RESTORED CLASSICS

Easy Street, 1917 © From the Archives of Roy Export Company Est.


“Can you imagine Vélasquez having just fin-ished his Meninas and meanwhile Picasso is creating his wonderful work? Of course not. But something similar is happening. With Hiroshima Mon Amour, Alain Resnais liberates the cinema from the 17th Century, immersing it directly into the heart of the 20th Century. […] It breaks the framework of traditional narrative and intro-duces the writing technique that Faulkner used: the characters’ past or the past in general comes back in flashes to the surface of the present and, at the same time, poisons it. On the other hand, by inserting the cinema into the cinema, Resnais does the same thing that Klossowski or Borges have done in their most recent literary work: he offers a secondary reflection; he invites us into a game of mirrors[…]. A musicologist might even be able to find Stravinsky’s influence in the rhythm and editing of Hiroshima mon amour. Finally, from an artist’s point of view, this film is reminiscent of Cubism, Picasso and Braque.

Hiroshima Mon Amour is also modern in its script. It is the tragedy of the impossibility of union and self-completeness. It is the victory of the segmentation, disassociation and fragmenta-tion. It is impossible to be totally one because we live in the moment and every instant condemns us to the birth, but also to the death, of a part of ourselves. Perhaps this is the profound symbol of the first image at the beginning of the film. Two people embracing are all that can be seen, they are difficult to make out as they are being covered by a rainfall of ash. It is possible to imagine that this ash is from the atomic bomb, or rather it is like the traces of a war that have an impact on the present and that contaminate it. However, I prefer to interpret it as the symbol of the dialectics of the moment: at the same time when these individu-als “burn for one another” (as is said at a certain point in the script), they are already covered in the ashes from this fire, the ashes of oblivion.”

Jean Douchet ‘Hiroshima Mon Amour’, Arts, 17-23 June 1959.

02 HIROSHIMA MON AMOURFrance-Japan, 1959 | 92 mins | B&W | French version with English subtitles | DCP

Director Alain Resnais Screenplay Marguerite Duras Directors of Photography Michio Takashi, Sacha Vierny Editors Jasmine

Chasney, Henri Colpi, Anne Sarraute Production Design Esaka, Antoine Mayo, Maurice Petri Music Georges Delerue, Giovanni

Fusco Starring Emmanuelle Riva, Eiji Okada, Stella Dassa, Pierre Barbaud, Bernard Fresson Producers Anatole Dauman,

Samy Halfon for Argos Films.

Hiroshima Mon Amour has been completely restored in 4K resolution from the original camera negative and from a first-generation fine grain master. Colour grading supervised by Renato Berta. Restored by Argos Films, La Fondation Groupama Gan pour le Cinéma, La Fondation Technicolor pour le Patrimoine du Cinéma, Fondazione Cineteca di Bologna with support from Centre National du Cinéma et de L’Image Animée at L’Immagine Ritrovata laboratory.

“[…] Sergio Leone made Westerns—set in another

time and another country, in a scrupulously researched

past that also resembled a dream. Instead of telling

his stories in classic Hollywood fashion (as his appren-

ticeship had trained him to do), he embellished them,

turned the grammar of film into a kind of rhetoric, and

generally behaved toward the Western like a mannerist

artist confronted by a biblical subject. One of the defining

features of the Western was the landscape, and Leone

used landscapes in unsettling ways, making them either

full of big faces or surprisingly empty and receding into

the far distance. And rather than invoking the traditional

morality of the Western, he turned the genre into a

robust Mediterranean carnival peopled by tricksters and

rogues.” Christopher Frayling, Once Upon a Time in Italy:

The Westerns of Sergio Leone

A Fistful of Dollars was the first of a tril-ogy directed by Sergio Leone that revived the Spaghetti Western genre (For A Few Dollars More and The Good, The Bad and The Ugly were the other films in the series). The film begins with a stranger riding into the small Mexican border town of San Miguel which is occupied by two warring factions, the Rojos and the Baxters. The stranger, taciturn and incredibly skilled with a gun, spots an oppor-tunity to make a quick buck and plays a double game, pitting the feuding families against each other. Several gun battles ensue and the stranger reunites a family and exacts his revenge before riding off alone. Clint Eastwood played the enig-matic stranger in the film, a role that gave the lit-tle-known actor international fame and an iconic status.

01 A FISTFUL OF DOLLARSItaly-Spain-Germany, 1964 | 100 mins | Col | English | DCP

Director Sergio Leone Screenplay Sergio Leone, Duccio Tessari Director of Photography Federico Larraya, Massimo

Dallamano Editor Roberto Cinquini Production Design and Costumes Carlo Simi Starring Clint Eastwood, Gian Maria Volonté,

Marianne Koch, Margarita Lozano, Bruno Carotenuto, Antonio Prieto, Wolfgang Lukschy, Jose ‘Pepe’ Calvo, Mario Brega

Producers Arrigo Colombo, Giorgio Papi, Unidis Jolly Film, Constantin Film Produktion, Ocean Films

Restoration carried out by Cineteca di Bologna and Unidis Jolly Film at L’Immagine Ritrovata laboratory. Funding provided by the Hollywood Foreign Press Association and The Film Foundation. Special acknowledgments to producers Giorgio Papi and Arrigo Colombo. The screening has been made possible by the right holders: the Paladino family and Unidis Jolly Film, which produced and distributed the film. Thanks to the Leone family.

Image Courtesy: Unidis Jolly FIlms Image Courtesy: Argos Films


A Night in the Show, a reinterpretation of Karno’s sketch Mumming Birds (known in the United States as A Night in an English Music Hall), was the per-formance that paved Chaplin’s way into the film world. In fact, Keystone shareholder Harry Aitken had Chaplin signed on after seeing him in the role of the drunkard in this film.

Especially in the first half of the film, Chaplin’s performance as the irresistible and drunk Mr. Pest is measured and subtle; far from the wild gesticulating of his early career, but no less ferocious and scathing for it. “Everything in his

acting,” commented Jean Mitry, “is intended to express the contempt with which he sees the world, especially its rules, its conventions and the people who bow down to them. The social criti-cism sketched out in Work is further elaborated on and becomes the basic theme of the film. Here the ‘ballet’ is only a structural element that har-moniously organizes the comic situations, which are not merely choreographic. Parody, which in the Keystone comedies never went beyond the parodic act, becomes satire of behaviour.”

