Commission Staff Working Document on the challenges for European film heritage from the analogue and the digital era (Second implementation report of the Film Heritage Recommendation)

1.

Kerngegevens

Document­datum 06-07-2010
Publicatie­datum 22-01-2013
Kenmerk 11896/10
Van Secretary-General of the European Commission, signed by Mr Jordi AYET PUIGARNAU, Director
Aan Mr Pierre de BOISSIEU, Secretary-General of the Council of the European Union
Externe link originele PDF
Originele document in PDF

2.

Tekst

COUNCIL OF Brussels, 6 July 2010

THE EUROPEAN UNION

11896/10

AUDIO 20 CULT 56

COVER NOTE

from: Secretary-General of the European Commission,

signed by Mr Jordi AYET PUIGARNAU, Director

date of receipt: 2 July 2010

to: Mr Pierre de BOISSIEU, Secretary-General of the Council of the European Union

Subject: Commission Staff Working Document on the challenges for European film

heritage from the analogue and the digital era (Second implementation report

of the Film Heritage Recommendation)

Delegations will find attached Commission document SEC(2010) 853 final.

________________________

Encl.: SEC(2010) 853 final

COMMISSION OF THE EUROPEAN COMMUNITIES

Brussels, 2.7.2010 SEC(2010) 853 final

COMMISSION STAFF WORKING DOCUMENT

on the challenges for European film heritage from the analogue and the digital era (Second implementation report of the Film Heritage Recommendation)

EN EN

INTRODUCTION ...................................................................................................................... 4

CHAPTER I – Analysis of the situation of film heritage in Europe .......................................... 5

  • 1. 
    Designated bodies......................................................................................................... 5
  • 2. 
    Collection ..................................................................................................................... 6
  • 3. 
    Cataloguing and creation of databases ......................................................................... 7
  • 4. 
    Preservation .................................................................................................................. 7
  • 5. 
    Restoration.................................................................................................................... 8
  • 6. 
    Accessibility ................................................................................................................. 9
  • 7. 
    Education / Media literacy ......................................................................................... 10
  • 8. 
    Professional training................................................................................................... 10
  • 9. 
    Member's States suggestions for further EU action ................................................... 11

CHAPTER II - Challenges and opportunities of the digital era for film heritage institutions . 12

  • 1. 
    Collection of digital material...................................................................................... 12
  • 2. 
    Storage and long-term preservation of digital film material ...................................... 13
  • 3. 
    Application of digital technologies for restoration..................................................... 13
  • 4. 
    Digitisation and integration in Europeana.................................................................. 14
  • 5. 
    Increased access to collections thanks to new technologies....................................... 14
  • 6. 
    Digital cinema and film heritage ................................................................................ 15

CHAPTER III - Access to Film Heritage ................................................................................. 15

  • 1. 
    Making possible access to works from the past for cultural and educational purposes16
  • 2. 
    Ensuring access to works of the future for cultural and educational purposes .......... 16

CONCLUSIONS ...................................................................................................................... 16

ANNEXES................................................................................................................................ 18

ANNEX I – List of EU activities in relation to film Heritage.................................................. 19

I.A Initiatives announced in the Film Heritage Recommendation ................................... 19

  • 1. 
    Cinema Expert Group / Subgroup Film Heritage....................................................... 19
  • 2. 
    European standardization on the interoperability of film databases .......................... 19
  • 3. 
    Framework agreement between the ACE and FIAPF on voluntary deposit of films with preservation archives.......................................................................................... 19

I.B Support to film heritage in the context of other EU policies...................................... 20

  • 1. 
    The MEDIA 2007 programme ................................................................................... 20 2. Film heritage in Europeana ........................................................................................ 23
  • 3. 
    Commission Recommendation 2006/585/EC on the digitisation and online accessibility of cultural material and digital preservation.......................................... 23
  • 4. 
    ICT Policy Support Programme (ICT-PSP) under the Competitiveness and

Innovation Programme (CIP) ..................................................................................... 23

  • 5. 
    ICT R&D under the Research Framework Programmes............................................ 24
  • 6. 
    Orphan Works ............................................................................................................ 25
  • 7. 
    Standards for archiving digital films .......................................................................... 26

ANNEX II – SUMMARY OF THE SITUATION IN MEMBER STATES IN RELATION

TO EACH SUBJECT RAISED IN THE QUESTIONNAIRE .................................. 27

TABLE 1 – FILM HERITAGE INSTITUTIONS (question 3) ............................................... 28

TABLE 2 – LEGISLATIVE MEASURES / DEFINITION OF NATIONAL FILM

HERITAGE ................................................................................................................ 38

TABLE 3 – DEPOSIT OF CINEMATOGRAPHIC WORKS FORMING PART OF

NATIONAL AUDIOVISUAL HERITAGE (question 4.1)....................................... 50

TABLE 4 – DEPOSIT OF MATERIAL OTHER THAN CINEMATOGRAPHIC WORKS

FORMING PART OF THE NATIONAL AUDIOVISUAL HERITAGE ................ 60

TABLE 5 – CATALOGUING AND DATABASES (question 5)........................................... 65

TABLE 6 - PRESERVATION AND RESTORATION (questions 6 and 7) ........................... 74

TABLE 7 - ACCESSIBILITY, PROFESSIONAL TRAINING AND EDUCATION

(questions 8, 9 and 10) ............................................................................................... 87

TABLE 8 – EUROPEAN AND INTERNATIONAL ACTIVITIES (question 14)............... 105

TABLE 9.1 – FOLLOW-UP OF PRIORITIES (question 11.1): ........................................... 113

TABLE 9.2 – FOLLOW-UP OF PRIORITIES (questions 11.2-11.4): ................................. 117

TABLE 9.3 – FOLLOW-UP OF PRIORITIES (questions 11.5 - 11.6): ............................... 121

TABLE 9.4 – FOLLOW-UP OF PRIORITIES (questions 11.7 – 11.8):............................... 125

TABLE 10 – MEASURES FACING THE CHALLENGES OF THE DIGITAL ERA

(question 12)............................................................................................................. 128

TABLE 11 – FILM POLICY AND FILM HERITAGE (question 13) .................................. 136

TABLE 12 – MEASURES ADDRESSING PROBLEMS ENCOUNTERED AND

EXAMPLES OF BEST PRACTICES (questions 15 and 16) .................................. 145

TABLE 13 – SUGGESTED NEEDS FOR FURTHER EU ACTION (question 17) ............ 156 COMMISSION STAFF WORKING DOCUMENT

on the challenges for European film heritage from the analogue and the digital era (Second implementation report of the Film Heritage Recommendation)

INTRODUCTION

The European Parliament and Council adopted a Recommendation on film heritage and the

competitiveness of related industrial activities 1 (Film Heritage Recommendation) on 16

November 2005. This Recommendation was the follow-up to the Commission Communication on certain legal aspects relating to cinematographic and other audiovisual

works 2 and of a number of political statements from the Council 3 and the European Parliament 4 underlying the importance of European film heritage. The Recommendation gave

new impulse to the protection of the European film heritage. It initiated a dynamic process

based on Member States' periodical reporting 5 . The Commission committed itself to monitor

and assess the extent to which the measures set out in the Recommendation were working effectively, and to consider the need for further action.

Looking at the general political context, the Commission adopted the Digital Agenda for

Europe 6 on 19 May 2010. One of the identified areas for action is the promotion of cultural

diversity and creative content, which includes the support to digital cinema and the

strengthening of Europeana 7 . The Commission has established a reflection group to come up

with recommendations on how best to speed up the digitisation, online accessibility and

preservation of cultural works across Europe 8 .

The principles on which the Film Heritage Recommendation is based are still valid: Cinematographic works are an essential component of our cultural heritage and therefore merit full protection. In addition to their cultural value, cinematographic works are a source of historical information about European society. They are a comprehensive witness to history of

1 Recommendation of European Parliament and Council Recommendation of 16 November 2005 on film

heritage and the competitiveness of related industrial activities, OJ L 323 of 9.12.2005, p.57. http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:32005H0865:EN:NOT

2 Communication from the Commission to the Council, the European Parliament, the Economic and

Social Committee and the Committee of the Regions on certain legal aspects relating to cinematographic and other audiovisual works, COM/2001/0534 final OJ C 43 of 16.2.2002, p. 6.

3 Council Resolution of 26 June 2000 on the Conservation and enhancement of European cinema,

heritage, OJ C 193 of 11.7.2000, p.1, Council Resolution of 24 November 2003 on the deposit of cinematographic works in the European Union, OJ C 295 of 5.12.2003, p.3.

4 European Parliament resolution on the Commission communication on certain legal aspects relating to

cinematographic and other audiovisual works (COM(2001) 534 i – C5-0078/2002 – 2002/2035(COS))

5 Point 23 recommended to Member States to inform the Commission every two years of action taken in

response to the Recommendation.

6 Communication from the Commission to the European Parliament, the Council, the European

Economic and Social Committee and the Committee of the Regions "A Digital Agenda for Europe", COM(2010)245 i of 19.05.2010.

7 www.europeana.eu

8

http://europa.eu/rapid/pressReleasesAction.do?reference=IP/10/456&format=HTML&aged=0 &language=EN&guiLanguage=en

the richness of Europe's cultural identities and the diversity of its people. Cinematographic images are a crucial element for learning about the past and for civic reflection upon our civilisation. In order to ensure that the European film heritage is passed down to future generations, it has to be systematically collected, catalogued, preserved and restored. In addition, European film heritage should be made accessible for educational, academic, research and cultural purposes. As cinematography is an art contained on a fragile support, it therefore requires positive action from the public authorities to ensure its preservation.

The first implementation report on the Film Heritage Recommendation was adopted in

August 2008 9 . This Commission Staff Working Document reports on the implementation of the Film heritage recommendation based on Member States' implementation reports 10

received in December 2009, on the basis of a questionnaire circulated by the European

Commission 11 . The questionnaire covered all the aspects of the Film Heritage

Recommendation. In addition, it raised two other issues, which are not contemplated in the Recommendation: challenges and opportunities for European Film heritage arising from the transition from the analogue to the digital area as well as the link between film funding policies and film heritage. Therefore, these aspects are also included in this document.

This Commission Staff Working Document is divided into three chapters:

I. Analysis of the situation of film heritage in Europe in those areas covered by the Film Heritage Recommendation;

II. Challenges and opportunities of the digital era for film heritage institutions;

III. Access to European film heritage.

It contains two annexes:

Annex I - List of EU Activities in relation to film heritage;

Annex II - Summary of the situation in Member States, in relation to each subject raised in the questionnaire.

CHAPTER I – A NALYSIS OF THE SITUATION OF FILM HERITAGE IN E UROPE

The objective of this chapter is to analyse the situation of film heritage in Europe, by highlighting the best practices for each of the areas covered by the Recommendation, as well as by pointing out the problems encountered by the film heritage institutions.

  • 1. 
    Designated bodies

All Member States have designated appropriate bodies to ensure that cinematographic works forming part of their audiovisual heritage are systematically collected, catalogued, preserved, restored and made accessible.

9 SEC(2008)2373, 08.08.2008, http://ec.europa.eu/avpolicy/reg/cinema/report/index_en.htm

10 All the reports are available on http://ec.europa.eu/avpolicy/reg/cinema/report_2/index_en.htm

11 http://ec.europa.eu/avpolicy/reg/cinema/report_2/index_en.htm

Regional and local archives have been included in this report. They play an increasing role in collecting, preserving and making available local film heritage, including amateur films and films in minority languages. It seems to be a good coordination between the national film heritage institution and the regional / local ones.

Funding and human resources devoted to film heritage display great variations between Member States. At one end of the scale, France finances its three biggest film heritage institutions with around 40 million €. At the other end, Estonia, Greece, Latvia, Malta, Slovenia allocate less than 500 000 € per year to their film heritage institutions.

Almost all film heritage institutions have websites in their own language and in English, which allows international visibility of their activities.

  • 2. 
    Collection

Member States ensure the systematic collection of cinematographic works that make up part of their audiovisual heritage through:

– legal deposit: Bulgaria, Czech Republic, Denmark, Finland, France, Hungary, Italy, Luxembourg, Malta, Poland, Slovakia (11 Member States).

– compulsory deposit of cinematographic works that have received public funding: Austria, French and Flemish speaking Communities of Belgium, Cyprus, Estonia, Germany, Greece, Ireland, Latvia, Lithuania, Portugal, Romania, Slovenia, Spain, Sweden and United Kingdom (15 Member States).

The Dutch and Federal Belgian institutions operate on the basis of voluntary deposit.

A problem for a number of Member States is the enforcement of the deposit obligation (Bulgaria, Poland). Best practices to deal with this problem include:

– for legal deposit: "watchdog units" (for instance, in Finland or France). In Finland, non-compliance with the deposit obligation is a punishable act for which a fine can be imposed.

– for compulsory deposit of works that have received public funding: Payment of the State aid is conditional to the deposit (Spain, Cyprus, Greece, Italy).

Most Member States report that they perform quality checking of the deposited material. In some cases, there is an enforcement of this obligation (for instance, in Sweden). This good practice should be generalised.

Finally, voluntary deposit is extremely important for enriching the collections with foreign films, metadata or film related materials. There seems to be an increase of voluntary deposit within prestigious film European Institutions. As described by the Director of one of them, "film archives are the door to eternity for a filmmaker". It is essential that contracts are signed between the archive and the right holder, clearly defining the rights and obligations of each party. In this context, the Commission facilitated the signature of a model contract between the Association of European Film Libraries (ACE) and the International Federation of Film Producers Associations FIAPF.

Ireland also requires the deposit of films produced using footage from the archive.

  • 3. 
    Cataloguing and creation of databases

Most of the Member States declare to follow the cataloguing rules of the International Federation of Film Archives (FIAF).

All Member States have electronic databases. Most of them are or planned to be available on the Internet. Making film databases available on the Internet enhances the visibility of holdings of European Film Heritage Institutions.

Following a standardisation mandate from the Commission to the European Committee for Standardization (CEN), CEN has published the European Standard EN 15744:2009 "Film Identification – Minimum metadata set for cinematographic works". The second standard EN 15907:2010 "Film Identification – Enhancing interoperability of metadata – Element sets and structures" was adopted in mid-2010.

The "European Film Gateway" project has decided to use EN 15907:2010 as a part of their semantic interoperability strategy for filmographic records. Given that 15 film heritage institutions from 14 European countries are content providers to the project, the standard will be at least applied by those Institutions. This ensures a critic mass of interoperability between European film databases. Thanks to this effort, European film heritage is becoming more accessible for researchers and public in general. It also facilitates common projects between film heritage institutions, such as common restorations, organization of retrospectives or exhibitions.

Finally, the Commission finances a project promoting the use of the European standards on interoperability of film databases, under the EU programme "ICT Standardization". Four workshops will be organised in the EU and coaching provided for those archives willing to implement the European standards EN 15744:2009 and EN 15907:2010.

  • 4. 
    Preservation

Obviously, preservation is the core business of film heritage institutions. Preservation measures fall into two main categories: creation or improvement of depositories for film and reproduction of film into new media. Certain Member States consider digitisation as a preservation measure. Others (Austria) consider that digitisation per se does not ensure longterm preservation of the material. Digitisation will be specifically examined below, in the chapter "challenges of the digital era".

Some Member States already have (Austria, Denmark, Finland, France, Germany, Italy, Lithuania, Luxembourg, The Netherlands, Slovenia, Sweden) or are in the process of establishing (Spain, United Kingdom) depositories that ensure or will ensure optimum preservation conditions. Film material kept under optimum temperature and humidity conditions can survive for several centuries. In some cases (Bulgaria), the lack of an appropriate depository threatens the preservation of collections.

Certain Member States have established "national preservation plans", which include a set of priorities and a clear timetable for the use of the usually scarce resources. For instance, the "National heritage preservation programme" for 2007-2013 by the Czech Republic, as well as the drawing of "annual preservation plans" in Portugal, aimed at setting up a preservation chain for each work produced in Portugal. But not all Member States are following this best practice, which could optimize the use of the scarce resources by establishing priorities and a clear timetable.

Some Member States also preserve the equipment for showing the cinematographic works in their original format (Czech Republic, Denmark, Portugal, Ireland, Romania). Efforts are also made for the preservation of film related material.

All Member States, except Bulgaria, have reported that their national copyright legislation has implemented or it is in the process of being implemented (Cyprus, Luxembourg, United Kingdom) the exception provided by Article 5(2)(c) of Directive 2001/29/EC i of the European Parliament and of the Council of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society. This exception allows Member States to authorise acts of reproduction made by publicly accessible libraries or archives which are not for direct or indirect economic commercial advantage. This would include, for instance, the reproduction of film material in new media in order to ensure its preservation.

  • 5. 
    Restoration

There is a big variation between Member States on how to tackle the issue of restoration. While some archives have their own in-house restoration laboratories (Austria, Belgium, France, Germany, Czech Republic, Portugal, United Kingdom), others outsource restoration to other Member States (Estonia, Ireland), as they lack the required technology, equipment or expertise.

While France, Finland, Germany, Malta and Slovakia report that sufficient budgetary resources are provided by the State for restoration, there is a complete lack of resources for this aim in other Member States (Ireland, Bulgaria, Cyprus, Lithuania, Romania).

It is a best practice to draw restoration plans, which include a prioritisation system in accordance with the budget available (Austria, Denmark, France, Italy, Latvia, Malta, Slovakia, Sweden, United Kingdom).

Clearance of rights is not always an easy task before initiating a restoration project. In general, prior consent of right-holder is required for initiating restoration on a case-by-case basis. This can be a cumbersome process, in particular in the case of orphan works, which can hinder restoration of masterpieces.

Other best practice to highlight is the efforts to attract financial resources other than State funds for restoration projects. For instance: partnerships with the private sector (Finland, Ireland, Italy), with right-holders (Germany, Luxembourg, Spain, United Kingdom), with philanthropic organisations (United Kingdom) or with other private or public cultural institutions (Ireland, Portugal). It is also useful to establish partnerships with other European partners for restoration issues (Denmark).

