Torino, Centro Congressi “Torino Incontra”, 28-31 maggio 2003

 

PRESENTATION

 

 

 

 

International Conference on Cinema Archives

The Memory of Cinema

An exchange of views between archivists, librarians and conservators

 

Turin, the Torino Incontra Convention Center, 28-31 May 2003

 

The Associazione nazionale archivistica italiana (ANAI) intends to hold an international conference on cinema archives entitled La memoria del cinema: archivisti, bibliotecari e conservatori a confronto (The Memory of Cinema: an exchange of views between archivists, librarians and conservators) in Turin on the occasion of its 27th national conference.

Promoted by Direzione Generale per gli Archivi, Regione Piemonte and Cittŕ di Torino, the meeting will be held together with Museo Nazionale del Cinema di Torino, Cineteca Nazionale, Archivio di Stato di Torino, Soprintendenze Archivistiche per il Piemonte e il Lazio, Camera di Commercio di Torino, with the support of Direzione Generale per i Beni Librari e gli Istituti Culturali, sponsored by the FIAF (Féderation Internationale des Archives du Film) and the ICA (International Council on Archives), under the auspices of Direzione Generale per il Cinema.

The last few years have seen the emergence of particular attention toward the cinematic material, in the dual role of work of art and historical document in which the culture and the mentality of an environment and an age are reflected.

This new interest has highlighted the importance not only of the film itself, but also of the “non film”, meaning all the material bearing witness to what happened before, during and after the making of the film itself: pre and post production documents, properties on set, photographs taken on set, costumes, posters and whatever is necessary to place the film itself in context, opening multiple channels for research.

Archivists, librarians and conservators of the film museums deal precisely with these partly still unexplored territories and can offer concrete collaboration, especially to define criteria of description for cinematic documents and methodologies of conservation of different materials.

A particular attention is also focused on the theme of training of specialists in cinematic memory, both with traditional tools and technologies and with the more recent digital techniques.

 

 

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