04 FOUR CHAPLIN SHORTS | A NIGHT IN THE SHOWUSA, 1915 | 25 mins | B&W | DCP

Director Charles Chaplin Screenplay Charles Chaplin Director of Photography Harry Ensign Production Design E.T. Hazy

Starring Charles Chaplin, Edna Purviance, Charlotte Mineau, Dee Lampton, Leo White, Wesley Ruggles, John Rand, James

T. Kelley, Paddy McGuire, May White, Bud Jamison, Phyllis Allen, Fred Goodwins, Charles Insley, Carrie Clark Ward Producer

Jesse T. Robbins for The Essanay Manufacturing Company Original Score composed & conducted by Timothy Brock.

Performed by Bologna Opera House Orchestra

A Night in the Show has been restored by Fondazione Cineteca di Bologna and Lobster Films in collaboration with Film Preservation Associates, from a polyester fine grain preserved at The Museum of Modern Art. Some fragments were added from a diacetate fine grain and a nitrate print preserved at the Cinémathèque Française. Intertitles have been reconstructed from re-release titles of the ‘20’s found in both 35 mm and Kodascope 16 mm original elements. Inspection, comparison, repair and scanning were performed at L’Immagine Ritrovata laboratory. Restoration work was carried out at Lobster Films laboratory in 2014. Restoration supported by The Film Foundation, the George Lucas Family Foundation, and the Material World Charitable Foundation.

In 1914, the world witnessed the first appear-ance of the most beloved and enduring of film legends, Charlie Chaplin’s Tramp. This character, which incarnates the essence, changes and con-tradictions of the early twentieth century, debuted to the public in Kid Auto Races in Venice, a minia-ture masterpiece in which something new is dis-covered with every viewing.

The seductive power of Kid Auto Races in Venice gives us a glimpse of the mysterious and power-ful bond the Tramp forged with audiences across five continents. “Chaplin figured out that moving and living on the screen was a difficult, new and

special art,” wrote Diana Karenne, the brilliant Polish director, actress and producer, at the end of the 1910s, “his acting demonstrates that the expressiveness of film depends on every ges-ture, on the costume, on the smallest details, (the walking stick, the bowler hat, the shoes, etc.), on the variety of dramatic situations, on knowing when to stop, on the internal and external fusion of his character, and, probably the most import-ant of all, on that elusive quality of art, which immediately creates a bond between the artist and spectator. Every art has something entirely elusive about it.”

03 FOUR CHAPLIN SHORTS | KID AUTO RACES IN VENICEUSA, 1914 | 7 mins | B&W | DCP

Director Henry Lehrman Screenplay Henry Lehrman Directors of Photography Frank D. Williams, Enrique Juan Vallejo

Starring Charles Chaplin, Henry Lehrman, Frank D. Williams, Billy Jacob, Charlotte Fitzpatrick, Thelma Salter, Gordon Griffith.

Original Score composed & conducted by Timothy Brock Performed by Bologna Opera House Orchestra.

The film reconstruction and restoration work was carried out by the BFI and was based on two nitrate prints preserved by the BFI National Archive and a triacetate dupe negative preserved by the Library of Congress, Washington. The text of the intertitles was taken from the WH Productions’ reissue The Pest and two Keystone intertitles.


Beloved by directors from across the globe, The Immigrant is one of the most powerful por-traits of immigration of the past century, and probably Chaplin’s most personal work, closest to the heart and life of its creator.

Chaplin emigrated twice in his lifetime: first from his native England to the United States to seek his fortune, and later from his adopted country, after becoming a persona non grata. Seen within the context of his body of work, The Immigrant is the film that expresses the iden-tity of his character best. Forever displaced,

marginalized, excluded, someone who experi-ences and sees the world differently from every-one else (“with what eyes does Charlie Chaplin view the world?” Eisenstein asked himself), the wanderer and the eternal suspect described by Hannah Arendt: the Tramp is, by definition, an immigrant. In just over twenty minutes, with a firm hand and a more deliberate step than in his previous films, Chaplin finds the perfect balance between lyricism, humanism, social polemics and irrepressible comedy.

06 FOUR CHAPLIN SHORTS | THE IMMIGRANTUSA, 1917 | 24 mins | B&W | DCP

Director Charles Chaplin Screenplay Charles Chaplin Director of Photography Roland Totheroh Starring Charles Chaplin,

Edna Purviance, Kitty Bradbury, Albert Austin, Henry Bergman, Loyal Underwood, Eric Campbell, Stanley Sanford, James T.

Kelley, John Rand, Frank J. Coleman, Tom Harrington Producer Charles Chaplin for Lone Star Mutual Original Score com-

posed & conducted by Timothy Brock Performed by Bologna Opera House Orchestra

The Immigrant has been restored by Fondazione Cineteca di Bologna and Lobster Films, from a safety full aperture duplicate negative preserved in the Blackhawk Collection (thanks to the Museum of Modern Art), pre-served at the Academy of Motion Picture Arts and Sciences. Intertitles have been reconstructed according to the original Mutual film intertitles from the same age. Scanned at Technicolor Digital Services, Hollywood, in 2011. Restoration works were carried out at L’Immagine Ritrovata laboratory in 2012.

For Easy Street, Chaplin had his first large set built at the exorbitant price of $10,000. It was reminiscent, as David Robinson points out, of Methley Street in London, where Hannah Chaplin had once lived with her two children. A few years later Chaplin would replicate the set’s T-shaped configuration at Chaplin Studios, making it the standard model for much of his comedy, from A Dog’s Life to Monsieur Verdoux.

Easy Street manages to represent, with pow-erfully convincing realism, the violent life of an urban neighbourhood. This violence was some-thing new for Chaplin, as was the leading role he

plays, stepping into the shoes of a proper figure of authority. The most hilarious comic moments arise from this unexpected and contradictory set-up.

“The sublime irony comes in the epilogue,” writes Jean Mitry. “The institutions, the laws, the moral principles, and the church had never been so virulently satirized. Those who believe they can keep people on the straight and narrow with verses from the Bible and fear of the police are scorned with utter delight. Even ‘good intentions’ blossoming suddenly in the rose garden are vic-tims of a laugh or a blessing.”

05 FOUR CHAPLIN SHORTS | EASY STREETUSA, 1917 | 26 mins | B&W | DCP

Director Charles Chaplin Screenplay Charles Chaplin Director of Photography Roland Totheroh Starring Charles Chaplin,

Edna Purviance, Eric Campbell, Albert Austin, Henry Bergman, Loyal Underwood, Janet Miller Sully, Charlotte Mineau, Tom

Wood, Lloyd Bacon, Frank J. Coleman, John Rand Producer Charles Chaplin for Lone Star Mutual Original Score Neil Brand

Performed by Bologna Opera House Orchestra Conducted by Timothy Brock.