An interesting approach that film heritage should explore is the signature of agreements with right-holders in relation to restoration and exploitation of restored works. This is already done in The Netherlands, Romania, Spain and Sweden. In Spain, right-holders co-finance restoration or give rights for non-commercial uses to the Filmoteca Nacional as a compensation for new potential commercial exploitation. Italy grants free access to rightholders to a master copy of restored films for broadcast via all media.

Almost all Member States use digital techniques for restoration. Some Member States, such as Portugal, prefer to respect the original technology. Digital restoration will be specifically examined below, in the chapter "challenges of the digital era".

  • 6. 
    Accessibility

Cultural and educational use of film heritage is provided by film heritage institutions in agreement with right-holders. In the current legal framework, this implies prior consent from the right-holder for each use. This is an extremely time consuming task for film heritage institutions. Therefore, mechanism should be found in order to facilitate access to the collections, while respecting the copyright laws and the legitimate commercial interest of producers and distributors. So far, two possibilities can be envisaged:

– systematic signature of deposit contracts with right-holders, in which all possible cultural and educational uses are clearly defined;

– for films funded with public resources, it could be requested of the producer to give the right to certain cultural uses under clear and strict conditions. This is would be an efficient way to facilitate that a maximum of films are safeguarded and become available for cultural and educational uses. This is already the case in Denmark, where deposited films subsidised by the Danish Film Institute may be shown to a paying audience, without payment of a fee. This issue is discussed in detail in the chapter "Linking film funding policy and film heritage".

There are many different actions to provide access to film heritage:

– showing of films in a non-commercial context (Austria, Belgium, Denmark, France, Germany, Italy, Poland, Romania, Slovenia, Spain, Sweden) or rental of DVDs (Bulgaria, Sweden);

– television broadcasting of classic films (Czech Republic, Luxembourg, Malta, Romania);

– organization of film heritage festivals (Portugal, Italy) or lending material to those festivals (Finland);

– VoD services (Spain, The Netherlands, United Kingdom);

– DVD release of restored films in several European languages (Denmark, Luxembourg, Poland, Portugal, Spain, Sweden) or in original language (Estonia, Germany, Slovakia, United Kingdom);

– Monthly magazines (Czech Republic, Slovenia);

– films available for streaming view in Internet (Greece, Hungary);

– You Tube channels (The Netherlands, United Kingdom). New channels for providing broader access to film heritage will be specifically examined below, in the chapter "challenges of the digital era".

In most Member States copyright law allows the consultation of deposited material by researchers in the premises of the Institution.

  • 7. 
    Education / Media literacy

As mentioned in the previous chapter, educational use of film heritage is possible after having obtained the agreement of the right-holders. In Finland, production companies and the copyright association for audiovisual producers have given permission to schools for using film records for educational purposes since 2006 in exchange of an annual fee. In The Netherlands, there are also agreements with the right-holders' organizations for the use of audiovisual sources in the Dutch Institute for Film Education and the Media Awareness Expertise Centre.

Almost all European film heritage institutions devote resources to cooperate with the education sector:

– specific programmes for schools (Austria, Belgium, Bulgaria, Denmark, Czech Republic, France, Germany, Latvia, Lithuania, The Netherlands, Poland, United Kingdom);

– screenings for schools at the cinemathèques (Austria, Bulgaria, Denmark, Portugal, Slovenia);

– Heritage films shown by school and libraries (Finland, Denmark);

– teaching material available for primary and secondary school teachers (Austria, Czech Republic, Germany and Sweden);

– specific training for primary or secondary teachers at the Film Heritage Institutions (Hungary, The Netherlands);

– free access to students to the cinémathèque (Romania);

– Specific screenings for young audiences (Spain);

– Film festival for children (The Netherlands);

– Cooperation with universities and higher education institutions in the field of cinema (Austria, Bulgaria, Denmark, Estonia, Greece, Italy, The Netherlands).

A best practice is the research project which Ireland is carrying out, in order to develop a national strategy for film and young people.

Lithuania reports that it is not active in education and media literacy. In Luxembourg, there is scarce use of film heritage in education.

  • 8. 
    Professional training

Professional training in the area of film heritage seems to be a problem, as several Member States report that there is a lack of specialised courses. The situation has not improved since the adoption of the last report.

Often, the professional training is done in-house. Some of the limited European professional training available includes a Master Degree on "Preservation and Presentation of the moving image" in The Netherlands, short trainings by the National Patrimony Institute in France and a four-year course in the history of cinema (Poland). FIAF (International Federation of Film Archives) offers some specialised training, which is attended by personnel from European film archives. There is also a joint annual training for archive staff in the Baltic countries.

New technologies require a complete new set of skills and competences from film archive professional, in addition to the traditional ones. This particular subject was examined in a seminar organized under the Spanish Presidency on 7-8 June 2010. One of the issues that was discussed was if the exchange of professionals between European film heritage institutions could be considered as a way of improving professional training

  • 9. 
    Member's States suggestions for further EU action

Member States calls for EU action in two specific fields: copyright and preservation of digitally stored films:

  • 1. 
    Copyright: 9 Member States mention the need of EU intervention in relation to copyright (Belgium, Czech Republic, Denmark, Finland, Germany, Hungary, The Netherlands, Portugal and UK). In summary, they call for a harmonised solution in order to increase the cultural rights of film archives regarding the non-commercial screening and cultural uses of films deposited in the archives. This also implies the creation of efficient mechanisms to facilitate the use of orphan works.
  • 2. 
    Preservation of digitally stored films: The conditions for preservation of digital cinema should be established at EU level (France). Slovakia calls for support for standardization, research and development of digital archiving of digital and digitised films.

Other suggested actions can be summarised in 5 categories:

  • 1. 
    Policy/legislative intervention:

Ireland would like the EU to request to Member States to draft national policy on film heritage within a specified timeframe. Portugal would like the EU to set up a general framework of Legal Deposit, laying down the minimum parameters defining them.

  • 2. 
    EU funding

Some Member states ask for EU funding for the digitisation of moving pictures (Germany), preservation of European film heritage (Hungary), programmes of "perpetual copy" (Poland), subtitling in minority languages (Bulgaria) or digitisation and restoration of films in minority languages (Latvia).

  • 3. 
    European standardization

Germany would like that the EU promotes the use of European standards on the interoperability of film databases. Slovakia calls for European standardization concerning the conditions for the submission of digital films to archives and the conditions for their preservation. Romania would like that the EU initiates European standardization in relation to film preservation and archiving.

  • 4. 
    Exchange of best practices

Austria expresses that the exchange of expert knowledge at EU level should continue. For Italy, in-depth knowledge and comparison of the situation in each Member State is the prerequisite for any further EU action. Malta proposes to help Member States in all fields related to film heritage.

  • 5. 
    Mirror solutions from outside the EU

Ireland proposes to mirror solutions in USA:

  • Consider the establishment of a European film preservation fund such as that administered

by the USA's National Film Preservation Foundation 12 . This is a non-profit organization

created by the U.S. Congress.

  • Establishment of a European film registry in the model of the USA's National Film Registry.

CHAPTER II - C HALLENGES AND OPPORTUNITIES OF THE DIGITAL ERA FOR FILM

HERITAGE INSTITUTIONS

The analysis of the Member States' reports shows that transition to the digital era has brought about challenges and opportunities that could not have been foreseen in 2005, when the Film Recommendation was adopted. Digital era challenges the traditional ways of collecting and

preserving film heritage. 80% of silent films are estimated to be lost 13 . Unless action is taken,

the same could happen to digitally-born and digitised films. At the same time, new technologies open new ways of providing access to film heritage that we could have not imagined five years ago. This chapter examines the challenges and opportunities of the digital era for film heritage.

In addition to new technologies, societal changes are triggering increasing demand for accessing film heritage. The role of film heritage institutions is evolving from the traditional model of the "sealed box", conserving fragile film materials for posterity in their vaults, towards a new "full access" model, whereby they become well-springs of film culture. The main difficulty encountered during this transition is the lack of legal mechanisms permitting the cultural and educational use of the films and related film material in an efficient manner.

  • 1. 
    Collection of digital material.

What happens to digital production once it leaves the cinemas? For certain producers, it

begins its life as a "long-term studio asset" 14 . For film heritage institutions, it becomes a

cultural asset. But what is done at present in the EU to ensure the systematic collection of digital cinema? Ireland points out that digitally distributed material is not deposited, even if digital projection is already happening in Ireland.

12 http://www.filmpreservation.org/

13 http://ec.europa.eu/avpolicy/docs/reg/cinema/june09/lost.pdf ,

http://mic.imtc.gatech.edu/public_portal/remembrance_presumedlost.htm

14 "The Digital Dilemma – Strategic issues in archiving and accessing digital motion picture materials",

drafted by the USA Academy of motion picture arts and sciences in 2007, http;//www.oscars.org/council

Only 7 Member States already collect digital material (The Netherlands, Czech Republic, Denmark Greece, Luxembourg, Slovakia, and Spain). Spain underlines that the deposit of works produced in new media are expected to increase, as well as the types of digital support. Denmark highlights that they receive almost all documentaries in digital format since some years. France reports that its legal deposit law has been updated, in order to cover also digital supports. Nevertheless, France is still studying how to implement this obligation.

  • 2. 
    Storage and long-term preservation of digital film material

Many questions are still open about the storage and long-term preservation of digital material. While life expectancy of film material, kept in optimal conditions, is several centuries, the national film archives of some Member States consider that life expectancy of digital supports is only several years because of the constant technical evolution.

At present, film heritage institutions use two strategies:

– migrate the content from a digitally-born support on to an analogue support, and preserve it in this format;

– establish a plan of regular duplications and migrations into new digital formats 15 .

Both processes are extremely expensive. They require acquisition of equipment and training of professionals. For that reason, many European film heritage institutions are not yet taking any action.

Estonia reports that they have already established a policy on digital preservation, and acquired the main equipment. Finland is creating data systems to manage digital material. France is carrying out a technical audit assessing all options of preserving digital films. The results are expected in spring 2010. Netherlands is developing a strategy for a long-term storage of and access to its digital files. Germany, Portugal and Spain are also investigating the matter. Denmark is considering a common digital archive in cooperation with other national cultural institutions.

There is a risk that unless action is taken, only a list of missing and lost films from the early days of digital cinema will remain for future generations.

  • 3. 
    Application of digital technologies for restoration

Italy reports use of digital techniques to restore soundtracks and image. The Netherlands is using innovative digital techniques to restore their collections.

In Denmark, Finland, Sweden and Spain, digital techniques complement photochemical ones when possible. France and Germany are equipped with all the hardware and software required for the digital restoration of collections. In Ireland, Luxembourg and Romania, digital restoration is carried out by external partners.

On the one hand, Italy considers that progress in digital technologies goes in tandem with continual cost reduction. Therefore, restoration projects which were not possible with photochemical techniques become now feasible. On the other hand, Germany considers that

15 The EDCine project proposed a model for this kind of strategy: http://www.edcine.org/ the digital restoration sector is still in the development stage. Sweden affirms that the cost of digital restoration is still so high that it can only be used for occasional projects.

In summary, digital restoration is already available and used by certain Member States. The costs are still high, and more research is still needed, in order to further reduce costs. This would open the doors to restorations that could have not been done with photochemical techniques. Again, substantial investment needs to be put in place in terms of equipment and professional training in this area.

  • 4. 
    Digitisation and integration in Europeana 16

Most European film heritage institutions are in the process of digitising their collections. Often, digitisation is presented as a technique for preservation (Belgium, Cyprus, Finland, France, Germany, Italy, Luxembourg, Malta). The Netherlands has put in place the project "Images for the Future" (2007-2014) dedicated to the preservation of national audiovisual heritage, including cinematographic heritage by way of digitisation. Austria and Sweden point out that digitisation per se does not assure long-term survival of the collections. Digital material has to be regularly migrated in order to ensure long-term survival. Denmark underlines that the policy of the archives should be to preserve the original material as long as possible. In conclusion, at present the main aim of digitisation is not preservation but facilitating access to collections.

Some countries have already developed film heritage digitisation strategies and programmes, which cover the whole national heritage (Denmark, Latvia). Others have decided to digitise only a limited number of films or those from a specific period. For instance, in Hungary only 100 Hungarian films have been digitised. Poland runs a project of preservation and digitisation of pre-war feature films.

The two obstacles to digitisation of European film collections are:

– lack of funding;

– high cost in money and time for clearing rights and the lack of a legal and efficient solution allowing the use of orphan works.

The European Film Gateway 17 (EFG) project acts as an "aggregator" for Europeana in the

film domain. 15 film heritage institutions from 14 European countries are already content contributors to the EFG. Nevertheless, film content in Europeana is still small in relation to other sectors.

  • 5. 
    Increased access to collections thanks to new technologies

New technologies are opening new ways of accessing film heritage that we could have not imagined five years ago.

Almost all European film heritage institutions provide on-line access to their cinematographic databases. In many cases, it is also possible to download or stream films. The Netherlands also offers a system of Video-on-Demand.

16 www.europeana.eu

17 http://www.europeanfilmgateway.eu/

Unsolved copy-right issues, in particular the absence of legal and efficient solution allowing the use of orphan works, hinder the access to collections which would now be possible thanks to new technologies.

Good practices to highlight are the dedicated film heritage channels in You Tube (United

Kingdom 18 and The Netherlands).

The increased access to collections will also profit the educational and professional training sector, provided that issues related to copy-right are solved.

  • 6. 
    Digital cinema and film heritage

In Europe, digital cinema take-up has been slower than foreseen because of technical standards and economic business model issues. Some types of cinemas are even threatened with closure because of the high costs of digital equipment. Therefore, support to digitisation

of cinemas is necessary to safeguard cultural diversity 19 . In September 2010 , the European

Commission will adopt a Communication on Opportunities and Challenges for European Cinema in the Digital Era.

To date, only a few European Cinémathèques are equipped to project audiovisual works in digital format.

CHAPTER III - A CCESS TO F ILM H ERITAGE

New technologies and societal changes are triggering increased demand for accessing film heritage. The role of film heritage institutions is evolving from a traditional "sealed box" towards a "full access" well-spring of film culture. The main difficulty encountered during this transition is the lack of legal mechanisms permitting the cultural and educational use of the films and related film material in an efficient manner.

On the one hand, the existing legal framework requires prior authorisation of the right holder for most cultural and educational uses of deposited films.

Only two exceptions to this rule are possible under the Copyright Directive 20 : reproduction of

the film for preservation purposes, under strict conditions, and consultation of the material "in situ". This is only possible in those Member States that have implemented those exceptions. All the other cultural and educational uses require the prior consent of right-owner and rights clearance.

In the film sector, rights are usually negotiated directly with producers. This is a difference with other sectors, such as the music sector, in which the rights are normally negotiated by collecting societies (or, depending on the music repertoire, by music publishers directly). For older films, the complexity and cost of the research of all right holders is so high that these works remain inaccessible in their "sealed box" (but similar complexities can also be observed with respect to older music works).

18 www.youtube.com/bfifilms

19 Communication "A Digital Agenda for Europe", COM(2010) 245 i of 19 May 2010

20 exceptions provided by Article 5(2)(c) and 5(3)(n) of Directive 2001/29/EC i of the European Parliament

and of the Council of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society, OJ L 167, 22.6.2001, p.10.

  • 1. 
    Making possible access to works from the past for cultural and educational purposes

A first step was the Memorandum of Understanding on Orphan Works 21 signed on 4 June

2008 by representatives of European right holders and cultural institutions, including from the film sector. The Memorandum is a form of self regulation defining diligence guidelines when searching for right holders. Sector specific guidelines were developed for the audiovisual sector. Nevertheless, the use of these guidelines does not discharge the Film Heritage Institution from possible liability for using a work without prior authorisation.

In their reports on the implementation of the Film Heritage Recommendation, 9 Member States mention the need for EU intervention in relation to copyright (Belgium, Czech Republic, Denmark, Finland, Germany, Hungary, The Netherlands, Portugal and UK). In summary, they call for a harmonised solution in order to increase the cultural rights of film archives regarding the non-commercial screening and cultural uses of films deposited in the archives. This includes the creation of efficient mechanisms to facilitate the use of orphan works.

  • 2. 
    Ensuring access to works of the future for cultural and educational purposes

Voluntary deposit is increasingly important for enriching the collections, with film and related film material when they are not subject to legal or compulsory deposit. A good practice to extend further is the signature of contracts between the film archive and the right holder, specifying the rights and obligations of each of the parties, and the uses that the archive is allowed to make. Several Member States have established their own contracts, for instance the "Centre National de la Cinématographie" (CNC) in France.

Most European films are financed thanks to public resources. Some Member States have already made a link between funding and cultural use, and request the producer to give the right to certain cultural uses under clear and strict conditions. This is an efficient way to facilitate that a maximum of films are safeguarded and become available for cultural/educational uses. Spain and Denmark are examples of good practices in this area.

The Danish Film Institute has the right to screen subsidized films in its own cinemas and put on-line documentaries and shorts in "Filmstriben".

Spain can organize cultural screening of subsidized films two years after the first release, if this does not prejudice the exploitation of the film.

CONCLUSIONS

The results presented in this report are only a first evaluation of the challenges and opportunities of the digital era for European film heritage. The Commission will launch an independent study in 2010, which will look in detail into this issue. The Commission would consider a Communication or a revision of the Film Heritage Recommendation, taking into account the results of the study.

21 http://ec.europa.eu/information_society/activities/digital_libraries/doc/hleg/orphan/mou.pdf

According to the Film Heritage Recommendation, Member States will make their next application report by November 2011.

The Commission will continue to examine the options for a balanced legal solution permitting an efficient access to film heritage for cultural and educational purposes.

ANNEXES ANNEX I – L IST OF EU ACTIVITIES IN RELATION TO FILM H ERITAGE

I.A I NITIATIVES ANNOUNCED IN THE F ILM H ERITAGE R ECOMMENDATION

In the Recommendation, the Commission announced its intention to promote European film heritage by a wide range of initiatives. Since the adoption of the First implementation report, the following actions have been supported. These actions are specifically targeted at the film heritage community:

  • 1. 
    Cinema Expert Group / Subgroup Film Heritage 22

The purpose of this group is to facilitate exchange of good practices between film heritage institutions, and to inform them of relevant Commission actions. The group is chaired by the

Commission. Participation 23 includes experts from the following categories: national

ministries in charge of film heritage issues, film archives, film museums and other institutions related to film heritage, Permanent Representations of Member States, Film institutes, European professional associations, Council of Europe and European Economic Area countries. The group met on 9 June 2008 and 18 June 2009. News related to film heritage are circulated by e-mail to more than 200 contacts. They are also published in the Commission's

website 24 .