Easy Street has been restored by Fondazione Cineteca di Bologna and Lobster Films from a nitrate duplicate negative in the Blackhawk Film Collection preserved at the Academy of Motion Picture Arts and Sciences. Some fragments were added from a nitrate copy preserved at the CNC-Archives Françaises du Film, and a nitrate copy preserved at the BFI National Archive. Intertitles have been reconstructed according to the original Mutual film intertitles from the same age and documents of the Library of Congress. Restoration works were carried out at L’Immagine Ritrovata laboratory in 2012.

All images for the Chaplin FIlms © From the Archives of Roy Export Company Est.


08 SAYAT NOVA / NRAN GUYNE / THE COLOUR OF POMEGRANATES Armenia, 1969 | 77 mins | Col | Armenian with English subtitles | DCP

Direction and Screenplay Sergei Parajanov Titles (Armenian Release) by Hrant Matevosyan Director of Photography Suren

Shakhbazian Editing Maria Ponomarenko Art Direction Stepan Andranikian and Mikhail Arakelian Costumes Elena Akhvlediani,

Iosif Karalov, Jasmine Sarabian Music Tigran Mansurian Sound Yuri Sayadyan Architectural Consultant Victor Jorbenadze

Production Manager Alexander Melik-Sarkisian Starring Sofiko Chiaureli, Melkon Alekian, Vilen Galustian, Georgi Gegechkori,

Hovhannes, Minsasian, Spartak Bagashvili, Medea Japaridze, Grigori Margarian

Watching Sergei Parajanov’s The Colour of Pomegranates, or Sayat Nova, is like opening a door and walking into another dimension, where time has stopped and beauty has been unleashed. On a very basic level, it’s a biography of the Armenian poet Sayat Nova, but before all else it’s a cine-matic experience, and you come away remem-bering images, repeated expressive movements, costumes, objects, compositions, colours. Sayat Nova lived in the 18th century, but the look and movement of the film seem to have come out of the middle ages or an even earlier time: Parajanov’s cinematic tableaux feel like they’ve been carved in wood or stone, and the colours seem to have naturally materialized from the

images over hundreds of years. There’s nothing else quite like this picture.

For many years, it’s been a dream to see The Colour of Pomegranates restored to the form orig-inally intended by Parajanov. This restoration represents years of painstaking work by many people. As always, I would like to thank our col-leagues and partners at the Cineteca di Bologna and L’Immagine Ritrovata as well as all the indi-viduals and organizations who have supported this challenging project and dedicated an enor-mous amount of time and energy to preserve Parajanov’s oeuvre.

Martin Scorsese, Chair, The Film Foundation - World Cinema Project.

Restored by Cineteca di Bologna/L’Immagine Ritrovata and The Film Foundation’s World Cinema Project, in association with the National Cinema Centre of Armenia and Gosfilmofond of Russia. Restoration funding pro-vided by the Material World Charitable Foundation and The Film Foundation.

Many of the most formally daring British films have been produced within the context of cinema sponsored by government or nationalised industries. Snow, made by Geoffrey Jones for the British Transport Films unit and nominated for an Academy Award in 1965, is a fine example of this lineage and offers the considerable pleasures of rhythmic and dynamic cutting, an experimental track and thrilling photography. The film origi-nated in a recce tour that Jones undertook in late

1962. Greatly taken by the images of trains strug-gling through snow-filled landscapes, Jones got the quick approval of Edgar Anstey, BTF’s head of production, to make a new film celebrating the efforts to keep the railways running in the depth of winter. The visceral score is based on a re-recording by Johnny Dankworth of Teen Beat, in which the track’s tempo was significantly altered, to which BBC Radiophonic Workshop pioneer Daphne Oram added incredible effects.

07 SNOWUK, 1963 | 8 mins | Col | DCP

Images Courtesy: BFI Image Courtesy: The Sergei parajanov Museum


When the world around you is changing, when you have the sense that everything you know and love must give way to a new order, what do you do? Fight it? Accept it? And how do you accept it? Grudgingly? Gracefully? Maybe something in between. Because who can leave the world that formed them behind, and not mourn the passing of time? These questions, these sensations, are fundamental to the human condition, and they are behind every frame of The Leopard, Luchino Visconti’s magnificent adaptation of Giuseppe di Lampedusa’s novel about a Sicilian prince at the time of the Risorgimento (the unification) who recognizes that his historical role, and that of his entire class, is to retreat into the shadows.

Visconti, who was himself from one of the oldest aristocratic families in Europe, spent many years trying to adapt Proust to the screen. In a sense he succeeded with this stunning cinematic tapestry, in which every gesture, every word, and the arrangement of every object in every room, summons a lost world back to life. The Leopard is an epic of time, and its slowness, which reaches a stately crescendo during the extended, climac-tic grand ball sequence, is set by the rhythm of life among the landed aristocrats of Sicily—their

customs and habits, their observance of leisure and reflection, their seasonal journeys. It is also an epic of history, in which we actually see the machinations of change in progress, on the bat-tlefield, in the streets, and in the drawing rooms where men of influence gather to decide who will pull the levers of power. It is also a portrait of one man, the Prince of Salina, played by Burt Lancaster. Lancaster brought his strength and authority to the role, but he also brought his intelligence and his grace, and his sense of aris-tocratic refinement is uncanny. A remarkable, deeply moving performance.

Finally, The Leopard is a grand symphonic hymn to Sicily itself—the people, the perfumed air and the landscape, its beauty and its violence.

Visconti’s film is one of the greatest visual experiences in cinema, and over the years res-torations have proven to be extremely difficult. I’m very pleased that The Film Foundation, with financial support from Gucci, has helped to make this extraordinary restoration possible. One of our greatest treasures has returned to us, in its full glory.

Martin Scorsese, Chair, The Film Foundation - World Cinema Project

10 IL GATTOPARDOItaly, 1963 | 201 mins | Col | Italian version with Eng subtitles | DCP

Director Luchino Visconti Screenplay SusoCecchi D’Amico, Enrico Medioli, Pasquale Festa Campanile, Massimo Franciosa,

Luchino Visconti Director of Photography Giuseppe Rotunno Editor Mario Serandrei Music Nino Rota Art Direction Mario

Garbuglia Costumes PieroTosi Set Direction Laudomia Hercolami, Giorgio Pes.

Il Gattopardo was restored in association with Cineteca di Bologna, L’Immagine Ritrovata, The Film Foundation, Pathé, Fondation, Jérôme Seydoux-Pathé, Twentieth Century Fox and Centro Sperimentale di Cinematografia- Cineteca Nazionale. Restoration funding provided by Gucci and The Film Foundation. Digital Picture Restoration, Colorworks. Special thanks to Martin Scorsese, Titanus and Giuseppe Rotunno.

Badlands announced the arrival of a major talent: Terrence Malick. His impressionistic take on the notorious Charles Starkweather killing spree of the late 1950s uses a serial-killer nar-rative as a springboard for an oblique teenage romance, lovingly and idiosyncratically enacted by Martin Sheen and Sissy Spacek. The film intro-duced many of the elements that would earn Malick his passionate following: the enigmatic approach to narrative and character, the unusual use of voice-over, the juxtaposition of human vio-lence with natural beauty, the poetic investigation of American dreams and nightmares. This debut has spawned countless imitations, but none have equalled its strange sublimity.

“It would hardly be an exaggeration to call the first half of Badlands a revelation—one of the best literate examples of narrated American cinema since the early days of Welles and Polonsky. Compositions, actors, and lines interlock and click into place with irreducible economy and

unerring precision, carrying us along before we have time to catch our breaths. It is proba-bly not accidental that an early camera set-up of Kit on his garbage route recalls the framing of a neighbourhood street that introduced us to the social world of Rebel without a Cause: the doomed romanticism courted by Kit and dispas-sionately recounted by Holly immediately evokes the Fifties world of Nicholas Ray—and more par-ticularly, certain Ray-influenced (and narrated) works of Godard, like Pierrot le Fou and Bande à part. Terrence Malick’s eye, narrative sense, and handling of affectless violence are all recog-nizably Godardian, but they flourish in a context more identified with Ray. Unmistakably Malick’s own, however, is the narration and dialogue: like the movie’s violence, it remains laconic, idiomatic, detached, and chillingly real throughout.”

Jonathan Rosenbaum, Monthly Film Bulletin, November 1974.

09 BADLANDSUSA, 1973 | 94 mins | Col | English | DCP

Director Terrence Malick Screenplay Terrence Malick Director of Photography Tak Fujimoto, Steven Larner, Brian Pobyn

Editor Robert Estrin Production Designer Jack Fisk Music George Tipton Sound Doug Crichton, Maury Harris, Sam Shaw

Starring Martin Sheen, Sissy Spacek, Warren Oates, Ramon Bieri, Alan Vint, Gary Littlejohn, Johan Carter Producer Terrence

Malick for Pressman-Williams, Warner Bros, Jill Jakes Production, Badlands Company.

Restored by Warner Bros., Badlands is presented in its original aspect ratio of 1.85:1.Black bars at the top and bottom of the screen are normal for this format. Approved by director Terrance Malick, this new digital transfer was created in 4K resolution on a Northlight film scanner from the original 35 mm camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, and jitter were manually removed using MTI’s DRS and Pixel Farm’s PFClean, while Image Systems’ Phoenix was used for small dirt, grain, noise reduction, and flicker. The original monaural soundtrack was remastered at 24-bit from the 35 mm magnetic tracks. Clicks, thumps, hiss, hum, and crackle were manually removed using Pro Tools HD, AudioCube’s integrated workstation, and iZotope RX 3.

Images Courtesy: TitanusImages Courtesy: Fox Titanus


COuRSE CONTENT AND FACuLTy

Hunterwali ki Beti, 1943


FIAF MODULE DEVELOPED BY DAVID WALSH Conducted by Kieron Webb and Camille Blot-Wellens

HISTORY OF FILM TECHNOLOGY PARTS 1 & 2

The topics covered in this module are: what is film, an overview of the structure of film, early film, early film production, the advent of sound, duplicating stock, colour film, formats, film pro-duction routes, sound production, film editing, and printing and identifying film elements.

HISTORY OF TV & VIDEO TECHNOLOGYThis module covers the following topics: devel-opment of TV, early TV production, development of magnetic recording, video recording formats, aspect ratios and sizes, recognising videotapes and TV production routes.

PRESERVATION OF FILM & VIDEOThe following topics are covered by this module: strategies, nitrate film, acetate film, colour film, repair, treatment and cleaning, archive laboratory work and videotape.

DIGITAL TECHNOLOGY AND ETHICS OF DIGITISATIONThe topics covered in this module are: rudiments of digital technology, digital images and film, audio, file formats and compression, digitising film, how the digital image can be manipulated

and what is considered in digital manipulation.

MANAGEMENT & PRESERVATION OF DIGITAL MATERIAL/ARCHIVE PRESERVATION POLICIESThe topics covered in this module are: the OAIS model, acquisition/ingest, archival storage, access, practicalities and problems, short-term and long-term preservation strategies.

THEMATIC APPROACH TO THE RESTORATION WORKFLOWDavide Pozzi and Emmanuel Vissani

This lecture will give an overview of the most important issues related to film preservation and conservation from an operative point of view, introducing the main practices to follow in a film archive or laboratory. It will also describe step by step the workflow of a film restoration project, from the film inspection and repair to the final film mastering. The various phases of a film res-toration project will be further analyzed in depth in the practical classes that will take place during the course.

A MULTIDISCIPLINARY APPROACH TO SOUND ON FILMGilles Barberis

This lecture connects the dots of various subjects, such as film history, acoustics, psychoacoustics, and the history of technology, in order to shape

the puzzle of the heterogeneous topic of sound on film, laying the theoretical foundations for a sci-entific approach to sound restoration.

THE CHAPLIN PROJECT | CATALOGUING, RESTORING AND REDISCOVERING CHARLIE CHAPLIN’S GENIUSCecilia Cenciarelli

At the end of the ‘90s, with the exception of The Gold Rush and City Lights, previously restored by Kevin Brownlow, Chaplin’s features were only available in poor or mediocre copies, while Chaplin shorts were virtually unavailable in their original edits. In the course of fifteen years, thanks to a strong col-laboration with the Association Chaplin and part-ners like the British Film Institute and Lobster Films, Cineteca di Bologna has been able to com-plete the restoration of almost 80 titles. However, the Chaplin Project is not simply about resto-ration, but also about a vast archive of papers and stills that have shed new light on one of the most influential filmmakers of the 20th century.

CASE STUDY OF A STUDIO ARCHIVE | PARAMOUNT PICTURES ARCHIVESAndrea Kalas

The presentation provides an overview of a studio archive and the activities it undertakes. The presentation will cover the process of prioritization of films for preservation and a new approach to preservation of over 400 feature films in four years; discussion of two film restorations; the approach to digital archiving and preservation that the studio has had to take to manage digitally created files.