  • 2. 
    European standardization on the interoperability of film databases

The Commission issued a standardisation mandate 25 to CEN (European Committee for

Standardization) for the adoption of European standards aimed at making possible the interoperability of film databases in 2005. The Commission is co-financing the secretariat of the standardization group. As a result of this mandate, CEN has adopted the European Standard EN 15744:2009 "Film Identification – Minimum metadata set for cinematographic works". The second standard EN 15907:2010 "Film Identification – Enhancing interoperability of metadata – Element sets and structures" was adopted mid-2010.

The Commission finances a project for promoting the use of the European standards on

interoperability of film databases, under the EU programme "ICT Standardization" 26 . The

project started in December 2009, and will run for 2 years.

  • 3. 
    Framework agreement between the ACE and FIAPF on voluntary deposit of films with preservation archives

In February 2010, the Association of European Film Libraries (ACE) and the International Federation of Film Producers Associations (FIAPF) signed a framework agreement on voluntary deposit of films with preservation archives. The agreement regulates the obligations

22 The Cinema Expert Group was established pursuant to the Cinema Communication (COM(2001)534 i,

OJ C43, 16.2.2002), with the aim of facilitating communication between the Commission and the sector as well as exchange of good practices in all areas of interest. A Subgroup Film heritage has been

created.

23 Names of participants are published on http://ec.europa.eu/transparency/regexpert/detail.cfm?ref=1372 24 http://ec.europa.eu/avpolicy/reg/cinema/news/index_en.htm

25 http://ec.europa.eu/avpolicy/docs/reg/cinema/m365en.pdf

26 http://ec.europa.eu/enterprise/sectors/ict/files/wp2009_en.pdf of the archive (responsibility for conservation and preservation, duty to collaborate with the producer and cataloguing), questions related to preservation/restoration (decisions and methods for restoring and preserving the deposited material, possession of the new materials), access, use and withdrawal of the material (both the originally deposited material and the new prints produced by the archive), circulation of works between ACE members for public screening and restoration and, finally, the conditions for permanent withdrawal of deposited material.

The framework agreement is available in the websites of both organizations 27 . It has annexed

a model contract, which can be used as template for bilateral contracts between film archives

and depositors 28 of film and film related material. The Commission has acted as facilitator in

the negotiations of this agreement and encourages depositors and film archives to use the model contract.

I.B Support to film heritage in the context of other EU policies

Article 167.4 29 of the Treaty on the functioning of the European Union 30 (Treaty of Lisbon)

requires that cultural aspects are taken into account in other policy areas. Therefore, other policies and programmes, which are not directly designed for protection of cultural heritage, can also support film heritage:

  • 1. 
    The MEDIA 2007 programme 31

The MEDIA 2007 programme covers the period 2007-2013. Its budget is of 755 million EURO (€).

Film heritage is included among the global objectives of MEDIA 2007 32 :

– Article 1(2) "The programme is intended to strengthen the audiovisual sector economically to enable it to play its cultural roles more effectively by developing an industry with powerful and diversified content and a valuable and accessible heritage and to add value to national support."

– Article 1(4) "The priorities in the areas for intervention set out in paragraph 3 shall be as follows:

(a) fostering creativity in the audiovisual sector and knowledge and dissemination of Europe's cinematographic and audiovisual heritage; (…)"

– Article 6: "In the field of promotion, the objectives of the programme shall be to:

(…)

27 http://www.acefilm.de/ , http://www.fiapf.org/

28 http://acefilm.de/fileadmin/dokumente/FIAPF_ACETemplate_Bilateral_AgreementAPPROVED.pdf

29 ex Article 151.4 TEC

30 http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=OJ:C:2008:115:0047:0199:EN:PDF

31 http://ec.europa.eu/information_society/media/overview/2007/index_en.htm ;

32 Articles 1(2), 1(4) and 6 of Decision 1718/2006/EC:

http://eur-lex.europa.eu/LexUriServ/site/en/oj/2006/l_327/l_32720061124en00120029.pdf

(d) encourage the promotion of Europe's cinematographic and audiovisual heritage and the improvement of the public's access to it at both European and international level."

However, the "operational objectives" of the programme do not include film heritage. This means, in practice, that there are no specific MEDIA calls devoted to film heritage. Nevertheless, projects related to film heritage can be selected under the other MEDIA calls.

The following projects related to film heritage have been funded by MEDIA:

1.1 MIDAS 33 (Moving Image Database for Access and Re-use of European Film

Collections)

The MIDAS pilot project ran from 2006 to 2009. It was carried out by 18 institutions dedicated to collecting and preserving film heritage in Europe. The result of MIDAS is the web portal "filmarchives online". "filmarchives online" is a searchable database which provides easy and free access to catalogue information of film archives from 18 institutions in 12 countries. Via a web portal in 8 languages, film works can be searched for by content, cinematographic data and physical characteristics. Search results provide information about existence and location of the materials as well as contact details to facilitate the access. The focus of the database is on non-fiction material; i.e. documentary and educational films, newsreels, travelogue, advertising, scientific, industrial, experimental, sports films, as well as animation films.

1.2 Treasures from European Archives 34

Europa Film Treasures platform was launched on 15 April 2008. Its aim is to give a wide public access to precious films from the world over, safeguarded by the European Cinematheques. This is achieved through a Video-on-Demand site in five languages. This site offers streaming of selected films from 28 film archives of 19 countries, from all periods (1896 to 1999). The web site includes extensive documentation about each film in the collection, as well as privileged access to the educational sector by means of teaching kits and interactive games aimed at the young audience. In addition, a blog allows cinephiles to comment on films. To complement the site, a DVD version will be available.

The Internet user has the possibility of viewing these films free of charge (original versions, fullscreen format, subtitles available in 5 languages, music added for silent films) and discovering classic films through several accesses thanks to the editorialisation work.

Special focus for 2010 includes new films, more interactivity, intensive promotion all year around, and new contents like special documentation and a new teaching resource.

The MEDIA contribution for 2009 and 2010 is 287 319 € per year.

1.3 Europe's Finest 35

"Europe's Finest" is a digital cinema distribution project aimed at cinema exhibitors. It offers a digital delivery of a catalogue of heritage films to cinemas for theatrical exploitation. It is

33 http://www.midas-film.org/ , http://www.filmarchives-online.eu/

34 http://www.europafilmtreasures.eu/

35 http://www.finest-film.com the largest collection of film classics for D-cinemas in Europe as well as Europe’s first Cinema on Demand service. Europe's Finest has 50 classics in its library that they have digitised, subtitled and made ready for digital theatres across Europe. They have cleared the rights for those films in 20 territories. In 2010, at least 15 titles will be added.

The MEDIA contribution for 2009 and 2010 is 500 000 € per year.

1.4 Film restoration summer school, organised by the Cineteca di Bologna

The Film restoration summer school teaches and updates participants on how to restore, reconstruct and preserve a film using new digital technology and how analogue system and new digital technologies can actually coexist. Following the film restoration summer school participants are expected to acquire certain skills and be able to know how to operate all digital and analogue equipment in an archive and restoration laboratory, be able to follow a complete restoration process, perform all main necessary operations needed to restore a film, evaluate the state of restoration of a film and decide the best practice to restore, reconstruct and preserve it, as well as to have it translated from film support to broadcasting and DVD support. It is a two months distance learning programme on new digital restoration technologies with a weekly update, 1 week of free attendance to “il cinema Ritrovato Festival” and 2 weeks practical training at L’immagine Ritrovata Lab. It is addressed to 20 European participants (curators and staff working at FIAF archives).

MEDIA contribution in 2009 was 90 000 €.

1.5 FRAME 36 (Future for Restoration of Audiovisual Memory in Europe)

FRAME is a short term training on restoration of film archives delivered in the form of 4 modules. It is addressed to responsibles of TV/film archives, owners of a catalogue, content creators for new media, distributors and trainers.

– Module 1 Strategic approach in technical solutions for conservation and restoration. (1 day);

– Module 2 From analogical to digital (3 days);

– Module 3 What is a digital media (1 day);

– Module 4 archiving and distributing digital media (4 days).

MEDIA contribution in 2009 was 22 500 €.

1.6 Archidoc

In 2009 Archidoc organised a training addressed to European directors in the field of documentary movies. It is addressed to 10 European filmmakers willing to develop a documentary film project that uses archives.

MEDIA contribution to the project was 67 324 €.

36 http://www.ina-sup.com/en/about-ina-sup/frame-future-restoration-audiovisual-memory-europe

  • 2. 
    Film heritage in Europeana 37

Europeana, the European Digital Library, was launched in November 2008, with more than 2 million digital objects (images, texts, videos, sound recordings). The content accessible is progressively growing, and reached 5 million items at the end of 2009. Currently there are about 6 million items among which more than 90 000 videos (mainly documentary films, TV broadcast, newsreels). Contributors include organisations like the Institut National de l'Audiovisuel, l'Association des Cinémathèques Européennes, the Österreichische Mediathek, and EU funded projects like Videoactive (BBC, RTBF, ORF, etc.) and EFG (see section 4.1). Apart from films, Europeana represents a “mine” of other film heritage related content (“nonfilm material”). By the end of 2010 more than 10 million cultural objects will be accessible through Europeana.

  • 3. 
    Commission Recommendation 2006/585/EC on the digitisation and online accessibility of cultural material and digital preservation

The Commission is monitoring the implementation by Member States of its Commission Recommendation 2006/585/EC on the digitisation and online accessibility of cultural material and digital preservation. This includes provisions which are consistent and complementary to the Film Heritage recommendation, e.g. in the area of preservation of digitised or digitallyborn material. The first set of national implementation reports (2006-2008) is available on the

Commission's website 38 .

A second set of reports for the period 2008-2010 are expected to be published in March 2010.

  • 4. 
    ICT Policy Support Programme (ICT-PSP) 39 under the Competitiveness and

    Innovation Programme (CIP)

The ICT Policy Support Programme (ICT PSP) under the Competitiveness and Innovation Programme (CIP) aims at stimulating innovation and competitiveness through the wider uptake and better use of ICT by citizens, governments and businesses. The Programme brings together and extends a number of programmes that expired in 2006-08, including the

eContentplus Programme 40 aiming to make digital content in Europe more accessible, usable

and exploitable.

The following project related to film heritage has been funded so far:

4.1 Project "European Film Gateway" 41 (EFG)

The project is co-financed by the eContentplus Programme. It currently assembles 21 partner institutions, of which 15 are film heritage institutions from 14 European countries. Several more film archives have expressed an interest in becoming content contributions to EFG and Europeana.

EFG functions as an “aggregator” for the European digital library Europeana for the film domain, enabling access to digital objects from film archives and cinémathèques in Europe.

37 http://www.europeana.eu/portal/

38 http://ec.europa.eu/information_society/activities/digital_libraries/experts/mseg/reports/index_en.htm

39 http://ec.europa.eu/information_society/activities/ict_psp/index_en.htm

40 http://ec.europa.eu/information_society/activities/econtentplus/index_en.htm

41 http://www.europeanfilmgateway.eu/

The project started in September 2008 and runs for three years. It is being co-ordinated by Deutsches Filminstitut – DIF in Frankfurt.

A first data contribution from EFG to Europeana was done in December 2009, including data from 4 EFG partner archives. Until Europeana’s next public release in June 2010, EFG is expected to contribute data and links to more than 100 000 digital objects from the collections of the institutions’ film, picture and text archives.

The partners film archives are: Cinemateca Portuguesa, Cineteca del Comune di Bologna, Deutsches Filminstitut – DIF, Det Danske Filminstitut, Filmarchiv Austria, Cinecittà Luce (former Istituto Luce), La Cinémathèque Française, Lichtspiel – Kinemathek Bern, Lithuanian Central State Archive, Magyar Nemzeti Filmarchívum, Národní Filmový Archiv, Nasjonalbiblioteket Norway, National Audiovisual Archive Finland, eye Film Institute Netherlands (former Nederlands Filmmuseum), Tainiothiki tis Ellados.

  • 5. 
    ICT R&D under the Research Framework Programmes

The ICT priority theme under the EU research Framework Programme, inter alia, supports work on digital libraries and content technologies that helps to handle, preserve, develop and disseminate our cultural assets, as well as to work on end-to-end architectures for next generation multimedia and cinema experiences.

The following projects related to film heritage have been funded by the ICT priority theme under the research FPs:

5.1 Project Enhanced Digital Cinema 42 (EDCine)

EDCine was funded under the Sixth Research Framework Programme (FP6) and ran between July 2006 and June 2009. Digital archives and access to film archives was one of the three research areas of the project. Its long-term objectives included developing practical proposals for future digital cinema standards and film archiving standards.

5.2 Project CINESPACE 43

CINESPACE ("Experiencing urban film and cultural heritage while on-the move") is funded under FP6 with 1, 87 million € and ran between July 2006 and June 2009. CINESPACE targeted a mobile rich media collaborative information exchange platform, scalable, accessible through a wide variety of networks, interoperable and location-based for the promotion of film heritage.

5.3 Project PrestoPRIME 44

Prestoprime is funded with 8 million € from the Seventh Research Framework Programme (FP7). The project started in January 2009, and it will run until June 2012. Its purpose is to research and develop practical solutions for the long-term preservation of and access to all types of digital audiovisual collections.

42 http://www.edcine.org/intro/ ; http://www.cinematek.be/edcine/

43 http://www.cinespace.eu/

44 http://www.prestoprime.eu/

5.4 Project KEEP 45

KEEP (Keeping Emulation Environments Portable) will develop an Emulation Access Platform to enable accurate rendering of both static and dynamic digital objects: text, sound, and image files; multimedia documents, websites, databases, videogames etc. The overall aim of the project is to facilitate universal access to our cultural heritage by developing flexible tools for accessing and storing a wide range of digital objects. KEEP runs between February 2009 and January 2012. The total cost of the project is 4, 02 million €, of which 3, 15 million € are financed by the European Commission.

  • 6. 
    Orphan Works

The Memorandum of Understanding on Orphan Works 46 , a "spin-off" of the advice provided

by the High Level Expert Group on Digital Libraries, was signed on 4 June 2008 by representatives of European right holders and cultural institutions, including from the film sector. The Memorandum is a form of self regulation subscribed by 27 stakeholders’ organisations who agreed to observe a set of diligence guidelines when searching for rightholders, and that a work can only be considered orphan if the relevant criteria, including the documentation of the process, have been followed without finding the rightholders. Sector

specific guidelines 47 for four sectors, including the audiovisual one, have been developed.

The Memorandum of Understanding represents a building block for the solution of the complex orphan works issue. No agreement was reached by the stakeholders on the possible need for specific due diligence criteria for mass digitisation.

The following organisations from the audiovisual and film sector are signatories of the Memorandum:

– Association of European Film Libraries (ACE)

– Association of European Performers' organizations (AEPO-ARTIS)

– European Film Companies Alliance (EFCA)

– Fédération Européenne des Réalisateurs de l'Audiovisuel (FERA)

– International Federation of Film Producers Associations (FIAPF)

– International Federation of Film Distributors (FIAD)

– International Video Federation (IVF)

The Commission adopted a Communication on copyright in the knowledge economy 48 in

October 2009. As follow-up of this Communication, the Commission is writing an impact assessment on the orphan works problem which will explore a variety of approaches to

45

http://cordis.europa.eu/fetch?CALLER=FP7_PROJ_EN&ACTION=D&DOC=1&CAT=PROJ &QUERY=011f37a73b31:61ba:091d22f8&RCN=89496

46 http://ec.europa.eu/information_society/activities/digital_libraries/doc/hleg/orphan/mou.pdf

47 http://ec.europa.eu/information_society/activities/digital_libraries/doc/hleg/orphan/guidelines.pdf

48 COM (2009) 532 i of 19 October 2009 facilitate the digitisation and dissemination of orphan works. Possible options include a statutory exception to collective licensing, including extended collective licensing, and the mutual recognition of orphan works across the EU.

In 2009/2010, the ACE conducted a survey 49 on the amount of orphan works held in

European film archives to get a clearer picture regarding the dimension of orphans in the film heritage sector.

  • 7. 
    Standards for archiving digital films

The Commission is considering specifying voluntary standards at a European level for the conditions for the submission of digital films to archives and the conditions for their preservation. These should preferably specify a digital submission format based on European or international standards.

In this context, certain principles are recommended from a competition perspective:

  • In view of the aim of long-term archiving, the most important principle may be that the full documentation of the standard that is used is public and available together with whatever material is archived in that format. Other relevant attributes for long-term archiving might be error robustness and human readability;
  • In view of the objective of making the archive material publicly available, the relevant attribute might be the existence of free implementations of the standard that would not impose a private "tax" to pay a specific party;
  • Royalty-free standards may be the most robust against abuse of dominant positions but are not necessarily the only ones that comply with competition law.
  • Regarding affordability, the archive format should be one which could be easily generated by the producer and could be suitable for both online distribution and digital projection. They should also specify the (non-exclusive) distribution rights allocated to the national archives for the deposited work (eg, a Creative Commons Attribution, non-commercial licence for global online and theatrical release).

49 http://www.acefilm.de/102.html

ANNEX II – SUMMARY OF THE SITUATION IN MEMBER STATES IN RELATION TO EACH SUBJECT RAISED IN THE QUESTIONNAIRE

The following tables summarize the replies received from Member States:

(1) Film Heritage Institutions

(2) Legislative measures / Definition of national film heritage

(3) Deposit of cinematographic works forming part of national audiovisual heritage

(4) Deposit of material other than cinematographic works forming part of the national audiovisual heritage.

(5) Cataloguing and databases

(6) Preservation and restoration

(7) Accessibility, professional training and education

(8) European and international activities

(9) Follow-up of priorities highlighted in the First Implementation Report

(10) Measures facing the challenges of the digital era

(11) Linking funding film production and film heritage

(12) Measures addressing problems encountered and examples of good practices

(13) Suggested needs for further EU action.