THE APU TRILOGY | RESTORATION PROCESSLee Kline and Ryan Hullings

The Apu Trilogy is the most challenging resto-ration ever attempted by The Criterion Collection. After a lab fire in England practically destroyed most of the original negatives of many of Satyajit Ray’s films in the 80s, the remains of the burnt film elements were deemed unusable. When Criterion set out to re-master Pather Panchali, Aparjito and Apur Sansar, the burnt negatives and

audio tracks were pulled from storage and re-ex-amined. After extensive negative repair of the salvageable footage, the films were transferred using the latest scanning technologies and 4k digital restorations were undertaken. Though the work was extremely costly and highly demanding, the end results are nothing short of stunning. Lee Kline and Ryan Hullings from Criterion will discuss the entire process—from the first time the negatives were examined, to the digital tools needed to complete the job. Lee’s focus will be on the complete re-mastering including finding film elements and all the techniques used for the final restored picture. Ryan will discuss Criterion’s approach to audio restoration and detail the tools and techniques employed to bring the best out of the Apu Trilogy’s soundtracks. The story is almost as exciting as the films themselves.

RESTORING HITCHCOCK | THE RESTORATION AND PRESENTATION OF ALFRED HITCHCOCK’S NINE SURVIVING SILENT FILMSKieron Webb

In 2012, the BFI completed restoration of Hitchcock’s nine surviving silent films as director, to coincide with the hosting of the Olympic Games in his home city. Equally important to the complex project were the complete evaluation of existing original film elements and the public presentation of the restored films with newly commissioned musical scores. An international search provided invaluable original copies which, for the first time, could be compared with the BFI National Archive’s holdings. This fully illustrated presen-tation will describe and discuss the planning and methodology of the project along with its conser-vation, restoration and presentational challenges and successes.

THE FILM FOUNDATION | WORLD CINEMA PROJECT CASE STUDIES: KALPANA, A RIVER NAMED TITASCecilia Cenciarelli and Davide Pozzi

In the last seven years the World Cinema Project was able to restore more than twenty films from Turkey, Egypt, Kazakhstan, Senegal, Morocco,

THEORY CLASSES

LECTuRES & CLASSESKalyana Parisu, 1959


PRACTICAL CLASSESConducted by Davide Pozzi and the team from L’Immagine Ritrovata - Valeria Bigongiali, Marianna de Sanctis, Elena Tammaccaro, Giandomenico Zeppa, Céline Pozzi, Chelu Deiana, Elisa Napelli, Cristiano Valorosi, Emanuele Vissani, Silvia Spadotto, Camille Blot-Wellens, Gilles Barberis.

South Korea, Taiwan, the Philippines, India, Mexico, Hungary, Indonesia, Armenia, Brazil and subsequently to disseminate these works around the world. Fostering relations between archives, sharing restoration ethics, and providing fund-ing for preservation and restoration in neglected countries are only some of the project’s tasks. Special attention will be devoted in this lecture to the restoration of two Indian classics: Uday Shankar’s Kalpana (1948) and Ritwik Ghatak’s A River called Titas (1973).

FILM HERITAGE IN THE DIGITAL WORLD | BETWEEN FIxING AND INTERPRETINGMaciej Molewski

Digital restoration has become a powerful tool in the cause of saving the world’s film heritage. In countries like Poland, it has become the only way to save film archives from further disappear-ance. Over the last few years, digital technology has helped to bring back even those films we wouldn’t have believed could be saved a few years back. This technological leap puts on us a greater responsibility. It’s no longer about whether we can save our film heritage, but how we should go about transferring most of our film heritage to the digital medium. The lecture will focus on the development of digital restoration, the challenges

encountered by the KinoRP project over six years in the field of digital restoration, archiving and dis-tribution of the Polish film heritage. It will cover ways to exploit the benefits and avoid the short-comings of the digital era.

THE FUTURE OF THE ASIAN ARCHIVE IN A TIME OF TRANSITION | TAIWAN AS AN ExAMPLERay Jiing

Kodak, the world major film stock manufacture filed for bankruptcy in 2012. Film production com-panies all over the world are choosing digital over film. In Taiwan, the last celluloid-projection cine-mas switched to digital screening in 2013. Is it true that the film era has ended? If so, what should an archivist do and think at this critical time in his-tory? As the former curator of the National Film Archive, Ray Jiing will speak about his experience in creating awareness and pioneering programs for film preservation and restoration at the Tainan National University of the Arts. He will discuss his ‘dual system of preservation’ for archives, which advocates preserving both celluloid films and their digital copies. The lecture will also cover the current scenario in Taiwan and include clips of restored films to show the kind of restoration work that is being undertaken in Taiwan.

UNIqUE CHALLENGES OF FILM PRESERVATION IN INDIA | PAST, PRESENT AND FUTUREPanelists Suresh Chabria (Former NFAI Director), Anurag Kashyap (Filmmaker / Producer), Kunal Kapoor (Filmmaker / Producer)Moderator Shivendra Singh Dungarpur (Film Heritage Foundation)

The panel will deal with the growth and the role of the National Film Archive of India in film pres-ervation, the concerns of contemporary filmmak-ers and producers regarding the preservation of their films in the digital age, and the attitude of

copyright holders and industry stakeholders to their cinematic legacy.

THE HISTORY OF EARLY SOUND RECORDINGS IN THE INDIAN SUB-CONTINENT (1899 -1915)A.N. Sharma

Lecture on the history of early sound recordings in the Indian Sub-continent (1899-1915). Mr. Sharma will speak on the earliest and rarest non-com-mercial sound recordings in India dating from 1899 as well as on the recently discovered cylin-drical voice recordings of Ustad Alladiya Khan, Pandit V.D. Paluskar, Bhaurao Kolhatkar, Pandit

FILM IDENTIFICATIONThis very first step involves the identification, study and analysis of film materials, different elements (negative, positive, intermediate), trade-marks, edge codes and marks, shape and size perforation, etc.

FILM REPAIRParticipants will learn how to perform manual repairs on the film elements in preparation for its passage through the film scanning and sound transfer machines.

FILM SCAN Participants will familiarise themselves with the film scanning machine which digitises content from the films for use in the subsequent digital restoration workflow.

FILM COMPARINGThis step involves the analysis and comparing of different elements and non-filmic sources which are crucial for determining the most appropriate restoration workflow in consideration of the materials at hand.

DIGITAL RESTORATION - PART 1Participants will be firstly introduced to the spe-cific digital cleaning workflow. The module will then focus on the first steps: Project creation, image stabilisation and flicker reduction.

DIGITAL RESTORATION - PART 2Participants will learn to use specialised software, with both automatic and manual tools, to work on the elimination of dirt, dust and scratches.

DIGITAL RESTORATION - PART 3This module will focus on the final retouches the images may need to solve specific issues in accordance to different deliveries and requests. The participants will learn how to use and cali-brate Regrain, Degrain, Clarity, Sharpness and Aperture.

COLOUR CORRECTIONParticipants will learn how to use colour cor-rection software which enables interventions on the photography of the film with the purpose of retrieving, as closely as possible, the look and tone of the film as it was originally meant to be presented.