TABLE 1 – FILM HERITAGE INSTITUTIONS (question 3)

N.C.: Information not communicated by the Member State;

Italics indicate name in the original language

MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

Austria Filmarchiv Austria N.C. 2.60 m € N.C. 10 http://www.filmarchiv.at (DE, EN)

Austrian Film Museum N.C. 1.86 m € 6.5 12 (full) http://www.filmmuseum.at +24

(part (DE, EN) time)

Training and Media Centre of Upper Austria N.C. N.C. N.C. N.C. http://www.bimez.at

Carinthia Provincial Archive N.C. N.C. N.C. N.C. http://www.landesarchiv.ktn.gv.at

Belgium Cinematek N.C. N.C. N.C. N.C. http://www.cinematek.be (FR, NL)

Cinémathèque de la Communauté française N.C. N.C. N.C. N.C. http://www.cinematheque.cfwb.be/accueil (FR)

BAM (Institute for visual, audiovisual and N.C. N.C. http://www.bamart.be/home/index/nl/BAM

media art) (NL)

Bulgaria BNFA (Bulgarian National Film Archive) N.C. N.C. 32 30 http://bnf.bg (BU, EN)

Bulgarian National Film Centre 154 942 N.C. http://www.nfc.bg (BU, EN) MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report BGN

+ 566 918 BGN (≈ 370 000 €)

Cyprus Cyprus Film Archive (CFA) N.C. N.C. N.C. N.C. The Film Archive is placed under the Press

and Information Office, whose website is

http://www.moi.gov.cy/MOI/pio/pio.nsf/index _en/index_en?opendocument

Czech Rep. National Film Archive 130 000 € 2.60 m € N.C. 70 http://www.nfa.cz (CZ)

Denmark The Danish Film Institute N.C. N.C. N.C. N.C. http://www.dfi.dk (DA, EN)

Estonia The Estonian Film Archives (structural unit of 4 m € 50 256 410 € 24 21 http://filmi.arhiiv.ee (EE, EN)

the National Archives of Estonia)

Finland National Audiovisual Archive - KAVA (since 320 500 € 2.00 m€ 39 39 www.kava.fi (FI, EN)

1/01/2008), previously the Finnish Film Archive (SEA)

France Centre National de la Cinématographie (CNC), 250 000 € 8.70 m € N.C. 80 http://www.cnc.fr (FR, EN)

French Film Archives.

50 The allocation of funding to the restoration of films is contractually agreed with the Ministry of Culture and Education.

MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

La Cinémathèque française 27.50 m € 300 http://www.cinemateque.fr

La Cinémathèque de Toulouse 2.12 m € + 29 http://www.lacinemathequedetoulouse.com/ 1.70 m €

(operating subsidies)

Cinémathèques de Marseille,

Nice, Corse, St. Etienne, Grenoble,

Bretagne, Universitaire de Paris, la Ville de Paris Robert Lynen,

Pole Image Haute Normandie,

Conservatoire Régional de l'Image Nancy Lorraine, Cinémathèque Euro-Régionale,

Archives Audiovisuelles de Monaco

Germany The Federal Archives (Bundesarchiv) + Länder N.C. 2.10 m € 80 51 80 www.filmportal.de (DE, EN)

archive bodies (Stiftung Deutsche Kinemathek - SDK, Deutsches Filminstitut - DFI, CineGraph http://www.filmmuseum-berlin.de (DE, EN) – Hamburgisches Centrum für Filmforschung e.V., Film museums of Düsseldorf, München

51 Germany also employs an additional 40 staff for difficult restoration tasks at an independent service centre.

MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

andPotsdam, Haus des Dokumentarfilms,

Europäisches Medienforum, Friedrich-Wilhelmhttp://www.deutsches-filminstitut.de (DE, EN)

Murnau-Stiftung, DEFA-Stiftung) http://www.bundesarchiv/aufgaben_organisati

on/abteilungen/fa/index.html

http://www.cinegraph.de

http://www.filmmuseum-duesseldorf.de

http://www.stadtmuseum-online.de

http://www.filmmuseum-potsdam.de

http://www.hdf.de

http://www.murnau-stiftung.de

http://www.defa-stiftung.de

Greece Greek Film Centre 2.85 m€ N.C. N.C. N.C. http://www.gfc.gr (EL, EN, FR)

Greek Film Archive www.gfcdigital.gr (EL, EN, FR)

Thessaloniki Cinema Museum N.C. 290 000 € 1

Hungary Hungarian National Film Archive (MNFA) N.C. 409.5 m 79 79 (20) http://www.filmarchiv.hu (HU),

HUF (1.51 m €)

MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

National Audiovisual Archive of Hungary N.C. 287 m HUF N.C. 23 http://www.nava.hu (HU, EN) (NAVA) ( 1,06 m €)

Ireland Irish Film Archive (IFA) of the Irish Film 544 058 € 500 000 € 8 8 (IFA) http://www.irishfilm.ie/archive/

Institute (IFI) + 2 (other

dpt of IFI)

Italy National film archive of the Experimental 295 000 € 10.5 m € 52 N.C. 43 http://www.csc-cinematografia.it (IT, EN)

Cinematography Centre Foundation(Cineteca Nazionale)

Bologna Film Archive N.C. 625 000 € N.C. N.C. http://www.cinetecadibologna.it (IT)

Milan Italian Film Archive Foundation N.C. 170 000 € N.C. N.C. http://www.cinetecamilano.it (IT)

Lucana Film Archive N.C. 45 000 € N.C. N.C. www.cinetecalucana.it (IT)

Latvia National Film Centre (NFC) N.C. 4000 LVL 26 1 http://www.nfc.lv (LV,EN)

(5 642€) Latvian State Archive of Audiovisual 13 http://www.arhivi.lv/index.php?&418 (LV, Documents 53 189.73 EN, RU)

LVL (75 883€)

52 It includes both the budget for the National Film Archive and the National Film School

MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

Lithuania Lithuanian Central State Archives (LCVA) 2.20 m € N.C. N.C. N.C. http://www.archyvai.lt (LT, EN)

http://www.lfc.lt/en (EN)

Luxemburg National Audiovisual Center (CNA) N.C. 995 000 € N.C. 5 http://www.cna.public.lu/cna/index.html

Cinematèque de la Ville de Luxembourg http://www.vdl.lu/-p-1475628.html

Malta Superintendence for Cultural Heritage, 302 819 € 353 000 € N.C. N.C. http://www.culturalheritage.gov.mt

209 644 € 300 000 €

53

National Archives http://www.librariesarchives.gov.mt/nam/index.htm

Netherlands - Dutch Film Museum 54 N.C. 12.50 m € N.C. 96 http://www.filmmuseum.nl (NL, EN)

  • Dutch Institute for Animated Films in Tilburg www.niaf.nl (NL, EN)

Poland National Film Archive N.C. 17.88 m 93 105 http://en.fn.org.pl (PL, EN)

PLN (~ 4.48 m €)

53 The archives of Heritage Malta, the Department of Information, the Broadcasting Authority as well as Public Broadcasting Services include audiovisual material.

54 Since 31 December 2009, it is integrated in the Film Institute Netherlands, www.eyefilm.nl

MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

126.97 m PLN (~

Polish Film Institute N.C. 31.85 m €) N.C. 59 http://www.pisf.pl (PL, EN)

298 000 PLN (~74 759 €)

Silesian Film Archive N.C. 13.64 m N.C. 9,32 http://www.csf.katowice.pl (PL)

PLN (~3.40

National Audiovisual Institute N.C. m€) N.C. 21 http://www.nina.gov.pl (PL, EN)

Portugal Cinemateca Portuguesa / Museu do Cinema 4.10 m € 5.32 m € 80 72 http://www.cinemateca.pt (PT, EN)

Romania National Centre of Cinema (CNC) N.C. N.C. N.C. N.C. http://www.cncinema.abt.ro (RO)

National Film Archive (ANF) 3.70 m € 1.2 m € 135 80 http://www.cncinema.abt.ro/ANF.aspx (RO)

Slovakia Slovak Film Institute (SFI) 1.20 m € 2.83 m € 56 32 http://www.sfu.sk/english/ (SK, EN)

Slovenia The Archives of the Republic of Slovenia / 2.40 m € 450 000 € 7 7 http://www.arhiv.gov.si/en/ (SL, EN)

Slovene Film Archives; http://www.kinoteka.si (SL)

Slovenian Cinematheque

Spain Filmoteca Española - Spanish Cinematheque, 34 000 € 4.30 m € 125 108 + http://www.mcu.es/cine/MC/FE/index.html

32 part(ES) time

MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

Regional Cinematheques:

Filmoteca Vasca / Euskadiko Filmategia www.filmotecavasca.com/es

Filmoteca de Zaragoza www.zaragozafilmo.tk

Filmoteca de Cataluña http://cultura.gencat.net/filmo

Filmoteca Canaria http://www.gobiernodecanarias.org/cultura/act ividades/filmotecac/

Filmoteca de Murcia / Filmoteca Regional Francisco Rabal www.filmotecamurcia.com

Filmoteca de la Generalitat Valenciana www.ivac-lafilmoteca.es

Filmoteca de Andalucía www.filmotecadeanalucia.com

Centro Galego de las Artes da Imaxe (CGAI) www.cgai.org

Filmoteca de Castilla y León

Filmoteca de Asturias http://www.jcyl.es/web/jcyl/CulturaPatrimonio /es/Plantilla100/1142937527695/_/_/_

Arxiu del Sole i la Imatge (ASIM) www.conselldemallorca.net/?id_section=323& id_parent=316

Filmoteca de Cantabria www.palaciofestivales.com/?menu=3 MEMBER Name of film heritage institution(s) Annual Budget Staff Website

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

Filmoteca de Albacete www.albacete.com/filmoteca

Filmoteca de Extremadura www.filmotecaextremadura.com

Sweden Swedish Film Institute 4.60 m € 3.40 m € 22 30 http://www.sfi.se/sfi/ (SV, EN)

(33,60 m National Library of Sweden SEK) http://www.kb.se (SV, EN)

United British Film Institute (BFI) 22 m £(≈ 4.60 m £ 77 N.C. http://www.bfi.org.uk (EN)

Kingdom 2.40 m €) (≈5.10 m €)

Imperial War Museum 4 m £ N.C. N.C. N.C. http://www.iwm.org.uk

(≈ 5.80 m €)

Regional Film Archives in England: N.C. N.C.

STATE (directly related to (directly related (languages) film heritage) to film heritage)

2008 2010 2008 2010 report report report report

National Library of Scotland N.C. N.C. http://ssa.nls.uk/

Welsh National Library N.C. N.C. http://screenandsound.llgc.org.uk/ TABLE 2 – LEGISLATIVE MEASURES / DEFINITION OF NATIONAL FILM HERITAGE

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

Austria Film Promotion Act (Filmförderungsgesetz), notably Art. 12 (2) - The audiovisual heritage includes all moving image works

(f). produced in Austria in all technical formats, irrespective of whether they are intended for screenings in cinemas or not.

  • It also includes all audiovisual works which are available in Austria and which influence national cinematography, film production and media literacy and are therefore of particular relevance to Austria for historical or cultural reasons or on account

    of the specific subject matter.

  • Finally, film-related materials linked to the production, presentation and research of works also form part of the

    audiovisual heritage (Photos, posters, scripts, documents etc.)

Belgium : N.C. Cinematographic works produced in Belgium and distributed on

federal Belgian territory.

institutions

Belgium : - Preservation and Exploitation of Heritage Plan (Plan Pep's), Cinematographic works created by film-makers from Belgium's

French adopted in 2007, provides for the creation of a systematic French Community or resulting from coproductions involving Community inventory of all cinematographic works in order to establish artists, actors, directors etc. from Belgium's French Community.

priorities with regard to digitisation.

  • In 2009 the General Delegation responsible for managing the Plan Pep's adopted the "Organisational and technical guidelines and standards for cultural heritage digitisation initiatives", which are available at www.numeriques.be and apply to the

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

cinematographic heritage of the French Community.

Belgium : Audiovisual works created with the aid of the Flemish Community - An audiovisual creation is recognised as a Flemish production or

Flemish must be deposited with the Cinematek. coproduction on the basis of the following criteria:

Community - The Dutch-language original version, the Dutch-language text,

the Dutch-language underlying work, the cultural connection with Flanders, the creative input from the Flemish cultural community

and/or subject matter expressing Flemish culture.

Bulgaria - Law on the development and protection of culture, Council of - Film Industry Act: A film is a series of associated images fixed

Ministers Ordinance No 128/1994. by whatever means onto a material medium, of whatever length, with or without sound, perceived as a moving picture, in feature-

State Archives Law. type, animated and documentary cinematographic work formats intended for distribution and projection.

  • Law on the obligatory deposit of copies of printed and other matter. - Methodological Code of the General Department of Archives (1982): Cinematographic films are visual documents whose
  • Law on the film industry. content is transferred by photographic means onto a filmstrip

reflecting in dynamic development one or more events, facts or

  • Law on copyright. phenomena.

Cyprus Legislation regulating the operation of a Film Archive and No definition provided.

facilitating the systematic collection, cataloguing, preservation and restoration of the audiovisual heritage to be adopted.

Czech Rep. Act No 249/2006 of 25 April 2006 - Audiovisual works whose producer has or had at the time of publication his or her registered office or permanent residence in the Czech Republic.

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

  • In addition, any audiovisual work in which a producer who has or had at the time of publication their registered office or permanent residence in the Czech Republic, and who contributed to a level of at least 20% of total production costs, and where it was created with a Czech artist or Czech technical assistance, to a level corresponding to 20% of the total production costs, is also

    considered a Czech audiovisual work.

Denmark Legal Deposit Act Comprises Danish films, which are defined as any movie made by

a Danish producer, and recorded in the Danish language or Film Act comprising special artistic or technical features which contribute

to the promotion of film art and film culture in Denmark.

Estonia Archives Act of 25.3.1998 - Moving images shall be taken to mean any series of images

recorded on a support with or without accompanying sound, which when projected impart an impression of motion and which are intended for communication or distribution to the public or are

55 Definition adopted from the UNESCO Recommendation for the Safeguarding and Preservation of Moving Images.

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

made for documentation purposes. 55

56

  • Materials to be included are those:
  • documenting nationhood,
  • reflecting important institutions, personalities, places and events.
  • The authenticity of the documents, their age and authors are also

taken considered for purposes of this assessment.

Finland Act on the deposit and preservation of cultural material (Act - Films covered by the provisions on deposit (Ch. 5 of the Act)

1433/2007 of 28.12.2007), in particular Section 2. include:

  • Films produced by domestic producers, which are intended for

public screening;

  • Films produced by foreign producers, which are intended for

public screening, if deposit has been agreed to.

  • Publicity and ancillary materials are included in the above

definition.

France - National Heritage Act (Act 92/546 of 20.6.1992), in particular - All audiovisual material is subject to a legal deposit obligation

Section L1 i.c.w. Sections L131-2, L132-2 subparagraph e) from the moment that it is made publicly available in France. amended by the Cinema and Moving Image Code (25.7.2009) in order to bring the legal deposit system in line with the European - This obligation extends to producers of cinematographic works as well as distributors, editors and importers of foreign

56 The selection is modelled on the evaluation criteria of the Estonian National Archive.

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

Convention for the protection of the Audiovisual Heritage. cinematographic works.

  • In particular, the following have been included in the legal - The latter are included in the national audiovisual heritage unless

deposit: they:

  • cinematographic works which are not released in cinemas, - originate in countries with which France has concluded a reciprocity agreement on the scope and modalities of the legal
  • works on digital support. deposit of imported video films;
  • enter the national territory temporarily for a number of screenings that does not meet the threshold laid down by the

    minister responsible for cinema;

    • are circulated within the national territory in less than six copies.
    • All cinematographic works must have a CNC reference number

    in order to be recognized as such.

Germany Federal Archives Act of 6 January 1988 (BGBl I, 62). - All cinematographic works produced or co-produced in Germany which are intended for public showing in a film theatre or at a film

Administrative Agreement on the setting up and management of a theatre or at a film festival or have actually been shown in public. Cinematheque Association (Kinematheksverbund). - This includes all films which have received funding from Federal or Land film funding institutions for their production and/or distribution.

Greece - Presidential Decree 113/1998, in particular Article 9(5): Statutes - National audiovisual heritage is any corresponding material that

of the Greek Film Centre. highlights elements of national identity, whether in relation to its theme, its treatment, its language, the way it is constructed or the

Law No 1597/1986: establishment of the Greek Film Archive. accumulation of images of social or topographical interest.

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

(definition used by the Thessaloniki Cinema Museum)

  • Government Gazette for Museum – Contracts on Management - Article 4(1) of Law No 1597: A cinematographic work is one and Preservation of Collections (e.g. HELLAFFI collection); that is printed on a sound and image medium and is intended for receipt and delivery protocols, private contracts. cinematographic, televisual or any other audiovisual transmission, whatever in content and length and whatever the methods, means and materials used for its production, reproduction or showing,

    whether already known or to be discovered in the future.

    (definition used by the Greek Film Centre)

Hungary - Deposit Decree: Government Decree No. 60/1998 (III. 27.) on All moving-picture materials and programmes which were created the Provision of Mandatory Deposit Copies and Utilization of in the territory of Hungary or in co-production and which might Publications and Media Works. serve as a historical document of this era in the future in terms of presenting Hungary's history, culture or the Hungarian society.

  • Copyright Act: Act LXXVI of 1999 on Copyright.
  • Government Decree No. 203/2002 (X. 5.) on the Detailed Provisions of the Distribution of Cinematographic Works Constituting Part of the National Film Assets.
  • Motion Picture Act: Act II of 2004 on Motion Picture.

Ireland Irish Film Board Act 1980. Films made in Ireland, with an Irish theme or that are of Irish

interest.

Italy - Act on the Reform of the Regulatory Framework on - The notion of film heritage ('patrimonio filmico nazionale') is

Cinematographic Matters (Act 28/2004 of 22.1.2004), in particular referred to in applicable legislation, but not defined. Articles 5, 24. Cinematographic works are defined as works intended for

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

screenings in cinemas.