SOUND RESTORATIONParticipants will go through an in-depth analy-sis of the current and forthcoming technologies and techniques used for sound transfer and restoration.

FILM MASTERING As the final stage of the film restoration workflow, participants will learn about the different steps required to finalise the digital material, such as video/audio synchronization, digital cinema en-coding, different formats output and quality check.

PANEL DISCUSSIONS

Bhaskarbuwa Bakhale, Ms Gauhar Jan, Miss Allahbandi of Jaipur, and Dadasaheb Phalke. As regards the commercial recordings of Indians on Indian soil, it started in 1902 and the lecture shall elaborate on some of these rare evidences and

who were the first Indians recorded during this period. The lecture will include 18 minutes of foot-age on the non-commercial era of sound record-ing in India including the only voice recording of Dadasaheb Phalke, the father of Indian cinema.


GIAN LUCA FARINELLIDirector, Cineteca di Bologna

Gian Luca Farinelli has been the director of the Cineteca di Bologna since 2000. He oversaw the creation of the first Italian film restoration school L’Immagine Ritrovata, funded by the European Union, and the inception of the restoration lab of the same name. The lab has been active since 1992 and works today with major film archives around the world. He is recognized as one of the foremost film restoration experts in the world. He played a leading role in the creation of the Association des Cinémathèques Européennes, and has been the director of Bureau Recherche des Films Perdus, a research project promoted by European film archives for retrieving lost films around the world.

DAVIDE POzzI Director, L’Immagine Ritrovata

Davide Pozzi has been working at Cineteca di Bologna since 2001, and in 2006 he became the director of L’Immagine Ritrovata film restoration laboratory. Under his management, the laboratory has established itself as one of the most highly specialized facilities in the field of film restoration worldwide.

JENNIFER AHNManaging Director, The Film Foundation

Ms. Ahn has developed and implemented a broad range of fund-raising, educational, and screening programs to expand the awareness of film preservation. She has created several groundbreaking educational programs, including The Story of Movies, an interdisciplinary curriculum that introduces young people to classic cinema and teaches them to understand and interpret the language of film within a cultural and historical context. Since 2005, nearly 100,000 educators across the United States have taught the program to an estimated 10 million students. The Foundation is distributing a ‘DIY Preservation Guide’ targeted to independent filmmakers, with recommendations and strategies for preserving digital content.

ANDREA KALASVice President, Archives, Paramount Pictures

Andrea has been Vice President of Archives at Paramount Pictures since 2009. She restored films as Head of Preservation at the British Film Institute, created in-production archiving systems for Discovery Communications, built an archive from scratch at Dreamworks SKG and preserved newsreels at the UCLA Film and Television Archive. She is a former President of the Association of Moving Image Archivists and holds a Masters from UCLA in film history.

SPEAKERS

KIERON WEBB Film Conservation Manager, BFI National Archive, London

Kieron Webb leads the technical work on the British Film Institute National Archive’s restorations, which includes the identification of the best source materials for restoration and designing the approach to restoration work at the Archive’s Conservation Centre. He has worked on the restorations of the first films of Charles Chaplin, David Lean and Alfred Hitchcock, as well as Joseph Losey’s Accident (1967).

CECILIA CENCIARELLI World Cinema Project

Cecilia Cenciarelli joined the Cineteca di Bologna in 2000 and shortly after that was put in charge of the Chaplin Project, whose mission is to digitize and catalogue Charlie Chaplin’s vast paper and stills archive. Within the same project, she has co-ordinated the resto-ration of Chaplin’s complete works as well as a number of events, exhibits and publications. Since 2007, she has been working as proj-ect manager for Martin Scorsese’s World Cinema Project, which, in partnership with Cineteca di Bologna, aims at safeguarding, preserving and restoring endangered film patrimony in neglected countries around the world.

CAMILLE BLOT-WELLENSFIAF Technical Commission

Camille Blot-Wellens is an independent film researcher and historian. She is presently an Associate Senior Lecturer at Paris 8 University in France. She collaborates with European Archives for research and restoration projects. She is a member of FIAF’s Technical Commission, and an author of books and articles on restoration and film identification in specialized publications, such as the Journal of Film Preservation. She has participated in several FIAF Schools in South America (Chile, Cuba) and Italy.


GILLES BARBERIS L’Immagine Ritrovata

Gilles Barberis has been working at L’Immagine Ritrovata since 2007, overseeing every link of the sound restoration chain, from digitization to optical recording. The wide range of materials he has encountered has given him the expertise to develop a personal, rigorous, scientific approach to film sound restoration, based on a broad and detailed knowledge of the history of sound technologies. He has been teaching Sound Restoration since 2007 at the FIAF Film Restoration Summer School held in Bologna, Italy.

LEE KLINEThe Criterion Collection

For almost 20 years Lee Kline has presided over the technical group at The Criterion Collection, based in New York City. Moving from analog to digital, Lee has re-mastered hundreds of world cinema classics and oversees a full restoration staff in the Criterion New York post facility. Travelling the globe to locate the best available film elements, and working closely with filmmakers, Lee has an approach which encompasses both preservation and restoration, remaining true to the filmmakers’ original vision of the film.

RYAN HULLINGSThe Criterion Collection

A passion for fidelity and years of experience in audio post-production for film, television, and music led Ryan Hullings to The Criterion Collection, where he began as an audio restoration engineer in 2007 and is now supervisor of the audio department. His work involves not just conducting digital film audio restoration but also keeping pace with cutting-edge restoration technology and evaluating the sound quality of film elements, all with the mission of upholding the company’s lofty technical standards. In 2014, Ryan spearheaded the restorations of such landmark films as A Hard Day’s Night, La Dolce Vita, Nashville, The Complete Works of Jacques Tati, and It Happened One Night. Currently, he is proud to be busy restoring Satyajit Ray’s Apu Trilogy.

EMANUELE VISSANIL’Immagine Ritrovata

Since 2007 Emanuele Vissani has worked at L’Immagine Ritrovata in diverse departments as sound restoration operator, telecine operator, colourist, system administrator, and is now the supervisor of the Mastering and Quality Control department. He has been teaching Sound Restoration since 2007 at the FIAF Film Restoration Summer School held in Bologna, Italy.

MACIEJ MOLEWSKIKinoRP Project

Maciej Molewski has been specialising in media and technology since 2002. In 2011, he joined the KinoRP project in the development of digital restoration in Poland and took the position of CEO of the Digital Film Repository. In years 2011-2013 his company was responsible for the co-ordination of digital restoration of over 70 Polish films and he was personally involved in the coordination, planning and controlling stages of each restoration. In 2013, he launched ‘all DOTS’ and has been specialising in technological advisory and mediations for film studios and institutions.