  • Copyright Act (Act 633/1941 of 22.4.1941). - Producers can furthermore apply for their works to be recognized as being of Italian nationality (Art. 5), and, where such status is

    granted, as being of cultural interest (Art. 7).

    • Cinematography Act (Act 958/1949 of 29.12.1949).
    • Act on the Legal Deposit of Documents of Cultural Interest Destined for Public Use (Act 106/2004 of 15.4.2004).
    • Acts implementing Article 1(325) and (343) of Law No. 244 of 2007 and introducing, as of 1 June 2008, tax credits and tax shelters throughout all sectors of the cinema industry.

Latvia - Regulations of the Cabinet of Ministers Nr. 558 of 26 July 2005. - There is no accurate definition in the current Latvian legislation.

However, the closest would be in the draft National Film Law: - Law on Archives of 26 March 1991.

  • Latvian national film heritage is the body of films, raw materials - Copyright Law of 6 April 2000. for films and other materials relating to films, which form a

significant part of Latvian cultural heritage and which have an

artistic, historical, scientific or other cultural value.

Lithuania - Cinema Act (Official Gazette 2002, No 31-1107). No definition provided.

Documents and Archives Act (Official Gazette 1995, No 107- 2389).

  • LCRR – Law on Copyright and Related Rights (Official Gazette No 50-1598, 1999; No 28-1125, 2003).

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

Luxemburg - Law of 18 May 1989 establishing the Centre national de The Grand-Ducal Regulation requires the deposit of short,

l'audiovisuel – CAN. medium length and feature length films; documentaries and fiction; series; video games and video documents; advertisements

  • Article 18 of the Law of 25 June 2004 on the reorganisation of and promotions; phonograms; television and radio programmes;

the state's cultural institutes. news programmes; magazines; programmes produced mostly onset;

programmes about politics, economics, society, culture,

  • Law of 18 April 2001 on copyright, related rights and databases. science, religion, sport and tourism in the Grand-Duchy of

Luxembourg; including websites and web content; where these

  • Grand-Ducal regulation specifying the legal deposit is awaiting documents are produced in Luxembourg or co-produced by a legal the signature of the Grand Duke before publication in "Memorial". or natural person residing or headquartered in the Grand-Duchy of

    Luxembourg or supported by the state, and intended mainly for an

    audience in Luxembourg.

Malta - Cultural Heritage Act (Cap. 445). Audiovisual material, including film heritage, forms part of national cultural heritage, which includes 'movable or immovable

  • National Archives Act (Cap. 477). objects of artistic, architectural, historical, archaeological, ethnographic, palaeontological and geological importance, as well
  • The Malta Film Commission Act also stresses the importance of as information or data relative to cultural heritage pertaining to

developing opportunities for access to cinema history. Malta or to any other country.'

Netherlands N.C. - National and international cinematographic material is deemed to

comprise films and related items such as equipment, posters, stills,

books, publicity material, personal archives.

  • For inclusion in the collection of the National Film Museum, an evaluation of the cinematographic, historical and cultural value of

    the material concerned is undertaken.

    • Cinematographic value is based on artistic quality, direction and MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

the oeuvre of the director.

Poland - Cinematography Act of 30 June 2005 (Official Journal no. 132, - 'Cinematographic works forming part of the national audiovisual

item 1111). heritage' are films which are works of any length, including documentary or animated works, made up of a series of successive

  • Act on Copyright and Neighbouring Rights. images, with or without sound, recorded on any kind of medium whatsoever which allows them to be replayed, creating the

(Official Journal no. 24, item 83 and no. 43, item 170). impression of movement and forming an original whole,

expressing action (content) in individual form, and also, with the

  • Operating Programme of the Ministry of Culture and National exception of documentary and animated works, of which the first Heritage “Cultural Heritage”, Priority 4 “Creating digital resources intended operating field as defined in the Act on Copyright and

    of cultural heritage”. Related Rights is screening in a cinema, and this includes coproductions

 of which the producer or co-producer is an undertaking established on the territory of the Republic of Poland, and provided that at least one of the following conditions is

fulfilled:

  • the author of the script or adapted literary work, director and creator of one of the main roles are Polish citizens, the percentage of the production costs covered by funds of a producer established on the territory of the Republic of Poland is 100%, provided those funds, for up to 80% of the production costs of the film, are spent on the territory of the Republic of Poland, and the master copy is

    made in the Polish language,

  • the author of the script or adapted literary work, or director or creator of one of the main roles are Polish citizens, the percentage of the production costs covered by funds of a co-producer established on the territory of the Republic of Poland is 20% or more in the case of a film which is a bilateral co-production, and

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

10% or more in the case of a film which is a multilateral coproduction, provided those funds, for up to 80% of the production costs of the film, are spent on the territory of the Republic of Poland, and also the predominant language used in the film is the Polish language.

Portugal - Law of Cinematographic and Audiovisual Arts (Law No - Cinematographic and audiovisual works shall be deemed as

42/2004), in particular Article 11. “national works” where they meet the following requirements:

  • Legislation governing the legal deposit of audiovisual material is - At the least 50% of the authors shall be Portuguese nationals or

still being drafted. nationals of any EU Member State;

  • At the least 50% of the technical staff shall comprise Portuguese

nationals or nationals of any EU Member State;

  • At the least 50% of the leading roles and of the main and supporting roles shall be played by Portuguese actors or by

    nationals of any EU Member State;

  • At the least 50% of the time of the making-of or of the production shall be spent in Portuguese territory, except where the

    script does not allow so;

    • The original version shall be in Portuguese, except where the

    scrip does not allow so.

  • Furthermore, national works also include works with a Portuguese production or co-production, under the terms of international agreements that bind the Portuguese State, bilateral agreements for cinematographic co-production and the European

MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

Convention on Cinematographic Co-production, and further applicable Community legislation.

Romania - Law No 328/2006 on cinematographic and - Means all feature films, short films, documentaries and animated

films intended to be shown on cinema screens, made by Romanian Government, amended by Order No 97/2006. producers with national funding only or as internal co-productions.

  • Government Decision No 1063/2005 on the NFA.
  • Law No 8/1996 on copyright and related rights as amended by Law No 329/2006, as amended by Government Ordinance No 97/2006.

Slovakia - Audiovisual Act 343/2007 on conditions for the registration, - A cinematographic work is a feature film, animated film,

public distribution and preservation of audiovisual works, documentary film or other audiovisual work originally intended multimedia works and sound recordings of artistic performances for public release by means of audiovisual presentation. and amending certain laws), in particular Sections 2 (2), 31 (2). - Audiovisual heritage is a set of audiovisual materials and other - Act No 618/2003 on copyright and related rights (Copyright components of the fund of audiovisual heritage documenting the Act). history of the Slovak Republic, and the emergence and development of Slovak audiovisual works and cinematography. - Project for the Systematic Restoration of the Audiovisual Heritage updated and approved by the Government on 14 January 2009.

  • Restoration and digitisation of audiovisual works included in the "Information Society" operational programme.

Slovenia - Act on the protection of documents and archives and archival - A Slovenian audiovisual work is taken to be a Slovenian film or

institutions (Slovenian Official Gazette No 30/2006), in particular audiovisual work which has been produced by a Slovenian MEMBER LEGISLATIVE/ADMINISTRATIVE MEASURES DEFINITION OF CINEMATOGRAPHIC WORKS

STATE PROMOTING THE OBJECTIVES OF THE FILM AND/OR FORMING PART OF THE NATIONAL

HERITAGE RECOMMENDATION FILM HERITAGE

Art. 43. producer and features more than 50% Slovenian co-authors or other persons whose work contributes to the production of a film.

  • Decree on the protection of documentary and archive material (Slovenian Official Gazette No 86/2006), in particular Art. 93-97. - A co-produced film is regarded as Slovenian if at least 10% of the production costs are co-financed with Slovenian capital or if a reasonable proportion of Slovenian co-authors or other persons are involved in the production of the film.

Spain - Spanish International Property Law (Law 1/1996, amended by - Cinematographic works that are linked (through production,

Law 5/1998 and Law 23/2006), in particular Article 37. subject or authorship) to the Spanish territory or culture in the context of promoting the country's identity and cultural diversity.

Spanish Cinema Law (55/2007), in particular Articles 6 and 30.

  • Royal Decree 2062/2008 of 12 December 2008, in particular Article 20 foreseeing aid for the conservation of film heritage.
  • Ministerial Order of 19 October 2009: regulatory basis of state aid.

Sweden N.C. - No definition provided by the Government. In the context of

SFI's tasks Sweden's film heritage has been defined as all films which have been shown at cinemas in Sweden or which are subject to scrutiny by the National Board of Film Classification

with a view to distribution in cinemas.

United N.C. The definition is achieved through the separate Collecting Policies Kingdom of those Archives which constitute the Film Archive Forum –

membership includes all publicly funded archives in the UK.

TABLE 3 – DEPOSIT OF CINEMATOGRAPHIC WORKS FORMING PART OF NATIONAL AUDIOVISUAL HERITAGE (question 4.1)

LD all: Legal deposit for all cinematographic works.

CD funded: Compulsory deposit of cinematographic works that have received public funding.

VD: Voluntary deposit.

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material

Austria X An exhibition copy free from X - Encouraging voluntary Provisions for the

technical defects. deposits by film artists, deposit requirement producers and distributors. are scheduled to be introduced in 2010.

  • Deposit contracts provide for the right to screen the films deposited during film programmes and training activities.

Belgium : X federal institutions

Belgium : X Production material ready for None

57 Where a deposit obligation extends to materials other than the cinematographic work itself, this is reflected in Table 4.

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material

French distribution.

Community

Belgium : X - Audiovisual creations 'in as X

Flemish original form as possible' with

Community Cinematek, except where that institution is not responsible.

  • Ready-to-use-copy must be deposited with the Ministry of the Flemish Community.

Bulgaria X Twelve copies of edition used Within 2 months X P: Lack of funding for

for public showing. following the enforcing the LD. completion.

Cyprus X A positive copy. After the film is X X BP: If the copy deposited Efforts to acquire

completed. is not of good quality, the private collections. Government will not pay

the final instalment of the agreed funding.

Czech Rep. X 2 new, unused, high quality Mandatory deposit X Quality checking done by No changes.

copies or intermediary of past projecting the film. element. cinematographic works.

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material

Denmark X - 2 used prints. For funded X BP: A voluntary deposit N.C.

films also a master, separate agreement exists for sound track and a new print. foreign films (by virtue of this scheme, the majority - Deposit of digital film of all films shown in materials comprises the digital Danish theatres are being base material as well as two submitted for deposit). copies intended for screening (1 used, 1 unused).

Estonia X - Feature films: original 3 years after X X Deposit of financed

material. completion. films.

  • Documentaries, newsreels: original material and selection of takes.
  • Related hard-copy documents, photographs, posters.

Finland X Original negatives and a print. BP: Watchdog X BP: Watchdog Unit.

Unit. Non-compliance with

  • 3 years: copy of deposit obligation is a film. punishable act for which a fine can be imposed. - 5 years: original

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material film material.

France X - Positive, new copy of perfect - Deadline: as soon X X - Increasing of Voluntary

technical quality, or of an as CNC reference deposits in the French Film intermediary element allowing number has been Archives of the CNC and the production of a positive issued for the film. with private heritage

58

copy or of a negative matrix. institutions.

  • BP: Special Unit
  • LD of entirely digital films is for checking - BP: Special Unit for

still being examined. compliance checking compliance.

Germany X - Perfect copy; an unused 35- - 12 months after X - BP: Voluntary deposit at Even if there are not

mm positive copy. the first public the Federal Film Archive legal control showing or after possible for other national mechanisms for

  • Guidelines for the deposit of making the zero productions; voluntary checking compliance digital formats under copy. deposit of foreign with deposit discussion. productions is possible at obligation, film - BP: Voluntary other institutions of the funding bodies are deposit at the German Kinemathek. engaged to ensure the

    Federal Film deposit. Archive possible - BP= Systematic for other national filmography of German productions; cinema productions voluntary deposit available at

58 This deposit copy must correspond to the one submitted to the classification board. In exceptional circumstances, deposit of used materials will be accepted if

the work is of less than one hour duration and the copy is in perfect technical condition.

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material of foreign www.filmportal.de . productions is possible at other - P: lack of technical institutions of the standards defining uniform German technical quality of Kinemathek. deposited copies.

Greece X A positive copy on 35mm. X - Penultimate payment of

funding subject to deposit of a copy of the film.

  • Use of the ACE –FIAPF model contract for voluntary deposits.

Hungary X - Original picture and audio By the 15 th day of X X - Economic rights of films

negative as well as the dupe the month created by state-owned positive. following the film studio companies month of were made state assets in - One copy of the film as well production. 2004. as cinema posters with text and programme brochures.

Ireland X 59 Pristine master print, release - For films X Filmmakers using footage

59 By way of cooperation agreement with funding bodies (Irish Film Board and Broadcasting Commission of Ireland). Current negotiations seek to expand the

cooperation to include the Arts Council of Ireland.

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material print, Digibeta tape, publicity receiving funding from the archive material, production notes, 2 of IFB and BCI, collections, deposit a copy. DVD copies. items must be deposited before final drawn down of funding.

  • Other material: no timeframe.

Italy X - For films in receipt of public N.C. - Legal benefits are granted N.C.

funding support and for films only after a negative copy recognized as being of cultural of the film has been interest, a copy of the deposited at the National negatives has to be deposited. Film Archive.

  • For all other films, a new - Substantial part of the positive copy of the original collection: voluntary

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material negatives is required. deposits.

Latvia X 60 35mm film, Digital Betacam, X X - Currently no systematic

Betacam SP, DVCAM, collation and preservation miniDV, DVD. of audiovisual heritage.

  • National Film Centre collects copies of films made using public funds.

Lithuania X Original film media. - VD for non X 61 VD for non-funded films

funded films. and related film material is encouraged.

  • 1 year.

Luxemburg X - Material produced on tape: 6 months after X Up to present time VD, but

material produced on tape: being made Grand-Ducal Regulation negative/ internegative/ available to the on LD is about to entry interpositive or new positive public. into force. copy; a master copy in digital format.

  • Material produced as

60 Draft law foresees Compulsory deposit of financed works. 61 Funded films have to submit to the Ministry of Culture a certificate from the Lithuanian Archive Department confirming that original film media have been supplied

for storage

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material analogue, digital or HD: a master copy in digital format, two copies in commercial and original format.

Malta X Audiovisual material. N.C. N.C. N.C. N.C.

Netherlands X - Analogue: negatives and No deadline. Good relationships with

good positives. depositors and donors are essential for enriching the

  • Digital: digital source collection. material.

Poland X Unused film copy and - No later than on No Yes - P: No obligation to documentary material. the date of deposit negatives.

commencing film distribution. - P: the law does not foresee enforcement - P: No obligation mechanisms for the legal to deposit deposit. negatives.

Portugal X 2 copies or a broadcast-quality BP: Proactive in Could be - Legislation on LD is

video copy. promoting improved. being drafted. voluntary deposit.

  • BP: Proactive in promoting voluntary deposit.

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material

Romania X - High-quality print. 2 years after film’s X X VD for films produced

premiere. with private funding. - Image and sound negatives, intermediate materials, positive copies.

Slovakia X Original, copy, ancillary Within 30 days X X General inventory to

material and metadata. after initial public be prepared. release.

Slovenia X Negative and copy of the film. On completion of X X

film.

Spain X - 1 perfect film copy. - 2 years after the X X - Financial support for -Financial support for

films were made preservation given to preservation takes - In case of electronic support, available. producers. into account that of the highest quality. technological

  • Active policy to promote evolution of supports. VD.

Sweden X - CD: Inter-positive or LC print - CD: 6 months X X - BP: Voluntary deposit for

and original negatives. after the film's first non-cinema releases (incl. release. productions by private

  • Digibeta for digital works. individuals and - VD: no timeassociations) and
  • VD: 35mm viewing prints, limits. original negatives, duplicate foreign movies distributed

MEMBER Type of deposit Material to be deposited 57 Deadline for Compliance Other comments Changes in

STATE deposit checking? Problems/Best relation to 2008 practices

LD CD VD Deposit Quality of all funded obligation deposited material negatives and positives. in Sweden

  • Special unit set up to check the quality of the material subject to CD.
  • Final payment of the financial support is conditional to deposit of good quality material.

United X 62 X Film print. No deadline, but X

Kingdom UKFC and BFI try

to secure the deposit within 2 years post release.

62 With the exception of some films in receipt of Lottery Funding through the UK Film Council where financing includes a clause requiring deposit of a print in the BFI

National Archive.

TABLE 4 – DEPOSIT OF MATERIAL OTHER THAN CINEMATOGRAPHIC WORKS FORMING PART OF THE NATIONAL AUDIOVISUAL HERITAGE

MEMBER STATE

Austria The compulsory film deposit requirement also covers ancillary and publicity material. Video and digital productions are also

deposited. For funded films, the film script and advertising materials need to be deposited as well. "Film documentation" department documenting on a voluntary basis all international productions intended for distribution in Austria was set up in the Austrian Film Archive.

Belgium : federal The Cinematek keeps advertising and ancillary material deposited on a voluntary basis.

institutions

Belgium : French No provision concerning the collection of cinematographic works not forming part of the national audiovisual heritage. All

Community material produced and distributed in French-speaking Belgium by public-service television or radio must be kept and stored by

the editor in charge of that TV or radio station. Preservation and Exploitation of Heritage Plan foresees collection of non-film material.

Belgium : Flemish See the relevant provisions of the federal institutions.

Community

Bulgaria The Bulgarian National Film Archive stores non-film holdings deposited on a voluntary basis, including books, posters,

magazines, press cuttings, dialogue lists, photos, leaflets, documents and publications. Moving image materials which are not cinematographic works but part of the national heritage (private collections and family archives, for example) are also collected by the BNFA on a voluntary basis. Mandatory deposit of works published on film.

Cyprus No provisions/practices concerning the collection of cinematographic works not forming part of the national audiovisual

heritage. The Cyprus State Archive is responsible for collecting any non-audiovisual material.

Czech Rep. A system for the mandatory deposit of moving-image material other than cinematographic works has been introduced. Nonfilm

material is collected on the basis of provisions of Section 5, par 10(1) of Act No 249/2006.