CHRISTOPHE DUPIN International Federation of Film Archives (FIAF)

Christophe Dupin is Senior Administrator of the International FIAF and Executive Publisher of the Journal of Film Preservation. From 1999 to 2004, he worked for the British Film Institute in London while writing his PhD thesis. He then embarked on a six-year academic project on the history of the BFI at Queen Mary, University of London.

P.K. NAIRFounder and Former Director of the National Film Archive of India

Founder and former Director of the National Film Archive of India (NFAI), Pune, P.K. Nair is a film archivist of long standing. He was associated with the NFAI for nearly three decades right from its inception in the mid-‘60s. He is largely responsible for pioneering film preservation activities in India, building up the NFAI virtually from scratch to an institution of international reckoning.


ANURAG KASHYAPFilmmaker, Producer

Anurag Kashyap is an award-winning filmmaker, writer and pro-ducer. He made an early mark as a writer with the gritty, raw gang-ster film Satya (1998). His filmography includes the path-breaking film Dev. D, the acclaimed Black Friday and Gangs of Wasseypur. In 2013, Kashyap had a record five films in Cannes either as a director or a producer, including the film Lunchbox that made waves on the international film festival circuit. He has been a jury member at the Venice International Film Festival, the 2013 Sundance Film Festival and the Marrakech Film Festival. In 2013, he was conferred with the Chevalier dans l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters) by the French Government.

A.N. SHARMAArchivist, Researcher and Writer

Author of the landmark book Bajanaama: A Study of Early Indian Gramophone Records, A.N. Sharma is a retired Commissioner of Customs & Excise, Mumbai. He is an archivist and historian of the early sound recordings in the Indian sub-continent, having researched the subject for the last 25 years. His recent book The Wonder that was the Cylinder deals extensively with the earliest Indian voice recordings on brown wax cylinders dating back to 1899. He is credited with discovering and documenting hitherto unheard recordings of Ustad Alladiya Khan, Dadasaheb Phalke, Bhaurao Kolhatkar, Pandit V.D. Paluskar, Pandit Bhaskar Bua Bakhale, and other luminaries.

SHIVENDRA SINGH DUNGARPURFounder-Director of the Film Heritage Foundation

Shivendra Singh Dungarpur is a film-maker, archivist and restorer and the founder of the Film Heritage Foundation, a not-for-profit organization dedicated to supporting the conservation, preservation and restoration of the moving image. Shivendra has collaborated on two world-class restoration projects with Martin Scorsese’s World Cinema Foundation: Uday Shankar’s classic film Kalpana (1948) and eminent Sri Lankan filmmaker Dr. Lester James Peries’ film Nidhanaya (1972) that premiered at the Cannes Film Festival in 2012 and Venice Film Festival 2013 respectively. In 2012, he made an acclaimed National Award-winning documentary Celluloid Man that travelled to over 50 film festivals around the world. He has also directed and produced over 500 commercials, short films and documentaries under the banner of Dungarpur Films, one of the most reputed production houses in the country.

SURESH CHABRIAFormer Director, National Film Archive of India

Suresh Chabria taught Political Science at St. xavier’s College, Mumbai, before joining the Film and Television Institute of India, Pune, as Professor of Film Appreciation. He was Director of the National Film Archive of India, Pune from 1992-1998 during which period he initiated several restorations and curated programs and events that showcased Indian film heritage in India and Europe. He has attended several FIAF Congresses and participated in archival programs across the world. He has edited the book, Light of Asia: Indian Silent Cinema 1912-1934, one of the most authoritative publications on the subject.

KUNAL KAPOORFilmmaker, Producer

Kunal Kapoor belongs to a family, steeped in the traditions of cinema and theatre, that founded the renowned R.K. Films & Studios and the Prithvi Theatre. The Kapoor family has for four generations contributed towards the evolution of Indian cinema and theatre in India. Kunal established his own company ADFILM-VALAS in 1986. He has produced and directed over 900 advertising films and has also line-produced for directors like Roland Joffe and John Boorman. Currently Kunal is working on the restoration of the films produced by his father Shashi Kapoor—Junoon, 36 Chowringhee Lane, Kalyug, Vijeta and Utsav.

RAY JIING (A.K.A. YNG-RUEY JIING)Former Head of National Film Archive, TaiwanProfessor & Dean, Graduate Institute of Studies in Documentary & Film Archiving

Ray Jiing is Dean of the School of Sound & Image Arts and Professor of the Graduate Institute of Studies in Documentary & Film Archiving, Tainan National University of the Arts, Taiwan. He served as the head of National Film Archive of Taiwan, ROC for 8 years and was instrumental in preserving Taiwanese dialect films as well as conducting much archival research, film restoration and preservation. He started the mission to safeguard Taiwan’s national film heritage, including the restoration of the earliest film prints from the Japanese colonization period (1930s onwards).


ORgANISERS ANDCOLLAbORATORS

Kalyana Parisu, 1959


FILM HERITAGE FOUNDATIONFilm Heritage Foundation is a not-for-profit orga-nization set up by Shivendra Singh Dungarpur in 2014. Recognizing the urgent need to preserve India’s cinematic heritage, the foundation is ded-icated to supporting the conservation, preserva-tion and restoration of the moving image and to develop interdisciplinary educational programs that will use film as an educational tool and create awareness about the language of cinema.

THE FILM FOUNDATIONCreated in 1990 by Martin Scorsese, The Film Foundation (film-foundation.org) protects and preserves motion picture history. By working in partnership with archives and studios, the foun-dation has helped save over 620 films and pro-grams these restorations throughout the world. The foundation’s free educational curriculum, The Story of Movies, teaches young people—over 9 million to date—about film language and his-tory. Joining Scorsese on the board of directors are Woody Allen, Paul Thomas Anderson, Wes Anderson, Francis Ford Coppola, Clint Eastwood, Curtis Hanson, Peter Jackson, Ang Lee, George Lucas, Alexander Payne, Robert Redford, and Steven Spielberg. The Film Foundation is aligned with the Directors Guild of America.

WORLD CINEMA PROJECTThe Film Foundation launched the World Cinema Project (WCP) to preserve and distribute cinema from around the world, particularly in countries where archival, technical and financial resources are lacking in the preservation of film patrimony. At present, the program includes 21 films from 17 different countries including Central and South

America, Africa, Eastern Europe, India, the Middle East, Central and Southeast Asia, represent-ing the rich diversity of the world’s film heritage and ensuring that these films are discovered, restored, preserved, and shared with a global audience.