Cinematographic works not forming part of the national audiovisual heritage are collected on the basis of voluntary deposit.

MEMBER STATE

Non-film material is collected on the basis of provisions of Section 5, par 10(1) of Act No 249/2006.

Denmark For all films that are comprised by the legal deposit obligation, accompanying advertising materials shall be submitted.

Estonia Voluntary deposit for ancillary and publicity material related to cinematographic works forming part of the national

audiovisual heritage, as well as moving-image material other than cinematographic works. Film scripts, photographs, photos are also collected. Chance finds and amateur works are assessed by the appropriate committee in accordance with the

assessment policy used by the National Archives.

Finland Publicity and ancillary materials are covered by in the legal deposit obligation. Agreements with foreign producers on

depositing a film screened publicly in Finland as well as the related advertising and other publicity material. The National Audiovisual Archive is responsible for archiving films as well as the related printed material.

France All films distributed in France are subject to a legal deposit obligation as soon as they receive a CNC reference number. The

deposit obligation includes publicity and ancillary materials. Legal deposit of audiovisual works, multimedia documents and video recordings, as well as books, periodicals, gravures, films, sound recordings, radio and TV programmes, software and

databases.

Germany The online film database www.filmportal.de offers its users access to ancillary materials in addition to filmographic data.

These may be deposited voluntarily with the Federal Archives. For film videos as published media works and for music films generally, deposit with the Deutsche Nationalbibliothek (German National Library) is mandatory. All moving picture stock and older cinematographic works may be deposited voluntarily with the Federal Archives, but also with other qualified archives in so far as they are German productions or German co-productions. Foreign cinema films, including those which have been shown in German cinemas, are not deposited with the Federal Archives but may be deposited with other bodies such as the SDK. The institutions in the Cinematheque Association collect and store masses of film-related material. Documentation

accompanying films may be deposited on a voluntary basis.

Greece There are provisions/practices concerning the collection of cinematographic works not forming part of the national audiovisual

heritage and concerning moving-image material other than cinematographic works. The Thessaloniki Film Museum aims at bringing together and promoting the collection of non-film material.

Hungary Mandatory deposit copies must be submitted of posters containing text and programme booklets of films and movie theatres –

provided that these materials were produced by the producer or the distributor, thus in practice mandatory deposit copies of MEMBER STATE

subsidiary material for cinematographic works must be submitted as well.

MNFA keeps a photo and poster collection. Hungarian Filmhistorical Photo Collection: photo materials of nearly 980 Hungarian feature films made between 1945 and today. The collection of non-film material is regulated by the Legal Deposit

Decree.

Ireland Doesn´t collect other than Irish material. Collects advertisements, music videos and artistic works, but not video games or web

sites. Collects television through the BCI and IFB, as well as advertisements, promotional and public information films (gathered in an ad-hoc manner). Material that has to be deposited includes publicity material and production notes. IFA

collects broadcast quality tape and has a document and poster collection.

Italy Ancillary materials are comprised by the legal deposit obligation for films produced in Italy. Furthermore, a legal deposit

obligation exists for sound and video documents, artistic videos and documents disseminated electronically and broadcast over

the net, which is administered by the Central National Libraries at Rome and Florence.

Latvia The Riga Film Museum collects cinematographic works of historical value where possible. The Latvian State Archive collects

film document sound materials, photo documents and film posters related to cinematographic works.

Lithuania All of the auxiliary and advertising-related media forming part of the national audio-visual heritage are stored at the Lithuanian

Archive for Literature and Art, Lithuanian Theatre, Music and Cinema Museum and at other museums.

Luxemburg The Cinemateque de la Ville de Luxembourg collects films that are not part of the national film heritage. All kinds of

publication (except for the audiovisual and sound publications referred to in Article 19) including databases, software and applications, expert systems and other artificial intelligence products, produced in Luxemburg and publicly available for sale, distribution or rent are subject to the formality of legal deposit at the National Library. Sound and multimedia productions are

subject to legal deposit at the CNA.

Malta The archive of the Department of Information preserves historical documentation (photos and films) of important national

events. The archive of Heritage Malta preserves mainly films on the Second World War, films about historical sites and

relating to the conservation of national heritage.

Netherlands Collection of foreign titles forming part of the national heritage in the Film Museum. The Dutch Institute for Picture and

Sound collects movie-image material (other than cinematographic works) forming part of the national audiovisual heritage.

MEMBER STATE

Ancillary and other non-cinematographic aspects of the national audiovisual heritage may be deposited on a voluntary basis with the relevant institutions, which apply their own selection criteria to determine whether or not to integrate the materials into their collections. The Film Museum's collection also includes film-related collections such as photos, film posters, paper

archives and apparatus.

Poland Producers are legally obliged to supply documentary material concerning the production of the film, in particular the script,

editing and dialogue list, stills, posters, credits, and promotional materials. Equally, producers of films made for television must provide the National Film Archive with a deposit copy. Legal measures ensure that film stocks held by other institutions are transferred to the Archive, if these are privatised or go into liquidation. Specialised teams at the National Film Archive take

care of these collections.

Portugal No provisions concerning the collection of cinematographic works not forming part of the national audiovisual heritage nor

concerning non-film material are in place. However, the Cinemateca is promoting the voluntary deposit of all cinematographic

and audiovisual works.

Romania Yes, in context with voluntary deposit.

TVR (Romanian Public Television) has own facilities for collecting works other than cinematographic works. No collection of

non-film material.

Slovakia Ancillary and publicity materials are subject to a legal deposit obligation. SFU has issued methodological guidelines for the

deposit of non-film material. Compulsory deposit also applies to audiovisuals which are not cinematographic works (recorded on a medium other than a film reel). Also collects Slovak audiovisual works, including television programmes, and all other works and sound-image recordings that are of audiovisual value (based on the opinion of the SFI Commission on Audiovisual

Heritage). According to the rules of good practice SFU collects foreign cinematographic works.

Slovenia The Slovenian Film Archive also keeps scenarios, shooting scripts, photographs, contracts, posters and censorship documents.

Cinematographic works forming part of national audiovisual heritages from other countries are kept by the Slovenian Cinematheque. Moving image material other than cinematographic works is collected pursuant to the Act on the protection of

documents and archives and archival institutions.

Spain Voluntary deposit of ancillary and publicity materials related to films. It is a common practice that distribution companies

make a voluntary deposit of exhibition copies of foreign films. In addition, the Filmoteca Espanola is actively buying archives MEMBER STATE

or collections which have cultural value from producers, scriptwriters, critics, collectors etc. Except for family or amateur

cinema on obsolete media, the collection of any other type of moving-image material is unusual.

Sweden The film archive in Grängesberg is collecting, preserving and offering access to Swedish films which have not been produced

with a view to cinema release. The National Library of Sweden is the repository for the legal deposit of all videograms, DVDs, etc. of which more than 5 copies are produced in Sweden. Producers in receipt of production subsidies must deposit metadata and ancillary materials, including stills, posters, music sheets, complete credits, DVD copies, manuscripts, posters. For other

productions voluntary deposit with the national institute is possible.

United Kingdom Voluntary deposit of materials from other territories deemed to be important for development of film culture in the UK.

BFI National Archive is designated as the National Television Archive.

Ancillary and publicity materials of current and past cinematographic works are collected on the basis of a voluntary deposit.

TABLE 5 – CATALOGUING AND DATABASES (question 5)

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level)

Austria In compliance - Prospectively to be made available online. In progress. The Austrian Film

with FIAF Archive's catalogue standards. - Several relational databases used to has been further collect the different material. Currently the developed with a view Film Archive is working on a central to interoperability and database. Data on technical particularities taking into account

are included. cinematographic standards.

Belgium : In compliance Inventory in a computerised database. N.C.

federal with FIAF

institutions standards.

Belgium : In progress - Database of the Cinémathèque is based on Planned adoption of

French (currently no Access software. the Open Archives

Community systematic Initiative Protocol for inventory - Indexing system of the Cinémathèque in Metadata-Harvesting.

exists). compliance with FIAF standards.

Belgium : Maintains BOM-Vlaanderen project and the follow-up N.C. Feasibility study to be

Flemish database of all projects "Vlaanderen in Beeld" and carried out in 2010 for Community works "Archipel". setting up a Flemish

deposited with horizontal, crossthe Cinematek. sectoral metadata

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level) aggregator.

Bulgaria In compliance - Online database 'A to Z of Bulgarian - P: Database is not accessible

with FIAF cinema'. via internet for financial standards. reasons. - UNESCO system WinISIS

Database is not accessible via internet for financial reasons.

Cyprus N.C. Software for cataloguing and creating a European standardization to be Efforts digitisation and

webpage under way. implemented in the near future. making available online.

Czech Rep. In compliance Several databases available. For instance: Participation in the consultations On-line catalogue of the NFA Participation in EFG

with FIAF on EN 15744. library: http://arl.nfa.cz and EFT. standards. - Databases of film collections, posters, photographs.

  • Databases belonging to the NFA film library.
  • Databases of the Film Yearbook;

NFA database – freely accessible and enables searches according to a wide range of criteria.

Denmark In compliance - Oracle-based, but tailored to the specific N.C. N.C.

with FIAF needs of archival and filmographic use standards. (searchable by year, director and country in addition to other criteria; contains

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level) references to stills, poster and other collections maintained by the DFI).

  • Available at:

www.dfi.dk/filmografi

Estonia In compliance - The FIS database is publicly available on N.C. - In 2008 the Estonian

with FIAF the internet: Film Database nonstandards. profit association was www.filmi.arhiiv.ee/fis/index.php?lang=en set up and started to describe the Estonian

  • No indexing yet. film heritage.

Finland - Tenho database includes also technical Cooperation with the European BP: www.elonet.fi

data on copies. Audiovisual Observatory.

France In compliance - LISE database, available online: - Yes. LISE covers all French BP: Database is available

with FIAF collections. online. standards. www.cnc-aff.fr - Actively involved in European - Access to a part of or all information standardization ( CEN TC 372). depends on user's accreditation levels.

Germany In compliance www.filmportal.de Yes. - BP: Leading role in Since September 2008

with FIAF European standardization. participation in the standards. www.filmarchives-online.eu - Actively involved in European EFG. standardization (CEN TC 372). - BP: Databases are available www.bam-portal.de DIF is handling the secretariat. online.

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level)

www.lost-films.eu - German Cinematheque EFG: 15 film archives are working on a Foundation is develping an open common Internet portal for access to films source software for administration and film-related material. of analogue and digital films.

Greece In compliance - Digital database of the Greek Film Participation in the EFG. - Greek Film Archive:

with FIAF Archive, available for search and study at Catalogue of Greek standards. www.tainiothiki.gr (EL, EN, FR). filmography covering all Greek feature length fictional - Greek Film Centre: 2 databases available cinematographic works from at www.gfc.gr and www.gfcdigital.gr the 1920s to 2005.

  • Greek Film Centre: “Digital Archive of Greek Cinema” project.

Hungary IT based - MNFA database available at N.C. BP: Digitized films are In 2008 filmography

cataloguing. www.filmarchiv.hu (only in Hungarian). available through the NAVA data for 1.588 points. Hungarian feature

  • Works processed jointly by MNFA and films became available

NAVA and 590 newsreels made prior to online.

1943 accessible via the NAVA points.

Ireland In compliance Available at: www.tcd.ie/irishfilm/ The IFA database does not BP: Database is partly In Magic DB text

with FIAF and currently link to other European available in internet. works database Library of database. includes Congress filmographies, rights standards and technical ISAD (G) information. compliant.

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level)

Italy In compliance - XML-based cataloguing solution. Data - International compatibility via BP: Database is partly

with FIAF can be searched by title, director and year ISAN identification. available online. standards. of release at: - Involved in European http://www.cscstandardization (CEN TC 372). cinematografia.it/ct_cat_film.jsp?ID_LINK =28&area=20

Latvia - 3 types for recording and describing No BP: www.filmas.lv : portal

documents (MS Access databases): through which visitors of libraries are allowed to watch

Films, video documents, poster database. and find more information on a certain number of Latvian

  • Latvian film database available at films.

www.nfc.lv (LT).

  • Developing the National Archives Joint Information System (NAJIS) at institutions of the National Archives.

Lithuania No special - Database and search facility based on Actively involved in European www.balticway.net standards. Access software still possible at the standardization (CEN TC 372). offers access to some premises of LCVA and will be made LCVA video and audio available online after implementing the documents.

national project “Lithuanian documentaries on Internet”.

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level)

Luxemburg N.C. Sygaal+. No, but the CNA is currently P: Database is currently not N.C.

assessing the best way to make its accessible via the Internet. Only available internally, access for the works available on Europeana. public is envisaged in the long term.

Malta In compliance Cultural Heritage Information Management N.C. Efforts are made so that all Heritage Malta is

with the system. national entities use European currently working on International and international standards. making audiovisual Standards material available on Council on its website. (financed Archives. by EU Projects like

SMARTMUSEUM and STERNA).

Netherlands International - Several databases for internal use. - Yes, through EFG.

standards Public Databases are available at: - Within the Film Museum: new www.geheugenvannederland.nl information system about the collection is being set up, enabling

www.filmmuseum.nl interoperability between systems and accessibility via the internet.

  • Currently, integrated relational databases are being developed.

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level)

Poland In compliance - Electronic database since 2005. Plans to implement the European FOTOTEKA FN

with FIAF standards on interoperability of website is open to the standards - SI FILMOTEKA is used by the Archive’s film databases. public presenting the staff. photographic stocks of the National Film

  • Since November 2009 - FOTOTEKA FN Archive.

website (www.fototeka.fn.org.pl) is open to the public presenting the photographic stocks of the National Film Archive (photos, negative materials, diapositives).

  • Works in progress to make it available online.

Portugal According to ANIM database can be consulted in situ. Yes. BP: inventory of Portuguese

FIAF produced films (planned standards and online version). the Dublin Core

Romania National Available online: EFG Digitised materials are Materials digitised and

standard http://www.cncinema.abt.ro available via the Internet. available on internet.

Slovakia In compliance - SK CINEMA information system, plans European standards are translated Film database online

with FIAF to be make it available online: Slovak film in Slovak and planned to be standards, catalogue + SFU catalogue. implemented in the SK CINEMA information system. ISBD and - www.sfd.sfu.sk already on-line AACR2 for

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level) non-film

Slovenia ArchiScope - The collection is not structured by theme No.

software. but only by author and period.

  • Available online, covering 2338 films.

Spain - 'Soul' database. Active involvement in CEN. Plan to make the database Digitisation plan:

available on the Internet in Integrated Document - Database of qualified films: Plans to implement the European 2011, once that copyright is Centre (CDI) shall be

standards on interoperability of cleared. operational in 2010 to http://www.mcu.es/bbddpeliculas/cargarFilt film databases. integrate the different ro.do?layout=bbddpeliculas&cache=init&la databases in one nguage=es system. CDI to be

made available on the

Catalogue of the Filmoteca Española internet in 2011.

Library:

http://www.mcu.es/filmoteca/cargarFiltro.d o?cache=init&layout=filmoteca&language =es

Sweden - In Available at: No.

compliance http://www.svenskfilmdatabas.se/ with FIAF standards. 60.000 films (searchable by year and director). - Publicly available at SFI premises.

MEMBER Cataloguing Databases Interoperability of these Comments Changes in relation STATE practices systems with other (in the Best practices/problems to 2008

same country or at EU level)

United BFI Film & TV database: - Actively involved in European - BFI's new Collections

Kingdom http://www.bfi.org.uk/filmtvinfo/ftvdb/ standardization (CEN TC 372). Management System.

(searchable by title, names of people, music groups and organisations and events). - Implementation of CEN standards - Union catalogue of all UK foreseen. screen heritage databases.

  • Contributions to revision of FIAF cataloguing rules.
  • Screen Heritage UK project: Union catalogue of all UK screen heritage databases.
  • Foreseen integration in the EFG.

TABLE 6 - PRESERVATION AND RESTORATION (questions 6 and 7)

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

Austria - Preservation is a legally - Restoration activities are generally Yes The reproduction of N.C. mandated task of the institutions conducted under the remit of the films on new storage

responsible. relevant institutions; on a case-by-case media does not yet offer basis, the federal level may provide a sustainable strategy

  • Additionally, an air additional funding for specific projects. for ensuring the conditioned security film depot posterity of film was set up in 2004. - The Krems Film Gallery is procuring heritage. digital film restoration equipment, in - Film projection equipment is cooperation with other national also preserved. institutions.
  • Study centre for using new - Corresponding regulations for the storage media has been set up in purpose of restoration have been the Austrian Film Archive. incorporated into the deposit contracts.
  • Film technology collection - The restoration of films with high available in a study collection. cultural or historical value is based on a prioritisation and system in accordance with the budget available.

Belgium : Reproduction of films on Cinematek carries out black/white Yes federal analogical and/or digital restoration in own laboratory.

institutions medium and preservation of

material to be projected.

Belgium : - Operates a heritage Yes

preservation and exploitation MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

French plan.

Community

  • Cinémathèque: Films are progressively digitised on DVC Pro50 and DVDRam media.
  • Cinémathèque: Conservation conditions comply with standards of the International Federation of Film Archives.
  • Cinematek: Reproduction of films on analogue and/or digital storage media.

Belgium : - Research project on preserving Yes BP: Research-based

Flemish and unlocking multimedia data preparation of general

Community in Flanders to lead to a general preservation and access preservation and access strategy strategy.

for audiovisual material.

  • Subsidy for digitising films part of the Flemish film heritage.

Bulgaria - 800 000 BGN (≈ 410 000 €) - Bi-lateral cooperation with European No P: Lack of resources to

allocated for the restoration and partners to build expertise in acquire necessary conservation of nitrate stock. restoration issues. technologies for restoration and to

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

  • A machine has been acquired - BNF can't do restoration for financial inspect, inventorise and for transferring 35mm film to reasons and doesn't have own catalogue unchecked modern storage media. laboratories. archives.
  • Lack of integrated and .

technologically appropriate depository (planned).

  • BNF: reproduction of films on new storage media; Preservation of equipment.

Cyprus Since 2004 a special programme - Possibility of setting up a technical Work to align existing P: Given the insufficient

to digitise the collection. More unit, responsible for the restoration, is national with EU financial resources, no than 60 % of holdings have been being examined. legislation to be restoration measures can digitized. completed. be adopted immediately. - Government agreed to cover all costs of the restoration of cinematographic works of high cultural or historical value.

Czech Rep. - National heritage preservation Two teams working in-house on Yes BP: National heritage

programme for 2007-2013. restoration of both archive films and preservation ancillary materials. programme.

  • Planned extension of archives to support colour films. - Restoration efforts include ancillary - Archives also preserve film materials. project equipment, waiting for

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

new depository.

Denmark - WG on digitalisation - Restoration takes place according to a Yes P: keep technical

(priorities, copyright). Restoration plan, and is financed by an equipment required for annual restoration budget, ensured by showing the many

  • Optimum facilities for law on the basis of a parliamentary different storage formats conservation. agreement for a four-year period. (international problem)
  • Legal Deposit Act prohibits the - International cooperation on destruction of negatives of restoration on a case-by-case basis. Danish films unless they have been offered to the DFI and it has declined to receive these.

Estonia - Limited reproduction of films - For lack of adequate technology, Yes, only to a small P: Lacks funding and

in new storage media (digibeta, restoration is done in Finland. degree technology for film HD) especially in connection restoration. with restoration. .

  • Priority to works without rightholders. BP: cooperation with other countries in - Digitisation of nitrate films and restoration. of video in progress.
  • Small proportion of material is reproduced onto new storage media.

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

Finland - Nitrate plan (1972-2006). - Partnerships with a commercial Yes BP: partnerships with - 250.000 € / year spent

laboratory and companies for digital private sector for digital on laboratory services - Excellent storage facilities. restoration. restoration used to reproduce films.

  • Reproduction of films in new - Special funds for restoration projects. Museum of the Moving - Ministry granted storage media (250 000 € per Image (collection of special aid for year). cinematography individual projects of

    equipment). restoration.

France - Nitrate plan (1991-2006; 80 m - Preservation and restoration plan. - Yes BP: Excellent storage New question: how to

€). CNC provides rights-holders with facilities; storage of preserve projection access to the restorations. materials systematized equipment of digital

  • Excellent storage facilities according to both type cinema in all its formats. - Commission of heritage experts has of support and type of
  • Reproduction of films in new been meeting since 1990s and submits materials (negatives, supports. opinions to the CNC on priorities in positives, terms of restoration. intermediaries,
  • Digitalisation initiative of magtape).

films originating between 1977 - Exceptional budgetary resources and 1987 that had never been provided by the Ministry of Culture. televised or released in an edited version on video.

Germany - Reproduction of films in new - Yes: 400 cinematographic works are Yes BP: restoration with

storage media. restored per year by the Bundesarchiv. joint financial schemes with right-holders.

  • Maintain of cinematographic - Sometimes, restoration with joint equipment. financial schemes with right-holders.

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

  • Excellent storage facilities.

Greece - EU-funded project 'Digital Yes BP: EU programme:

Archive of Greek Film'. "Digital Archive of Greek Film".

  • The digitisation of 400 hours of older Greek films was completed.
  • Extracts of films and related information are now available online.

Hungary Digitisation programme: 100 Yes Yes Several feature films,

Hungarian films have been documentaries and

digitised. newsreels have been digitally restored.

Ireland - Films elements are preserved - No specific fund for restoration. Yes - BP: co-operation with

on their original formats in UK. climate controlled vaults. - Pilot projects in digital film restoration in cooperation with private - BP: Digital film - Material is also preserved on sector: restoration in digibeta cooperation with private

http://www.mee.tcd.ie/~sigmedia/Rese sector.

  • Access copies created on mini arch/RoryOMore DV. The aim is to provide a - P: Lack of funding to

digibeta access copy of each title - Where possible restoration is expand digital

in the collection. undertaken with partners like the restoration activities. Heritage Council and production

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

  • Material is conserved on companies. In the alternative, material digital formats where possible. is sent for restoration to the UK.
    • P: Does not have film laboratories suitably
  • Not yet any material in a - For restoration, IFA must request

    equipped for carrying

digital file format received, even rights holders' agreement on a case-byout

restoration work.

if digital projection is case basis. - Suggestions:

undertaken in Ireland. Establishment of national or European

  • The IFA routinely preserves film preservation fund equipment of different formats and film registry. in order to play existing collections in the future.

Italy - Excellent storage facilities in - Digital technology used for Yes Significant quantitative

compliance with international restoration purposes with an emphasis and qualitative increase standards. on silent films alongside the works of of restorations, thanks to

Italian directors. digital technologies. - Film document digitisation project is under way to ensure - Public-private cooperation in storage in formats other than restoration. cinefilm.

  • Digital techniques to restore - Nitrate holdings are transferred soundtracks are being used to digital format in order to increasingly widely for image prevent destruction and enhance restoration too. accessibility.
  • Continuous progress in digital - Emphasis on silent films technology, in tandem with continual alongside the works of Italian

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

directors. cost reductions.

Latvia Medium-term programme for Yes Establishment of a - Since 2008 project to

restoration, digitalization and medium-term restore and digitise providing access. programme for Latvia's film heritage: - restoration, Digital copies of 32 digitalization and films made during providing access. Soviet times have been acquired from Russian archives and 3 have

been restored.

  • Since 2009 digitisation of 35mm film document

    elements.

Lithuania - New storage facilities (built in So far, no restoration projects Yes

2007).

  • 500 films have been digitised.
  • Digitisation from analogue to digital video (miniDV).
  • Preservation of digital files in server at the premises of LCVA.
  • Annual preservation plans in LCVA.

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

Luxemburg - Depositories meeting The CNA is restoring works that are Yes Restoration of Digitisation of the

international standards. part of the country's film heritage and cinematographic works archive almost has concluded separate agreements with high cultural or complete.

  • Duplicates of all nitrate films with rights holders. historical value is much (only 50). less of an issue than in other countries. - Films deposited are restored, transferred on Digital Beta, digitised on MEPG2 to be stored in a Storagetek robot.
  • Programme to digitise the whole archive is practically finished.

Malta - National Archives, Department Project by the Ministry of Education, Yes N.C. Project on the

of Information, Broadcasting Culture, Youth and Sport on the restoration and Authority and Heritage Malta restoration and digitisation of digitisation of responsible for preservation in audiovisual material containing audiovisual material in

their own archives. material of high cultural or historical 2010. value foreseen for 2010.

  • Collaboration with the view of using their resources and digitising archived works.

Netherlands - Transfer to another medium - Dutch Institute for Sound and Vision Yes

(both analogue and digital). has concluded agreements with rightsholders' organisations regarding

  • Long term storage under MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

    the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

proper conditions reproduction and use.

  • Project 'Images for the Future' - The Film Museum and the Dutch (2007-2014) dedicated to the Institute for Sound and Vision are preservation of national proactive in obtaining funds for audiovisual heritage, including restoring and conserving the national cinematographic heritage by cinematographic heritage. way of digitisation. Once digitised, the material is to be made available online.
  • Contracts with rights-holders regarding reproduction and use.

Poland - Digitisation project: National Film Archive participates in Yes National Film Archive:

"Preservation and digitisation of the restoration of the older relics of "Digital preservation of pre-War feature films". Polish cinematography and in a project documentary film of editing restored works. material of the Polish - Purchase of equipment and Film Chronicle from fixtures for the National Film 1945 until 1956 Archive's laboratory. recorded on flammable

nitro tape"

Planned for 2010: Programme "Unused Positives" – to digitise, prepare filmographic description and share

these collections.

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

Portugal - Deposited material is Yes Yes BP: Annual preservation

duplicated. programmes. In addition to the films restored as part

  • Annual preservation of its usual activities, Cinemateca is programme. attracting co-financing and entering into arrangements for film restoration by other bodies.

Romania Reproduction in new media - Standard procedures available Yes ANF has 3 laboratories

(Digital Beta and High Restoration of sound of old films specialised in Definition media); preservation of equipment Contracts between CNC and copyright (1) treatment and holders on use of restored materials. restoration; Specialized staff and cooperation with other - 40 films with cultural value and 700 (2) processing and specialized firms. newsreel items (1947-1962) have been reproduction; restored. (3) digital transfer and restoration.

Slovakia Project for the Systematic - Restoration from the original Yes

Restoration of the Audiovisual negatives under the Project for the Heritage of the Slovak includes Systematic Restoration of the the protection of works with Audiovisual Heritage of the Slovak high historical or cultural value. Republic using laboratory and digital technology.

  • This long-term project includes the protection of works with high historical

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

or cultural value. Overage annual budget is 1,5 m€

Slovenia - Storage according to FIAF and It is synchronised with the copying Yes

ISO standards. process.

  • Yearly budget available for duplication.

Spain - When possible, films are Agreements with right-holders, so they Yes Agreements with rightpreserved

in their original co-finance restoration or give nonholders for restoration. media. commercial rights to the archive as compensation for new potential - New storage facilities under commercial exploitation. construction.

Sweden - Optimum preservation - Photochemical techniques, No, but provisions

conditions for film material, complemented by digital means. already exist in Sweden's which ensure a life-expectancy Copyright Act enabling of several centuries. - Rights-holders have access to restored libraries and archives to material for commercial exploitation. A copy material for - Film material is not preserved compensation is required. preservation purposes. digitally as there is no long-term digital means of preservation. - Long-term plan: restore all Swedish films. - Transfer to new storage media is a means to increase access to film, but it is does not result in long-term preservation.

MEMBER Measures / programmes to Measures / programmes for Does the national Comments Changes in relation STATE ensure preservation restoration copyright implement Best practice / to 2008

the exception of problems Article 5(2)(c) of Directive 2001/29/EC i

  • Preservation plan for 400 films that never existed as film stock.

United - Screen Heritage UK project - Active of restoration of films is part - Awaiting the - Screen Heritage UK Restoration of ten David

Kingdom includes creation of optimum of BFI's cultural plan. Latest implementation of project. Lean films in 2008.

storage facilities. restorations: recommendations in the Gowers Review of IP in - Partnerships with the

  • Legacy equipment is David Lean films 2007, which would inter commercial sector and maintained. alia provide this philanthropist for Pre 1939 documentaries exception in UK law. restoration.
    • BFI has well developed relationships with rights holders in areas of film restoration and commercial utilisation of the works.

    Encouraging restoration of films with high cultural or historical value through partnerships with the commercial sector and through work funded by philanthropists.

TABLE 7 - ACCESSIBILITY, PROFESSIONAL TRAINING AND EDUCATION (questions 8, 9 and 10)

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

Austria - Agreements with the right Facilities - In-house training. - The Austrian Film Museum - BP: the popular collection Special funding from the holders on case-by-case suitable for offers programmes for "Wochenschau" has been State for the activities of basis, access for scientific people with - The Austrian schools ('Kino macht Schule' made available on DVD to the Film Museum (e.g. use is guaranteed. disabilities. Film Museum and 'filmABC'). The the public. The Austrian Film 2008: 212 000 €, 2009:

offers further institution also seeks to Museum devises research and - Institutions furthermore training promote an integrated educational projects and 100 000 €) negotiate access for general programmes for approach to films and school. cooperates with other educational and cultural teachers under the museums. purposes with rights-holders. communication - Several publication projects

projects funded by (e.g. "Austria Box"). - BP: Austria Box. - Austrian filmography the State. available. - Cooperation with - BP: Cooperation with

universities and higher universities. - Screenings at "Metro education institutions in the cinema". field of cinema. - BP: special fund dedicated

to education and media- Special fund of 300 000 € literacy projects. awarded by the Ministry for

Education for the - BP: Kinder-Uni: extraimplementation of education curricular film education for and media-literacy projects. children during summer.

Belgium : Shows films in a non In-house training, Film Archive organises BP: Courses and other federal commercial context (cultural, in particular on courses and other educational educational initiatives to

institutions educational and scientific), in digitalisation. initiatives to promote promote knowledge of

agreement with rightsknowledge of cinematographic heritage cinematographic heritage

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

holders. locally. locally.

Belgium : No specific Cinematek: In- Campaigns addressed to BP: Standard contracts for Film Archive would like French measures house training, in pupils (e.g., 'Secondary pedagogical use of films. to establish a new type of

Community taken. particular on digital school pupils' prize', 'Films contract, through which technologies. on file', 'Big screen on a Campaigns addressed to the right holders would

blackboard') in cooperation pupils. be remunerated on the with producers, directors. basis of the actual use of a film for educational

  • Media Literacy Council was purposes. set up.
  • Support for cinema schools.
  • Standard contracts with rights holders authorise distribution of films for educational purposes.

Belgium : Access is possible for Ingebeeld course: - CANON initiative under the - BP: Initiatives to promote N.C.

Flemish researchers. 63 teacher training Department for Education media literacy, especially in

Community incorporates projects to early phases of school Participation in

promote media education education, including film European (e.g., 'Ingebeeld' aimed at heritage component. professional primary and first-grade

63 Exception of Article 5.3 (n) of Directive 2001/29/EC i of the European Parliament and of the Council of 22 May 2001 on the harmonisation of certain aspects of

copyright and related rights in the information society.

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities training secondary education).

programmes. - Funding of purchase of the

  • In-school screenings of Vrielynck collection

films from the 'Arts & Essai' containing material on

circuit. historical development of film of international relevance.

  • Educational initatives under the Arts Decree (e.g. "Lessons in the dark").
  • Flemish Parliament resolution on the setting-up of a media literacy.

Bulgaria Public access by way of Disabled - Kliment Ohridski - Education programmes

rental and non-commercial Access University and since 1959. film showing in agreement guaranteed at Institute for with right holders. Odeon cinema. Librarianship offer - Three-yearly "cinema specialisation as university" with projections film archivist. in the Odeon Cinema and with lectures on cinema at - National Film higher education institutes. Archive provides in-house training to - Odeon Cinema: special staff. educational showings for students, festivals; National - Courses in Cinema Week. working with archives provided

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities by the National Academy for Theatre and Film Arts.

Cyprus CFA facilitates cultural Under No steps taken. Seminars on media literacy Activities related to

access to films, without any consideration. organised in collaboration media literacy. financial gain. with the Cyprus Media Office.

Czech Rep. - In agreement with right The law allows N.C.Two- semester - Organizes a film history - BP: Partnership with Two- semester course in

holders, for educational and reproduction of course in film course for secondary school. schools. film restauration. cultural purposes. works to be restauration. disseminated - Preparing a publication to - Czech TV shows classic for the assist with film education in European films. requirements of schools. - BP: Cooperation on DVD handicapped releases in a minimum of Publication of bilingual. people. three European languages.

  • Film Yearbook (CZ, EN) and three-yearly filmographies of Czech feature films; also edits a monthly revue presenting films released for distribution in the Czech Republic.
  • Cooperation on DVD releases in a minimum of

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

three European languages.

Denmark - Deposited material must be N.C. University-level - Strives to incorporate film - BP: link between State aid N.C.

accessible at the DFI, and for education into general school education to film production and individuals. It may also be available. through film screenings and showing of films in the film shown in the DFI's in-house by offering courses for heritage institution. cinema. Deposit films teachers and pupils ("Film i subsidised by the DFI may skolen"). - BP: "Film i skolen ", be shown to a paying "Filmstriben". audience, without payment - Collaboration with t he Film of a fee to the production School and the University on company. screenings of archival films.

  • The DFI releases DVDs - "Filmstriben": short films featuring titles forming part and documentaries from DFI of the Danish film heritage. can be shown by school and These include English libraries. subtitling. - Ongoing negotiations to allow materials to be made available to private individuals online.

Estonia - Project 'Estonian Film 100' Archives are - Sharing - EF100 affords opportunities - BP: Partnership with N.C.

to celebrate the centenary of accessible to experience with for film history research and Universities. Estonian Film in 2012. wheelchair Finland. promotes events to popularize users. knowledge of Estonian film - BP: Estonian films for - Subject to legal and - Baltic heritage. Estonian schools. technical limitations, Audiovisual

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

deposited material is Archival Council.

available in the Archives' - Partnership with the research hall. - Participation in University of Art and Design.

the FIAF Summer

  • Each year the Film School. - 'Estonian films for Estonian Archives issues thematic schools': schools are provided DVD collections containing with DVDs of Estonian films.

national film heritage. - Yearly subsidies to the

Baltic Film and Media School.

  • Educational uses are done in agreement with right-holders.

Finland - "The National Library - Access for - Summer schools - Cinema School - Media literacy is not N.C.

Project" 2007-2011. people with of FIAF/ACE. www.koulukino.fi included in the curriculum of disabilities to primary schools, but optional

  • KAVA organizes the facilities. - Participation in - School Cinema Association courses available. screenings, lends films to international film encourages the inclusion of film festivals and regional - Production of festivals. media studies in schools and film centres. a DVD version maintains a teaching material in sign - Joint annual database of all films covered - BP: Permission to use language of training for archive by its activities. domestic films in teaching is one domestic staff in Nordic given by production children's film countries. - Agreement with the companies and Tuotos every year. University to show films as (copyright association for part of the University's audiovisual producers) to teaching programme. schools for using film records for educational purposes since

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

  • Permission to use domestic 2006 in exchange of an films in teaching is given by annual fee.

production companies and Tuotos (copyright association for audiovisual producers) to schools for using film records for educational purposes since 2006 in exchange of an annual fee.

France - Collections can be Access to - CNC offers Various initiatives targeted at BP: INA and INP specific

consulted by researchers (by major heritage training in young people to promote trainings. law). institutions cataloguing and awareness of national film ensured. digital restoration heritage ('Ecole et Cinéma', - Voluntarily deposited techniques. 'Collège au cinema', 'Lycée et materials can be made apprentis au cinéma'). accessible in the film - Participation in heritage institutions of other Archimédia and the FIAF members or in the FIAF summer course of events organized school. by the Ministry of Culture and Communication. - INA and INP offer training in all areas of audiovisual heritage.

Germany - Collections can be Barrier-free - Film Archive - www.filmportal.de - Filmportal.de provides

consulted by researchers, access to Department comprehensive information in MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

journalists, public bodies and cinema halls welcomes trainees German and partially in

private individuals (by law). and library from the Chamber - Vision Kino English on 60,000 feature

rooms. of Commerce and ( www.visionkino.de ) uses films free of charge.