FONDAZIONE CINETECA DI BOLOGNAWith a mission that embraces the past and is open to the future, Fondazione Cineteca di Bologna is a multifaceted institution for archival conservation and restoration, film and audiovisual promotion and dissemination, training, research, and publishing.

L’IMMAGINE RITROVATA L’Immagine Ritrovata is a highly specialized film restoration laboratory, born and developed under the aegis of Fondazione Cineteca di Bologna. Thanks to its innovative methodologies, it is a leading laboratory in the field which has under-taken the restoration of films from every cine-matic era, including the works of Charles Chaplin, Jean Renoir, Federico Fellini, Jacques Tati, Luchino Visconti, Yasujiro Ozu, Sergei Leone, and Ritwik Ghatak.

INTERNATIONAL FEDERATION OF FILM ARCHIVES (FIAF)FIAF, the International Federation of Film Archives, brings together the world’s leading institutions in the field of moving picture heritage, comprising more than 150 institutions in over 77 countries. FIAF members are dedicated to the rescue, collection, preservation and screening of moving images.

FILMS DIVISION OF INDIAThe Films Division of India was established in 1948 by the Government of India. For more than six decades, the organization has relentlessly striven to maintain a record of the social, political and cultural imaginations and realities of the country on film. It has actively worked in encouraging and promoting a culture of filmmaking in India that respects individual vision and social commitment.

NATIONAL FILM ARCHIVE OF INDIA (NFAI)The mission of the National Film Archive of India is to safeguard the heritage of Indian cinema for posterity and act as a centre for dissemination of a healthy film culture in the country. The promo-tion of film scholarship and research on various aspects of cinema also form part of its charter. Familiarizing audiences around the world with Indian cinema is another declared objective of the Archive.

BRITISH FILM INSTITUTEThe British Film Institute, a charity governed by a Royal Charter founded in 1933, combines cultural, creative and industry roles, bringing together the BFI National Archive and BFI Reuben Library, film distribution, exhibition and education at BFI Southbank and BFI IMAx, publishing and festivals. The BFI awards Lottery funding to film produc-tion, distribution, education, audience develop-ment and market intelligence and research.

THE CRITERION COLLECTIONSince 1984, The Criterion Collection, an import-ant series of classic and contemporary films, has been dedicated to gathering the greatest films from around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements. Criterion’s library of director-approved DVDs, Blu-Ray Discs and Laser Discs are the most significant archive of contemporary filmmaking available to the home viewer.

KinoRP PROJECTThe masterpieces of Polish cinema are currently being digitally restored under the KinoRP Project, which aims at saving the heritage of Polish cinematic art. The restoration takes place with the personal participation of the original authors: cinematographers and directors. The most eminent Polish directors such as Andrzej Wajda, Krzysztof Zanussi, Jerzy Skolimowski, Piotr Szulkin and cinematographers such as Witold Sobociński, Jerzy Wójcik, and Jan Laskowski have provided artistic supervision for the KinoRP Project. Over 100 films, 25 cartoons and 100 documentary films were digitally restored under the KinoRP Project by the end of 2014. The project is carried out in cooperation with the Polish Film Institute, the National Audiovisual Institute and the Polish Filmmakers Association.

ORgANISERS COLLAbORATORS

Andha Naal, 1954


ORGANISERS

THE FILM FOUNDATION & WORLD CINEMA PROJECTMargaret Bodde, Jennifer Ahn, Maria Paleologos, Kristen Merola

FONDAzIONE CINETECA DI BOLOGNAGianluca Farinelli, Cecilia Cenciarelli, Carmen Accaputo

L’IMMAGINE RITROVATADavide Pozzi, Valeria Bigongiali, Céline Stéphanie Pozzi ,Chelu Deiana, Emanuele Vissani, Marianna de Sanctis, Elena Tammaccaro, Giandomenico Zeppa, Silvia Spadotto, Elisa Napelli, Cristiano Valorosi, Julia Mettenleiter

FIAFChristophe Dupin, David Walsh, Camille Blot-Wellens

BRITISH FILM INSTITUTEGabriele Popp, Robin Baker, Kieron Webb

THE CRITERION COLLECTIONPeter Becker, Fumiko Takagi, Lee Kline, Ryan Hullings

FILMS DIVISIONV.S. Kundu (Director General), Anil Kumar, Viplove Rai Bhatia, Manohar Singh Bisht, S G Shastri, Ajita Nair, Vijay Warang

NATIONAL FILM ARCHIVE OF INDIA Alpana Pant Sharma (Director), K.A. Dhiwar, N.S. Alhat, Seema Vartak

VIACOM 18Rolina Dantas, Soumen Ray, Anshul Ailawadi, Sonia Huria, Kesha Mehta, Prasanna Ratanjankar

KA ADVERTISINGPrashant Kanyalkar PRASAD GROUPMohan Krishnan, Jaya Vasant

20th CENTURY FOXSchawn Belston, Victoria Stevenson

FILM STILLSBimal Roy family, Damle family, AVM Film Studios

FRUITBOWL DIGITALFaisal Amin, Dedeepya Reddy, Preksha Seth, Dilip Jain, Amanda Castellino, Unni Nambiar

OSIANSNeville Tuli, S M M Ausaja, Attreyee Chowdhury

SPENTA MULTIMEDIAManeck Davar

HARPER COLLINSShantanu Ray Chaudhari

SECOND RUN DVDMehelli Modi, Chris Barwick

LIBERTY CINEMANazir Hoosein, Errol Lobo

PRIME FOCUS LIMITEDNiraj Sanghai, Huzefa Lokhandwala

BLUE SEA BANqUETS & OUTDOOR CATERINGSangeeta Malkani, Ashay Desai, Mario Menezes

ACCOUNTANTSMittal Chaudhry & Co: Nitin Chaudhry, Ajay Sharma; Gandhi & Associates: Milind Gandhi; Sandip Shah & Co,: Sandip Shah

CENTRE FOR ADVANCEMENT OF PHILANTROPHYNoshir Dadrawala

INDIANA TRAVEL SERVICESDeepak Ramnani, Asmita Ramnani, Gehna Makhija

HARVEY INDIA HOLIDAYS PVT. LTD.Charmi Vadhyar, Christina J.

J M ENTERPRISESMr. Stephen Gunaraj

XHEIGHT DESIGN ASSOCIATESRachna Rastogi, K K Muralidharan

STILLSNikhil Borhade, Kishore Warge

COLLABORATORS

PARTNERS

TECHNICAL PARTNERS

The Film Heritage Foundation Would Like To Thank:

ACKNOWLEDgEMENTS

Imperial Films Company, 1926-1938

film preservation & restoration school india, 2015

Documents

film restoration

film foundation

current restoration

restoration work

british film institute

films division

indias cinematic heritage

cinematic heritage