  • Screenings organized at Industry's film heritage to promote

collecting institutions. qualification of media literacy in schools

film and video among children and youth

  • German students interested in film archiving are directed
  • Deposited duplicates can be laboratory

accessed license-free at the technician. - School cinema weeks.

to France, The Netherlands, Italy and in particular USA

Federal Film Archive; rental

for public screening or - No University - Special project series and

and Australia.

copying requires the consent Degree on film and teaching guides by the the of the rights holder. media archivist Federal Agency for Political

  • Annual Schulkinowochen

available. Education.

promote youth media literacy by bringing the classrooms

  • Organisations participate in into the cinema. the release of DVDs reflecting German film history and culture.

Greece www.shortfilm.gr charts International Cooperation - Educational programmes for BP: Cooperation of the Greek

history of Greek short film. Documentary between primary and secondary Film Archive with the Festival on Thessaloniki education. postgraduate programme of Disability – Cinema Museum the University of Athens.

Emotion and the Aristotle - Participation in the pictures University. Archimedia programme.

Greek Film - Cooperation of the Greek Centre: Several Film Archive with the Greek Films on postgraduate programme of DVD with the University of Athens.

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities subtitles for

persons with - Seminars aimed at hearing academics and professionals

problems. on the role of film archives in the digital environment.

Hungary -,Access is possible for Provision N.C. Arts (including cinema) is

researches. foreseeing free part of the National Core use of a work if Curriculum. MNFA is

  • Audiovisual content is exclusively for providing training for accessible through NAVA- meeting the secondary school teachers on points: terminals in certain needs of people the preservation and institutions. with processing of film heritage disabilities. two times a month. - Entire feature film stock of MNFA is available via the Internet.

Ireland IFA not enabled under Irish IFA requests - IFA staff are - IFI: education programme - P: Limited budget and lack - 2009: Collaborations of

copyright law to make subtitled trained according promoting film heritage of grant aid for training. Lack IFI with the National

material available for versions of to FIAF standards. among different audiences. of training in Ireland. Film School.

educational purposes. Rights deposited All staff received

are individually cleared with material where specialised in - Since 2005: Moving Image - BP: Research project to - Lights Out Film Festival

rightholders for educational available. house training. Module for schools, aimed at develop a national strategy for for Young People 2009 –

projects. Some staff have students of 15+. film and young people. cooperation with RTÉ.

trained at FIAF

summer schools. - Research project to develop - BP: successful relationships

a national strategy for film with various distributors (e.g. Lack of specific and young people. free previews for schools). training within

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities Ireland.

  • IFA hosts national and international trainees.

Italy - Online access to film The National - Carried out by the - Support for all requests for - BP: Bologne restoration

heritage holdings of the CN Film Archive National Cinema cultural disemination and courses. for institutional lending, takes into School of the guidance with regard to other study and research, as well as account the Experimental cinema-related and for cultural and educational needs of users Cinematography audiovisual professions.

screenings organized by the with Centre – 235 - BP: Every university offers CN itself or in collaboration disabilities. students who - Cooperation with a master degree in with cultural circles and produce approx. 50 international cinema schools. cinematographic heritage.

other cultural entities. films/year. - Special emphasis on

  • In-house screenings at the - The Bologna Film measures of secondary Cinema Trevi. Archive organises education designed to courses on promote awareness of - Materials accessible via inrestoration. national film heritage and house videotheque to provide a general introduction students and researchers. - The Cinema to audiovisual, multimedia Directorateand scenography. - Continuous film General supported ("CINED@YS")- programme at the Archive's a course on Cooperation with institutions own cinema. Multimedia of artistic and professional Archiving. development. - The National Film Archive

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

grants free access to righholders

 to a master copy of - Every university offers a restored films, for broadcast master degree in via all media. cinematographic heritage.

Latvia - Copyright Law: provision No In-house training. Regular educational events at BP: Project "Latvian films in

for certain use of the Riga Film Museum Latvian libraries" available at cinematographic works National Film Centre www.filmas.lv without the author's organises professional agreement and remuneration. continuing education seminars and training in - Project "Latvian films in cooperation with various Latvian libraries" – visitors European film institutions, of 874 libraries can watch 80 cultural institutions and the Latvian films at Media Programme. www.filmas.lv free of charge.

  • Film library in the Riga Film Museum.

Lithuania - In agreement with right N.C. N.C. No such actions have been BP: Project 'Lithuanian

holders. taken. documentary cinema on the internet'.

  • Project 'Lithuanian documentary cinema on the internet'.

Luxemburg - In respect of copyright law. Database on No particular steps. - Scarce use of film heritage N.C.

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

  • CCAN distributes the Internet in education: Hautnah Luxemburgish films on DVD will comply Festival at the Cinemathèque, and national TV channel, with conditions DirActors Festival, school films are subtitled in FR, DE of accessibility. trips to CAN and the Film and/or EN. Library.
  • Currently filmography for - No national media literacy Luxemburg is compiled on programme. the CNA's website. - Media Literacy Education

    Center under discussion.

Malta - Promotion of film heritage Yes in all Film Heritage - Investment of 1.6 m € Ongoing discussions on

through the TV Education cultural centres courses at the through the EU's Structural new national initiatives in Channel. and libraries. University of Malta Funds to strengthen the the field of education due and the Department department of media studies to the Audiovisual Media - Legislative measures to of at Malta College for Arts, Directive and the EC's stress importance of Communications. Science and Technology. Recommendation on

developing opportunities for media literacy. access to cinema history and - Media education in primary heritage. and secondary schools.

Netherlands -'Images for the future' N.C. Collaborates with - Dutch Institute for Sound - BP: Agreements with rightproject:

22 000 hours of film University of and Vision is developing holders' organisations which material to be contextualized Amsterdam in various programmes: e.g. enable audiovisual sources to for the general public. establishing a "Teleblik" and "Ed*it" – be used in education. Master Degree on offering material from -Dutch Law on copyright is 'Preservation and museums and archives for - BP: providing for educational Presentation of the educational purposes. http://www.filmotech.nl/en

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

exception (Article 12(5) and Moving Image'.

16), the closed network - Media Awareness Network: exception for libraries, Film Museum and Dutch museums, archives (Article Institute for Sound and 15h) and the preservation Vision are members.

exception (Article 16n). - Training for primary school

  • Dutch Institute for Sound teachers and youth workers at and Vision: Films accessible the InHolland college.

via its own website and via

the institute's YouTube - specialist art education is

channel. linking to film- and mediaeducation initiatives.

  • Most of the national film

collection will be made - Lectures on film and the available via the portal media are given at various Filmotech (Dutch Films universities.

online)

http://www.filmotech.nl/ - agreements with the rightsholders' organisations on use

of audiovisual sources

2 national centres of expertise: the Dutch Institute for Film Education and the Media Awareness Expertise Centre.

  • Successful activities: Cinekid film festival, Making

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities Movies project, 'Images for the future' project etc.

Poland - In agreement with right Yes. For "Professional - Project "School Film BP: Project "School Film holders. example: audio Training" scheme Archives" Archives"

description run by the PFI ; 4- - "Silent Movie Days". devices year course on the - National Film Archive holds BP: Web portals to foster and

history of cinema classes for film school promote media literacy: - The Film Museum Cinema Current aiming at students at their premises

Iluzjon presents thematic renovation improving the - Online Polish Film cycles. works in the qualifications and -Polish Film Academy: a 2- Database: www.filmpolski.pl Film Museum skills of year-course of Polish feature - Collection of copies with Cinema include professional groups film history - www.bazafilmowa.pl foreign subtitles is compiled providing in the film industry and regularly updated, access to - operations of the Arthouse - Polish Film Institute digitised on DVD and in HD people with Cinemas Network www.pisf.pl in European languages. disabilities.

  • educational and exhibition activities of the Cinematography Museum
  • "Education and film culture propagation" of the Polish Film Institute

Portugal - "Deposit agreements" in Yes Staff: Participation "Cinemateca junior" for BP: "Cinemateca junior"

case of voluntary deposit in international primary and secondary seminars or talks, students

  • Access to archived material notably on film MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

    measures for people with disabilities

by means of screenings by restoration. the National Archive of Externally: Moving Images Department Cinemateca offers (free of charge or against internships. payment)

  • Co-edition in DVD format of a number of films from the archive is currently being considered.

Romania - Free and unrestricted access N.C. Specific training - Free access to students to

for educational, cultural, in-house the cinémathèque. research and other noncommercial purposes in situ Participation in - Studies on cinema published or by borrowing DVDs. FIAF and ACE in “Prim Plan” magazine, trainings. published by the ANF. - Screening in the two ANF cinemas

  • Distribution contracts with Romanian TV channels.

Slovakia - Mediathèque Since 2008 - In house training - Publication of professional

cooperation film literature. - SFU's - Publication of DVDs of with the Slovak -SFU subsidises the information centre: Slovak films Blind and attendance of staff www.aic.sk .

Partially to important events Sighted Union - Education and awareness

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities on audio events commentaries for selected - Cooperation with film DVDs. schools

  • SFU is partner of the Association of Slovak Film Clubs: Project 100 screenings.

Slovenia - Material accessible in SFA No Training in - Screenings of Slovenian

premises cooperation with films for school and student

AGRFT 64 . groups.

  • Weekly showing in the arthouse cinema
  • Monthly magazine Kinotecnik.

Spain - Collections can be Yes - Participation in - Law on Cinema foresees - BP: International annual - 2009, the restored film

consulted by researchers in internal and that the ICAA signs up to workshop on film archives “Un chien andalou” was situ (by law) Special aid for external trainings. partnership agreements with edited . films public or private entities to -BP: Special aid for films - Other uses in agreement incorporating - International promote knowledge of and incorporating systems of - Under the Spanish EU with right holders audio annual workshop disseminate cinema in various accessibility for people with Presidency the Filmoteca description on film archives educational contexts physical or sensory Espanola organises a

EN 102 EN

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

  • VoD: systems and disabilities. seminar on 7 and 8 June http://www.filmotech.com/ special - Educational 2010 dedicated to the subtitling cooperation “Systems of training for
  • Edition of DVDs of films systems.

    agreements with

various universities the preservation and on the civil war with dissemination of

subtitles; - Welcomes audiovisual heritage”

stagiaires - Specific screenings for young audiences. - European

Conference on 7-8 June 2010 on this topic.

Sweden - Viewing copies accessible Sweden's N.C. - "Film I skolan" initiative BP: "Film I skolan" SFI is producing a DVD

at SFI's premises. Copyright Act: anthology of film deaf and hard- DVD comprising an excerpts from the silent-

 DVD releases/loans of of-hearing are anthology of silent films + film era accompanied by restored films, in agreement entitled to have teaching material. It will be teaching material for with right holders. a made available to school school teachers, available

cinematographi teachers in 2010. from 2010 onwards. - in-house screenings at the c work copied

SFI's Cinemathèque. in such a way

that its content

  • All films in the collections is are made available in tape or communicated digital format upon request to them.

for researchrrs through SFI’s collaboration with the

MEMBER Making film heritage Specific Professional Education / Media Comments Changes in relation to STATE available / Promotion accessibility training literacy Problems / Best practices 2008

measures for people with disabilities

National Library.

United -Archival material accessible 65 Skillset : - BP: Skillset Archive Skills

Kingdom through DVD and thaeatrical continuing http://www.screenonline.org. http://www.screenonline.org. Strategy released in June

releases. professional uk/ - online resource for uk/ 2008. development British television and film

  • BFI Mediatheques allow to funding history – is accessible in all BP: Skillset BFI InView for browse thousands of programme. educational establishments educational access digitised films on demand. and some public libraries. BP: www.youtube.com/bfifil

    ms

  • BFI channel on Youtube: st - UK Film Council 21

www.youtube.com/bfifilms Century Literacy project

  • InView for educational access, in full compliance with copyright legislation:

www.bfi.org.uk/inview

  • Memorandum of Understanding (BFI and BBC)

EN 104 EN

TABLE 8 – EUROPEAN AND INTERNATIONAL ACTIVITIES (question 14)

MEMBER Bilateral co-operation European International

STATE

Austria Cooperation with the German and Dutch Participation in EU Research projects on the digital International Federation of Film Archives

film archives. retrieval of archive material (FAETON and COLLATE) (FIAF)

EFG

Belgium : Member of the Association des Cinémathèques FIAF

federal européennes (ACE).

institutions EU programmes: Archimedia, FIRST, MIDAS, EDCine,

EFG.

Belgium : Sonuma - INA Archimedia, First project, EDCine Project, Midas FIAF

French project.

Community ACE, European Film Gateway

European Audiovisual Observatory

Belgium : Editorial contributions to the European Audiovisual

Flemish Observatory (EAO)

Community European Digital Library

Bulgaria Slovenia, Austria, Germany, Israel, National Film Centre: EAO, Euroimages FIAF

Romania Withdrew from FIAF's Technical Commission in 1992 due to lack of financial resources.

Cyprus Collaboration with the Greek Film

Archive MEMBER Bilateral co-operation European International STATE

Czech Rep. EU programmes: MIDAS, COLLATE, EFG, European FIAF, UNESCO

Film Treasures.Co-founder of ACE, board of ACE.

Participation in the work of CEN

Denmark Board of ACE Member of FIAF, heads FIAF's Technical

Commission Follows the European standardization on interoperability of film databases in CEN

European programmes: EFG, leader of work package on DFI, together with ACE and FIAF, provides content enrichment advice and guidance on the establishment of film

museums or archives.

Estonia Baltic States and Finland EU programmes: Pretospace FIAF, IASA, BAAC

Finland Annual meeting of archives staff from Active involvement in the work of EAO and Eurimages. FIAF

Nordic/Baltic States. ACE, Participation in the Programming and Access to Collections Commission and the Technical

EFG Commission

Creation of a Finnish Digital Library, that would be interoperable with the European Digital Library (EDL)

Needs of exchanging information and coordinating activities of designated bodies at EU level taken into account in the performance management and annual operating budget of the institution.

France Actively involved in work with heritage ACE, FIAF

institutions in southern hemisphere MEMBER Bilateral co-operation European International STATE

countries. Actively involved in European standardization on

interoperability of film databases in CEN

EFG (Cinemathèque Francaise)

Germany "Lost Films" project: cooperation with DIF Director is charing ACE, FIAF

the Czech Republic, France, the Netherlands and Poland Actively involved in European standardization on interoperability of film databases in CEN (leading role in the CEN TC 372) )

Leading role in MIDAS and EFG.

Europa Film Treasures

Actively involved in EDL-Foundation, EDLnet, DL advisory board.

CinEd@ys European Film Heritage Week

Greece Cooperation of the Greek Film Archive European projects: Digitisation and Promotion of Greek

with the Film Archive in Frankfurt and Film Archive's Cultural Depository, MIDAS, EFG, the French Film Archive to improve its Europeana. collections and databases

Hungary Cooperation with other archives for European projects: MIDAS, EFG FIAF

restoration: Beograd, Bologna and Dutch Haghefilm/ "P2P-Fusion" European Project (completed in 2009)

"Video Active" – part of the eContentPlus programme (finished in 2009)

MEMBER Bilateral co-operation European International STATE

NAVA: COMMUNIA thematic network cooperation

Ireland MEDIA projects: Treasures from European Archives, FIAF MIDAS.

IFA is not able to attend the Cinema Expert Group / Subgroup film heritage due to budgetary constrains.

Italy Cooperation with national and Participates in European standardization on FIAF (e.g. 'Treasures from Film Archives'

international FIAF archives and public interoperability of film databases in CEN. project). and private archiving institutions.

Latvia Cooperation with the Russian State Input to the EAO. FIAF

Archive of Audiovisual Documents. Deputy Director of the Latvian State Archive of IASA

Regular cooperations with other film Audiovisual Documents was a board member of the institutions, in particular Norway and Baltic Audiovisual Archival Council. Denmark.

Lithuania Participates in European standardization on 2 films have gained the certification of UNESCO

interoperability of film databases in CEN. "Memory of the World".

European projects: Actively involved in MIDAS and in EFG from 2010.

Luxemburg ECFA 66 (European Children's Film Association) FIAF

Association Inédits – Films amateurs/Mémoire

d'Europe 67

EN 108 EN

MEMBER Bilateral co-operation European International STATE

CNA ready to cooperate with European agencies but there are problems related to availability and resources.

CCAN distributes Luxemburgish films on DVD and national TV channel, films are subtitled in FR, DE and/or EN.

Currently filmography for Luxemburg is compiled on the CNA's website.

Malta Cooperation and co-ordination of the European Audiovisual Observatory. N.C.

activities of all national designated bodies. EU projects: SMARTMUSEUM, STERNA, MINERVA.

Netherlands Film Museum: Co-operation with ACE FIAF

archives and distributors from different Member States in the field of (digital) EU projects: Pretospace, MIDAS, EFG. FIAT distribution, conservation and

restoration. Dutch Institute for Sound and Vision: Presto Time,

Video Active, EUscreen.

Poland Cooperation with European film ACE FIAF archives, e.g. France, Germany,

Sweden., Ukraine Partner of the web portal www.lost-films.eu

Portugal Co-founder of ACE.

Partner in launching the Archimedia training initiative (1997-2004).

EN 109 EN

MEMBER Bilateral co-operation European International

STATE

EU projects: EFG.

Romania Co-operations with film heritage ACE. FIAF institutions in other countries.

EU projects: EFG

Slovakia Not yet Not yet FIAF

Slovenia Cooperation with archives, museums, ACE FIAF

film libraries within the EU. EU projects: MIDAS

Spain With the great majority of the European ACE, FIAF

Film Archives in relation to the restoration and dissemination of film Actively involved in European standardization on Active co-operation with Latin-American film heritage. interoperability of film databases in CEN. archives.

Specific restoration projects in partnership with Portugal.

Sweden Bilateral projects with individual film ACE, Europa Film Treasures. FIAF

archive institutions in other countries.

United ACE FIAF,

Kingdom

Actively involved in European standardization on BFI contributes to FIAF international interoperability of film databases in CEN filmography.

European projects: MIDAS, EFG (to lead subgroup on standards and practices for digital preservation).

Organisations:

ACE: European Federation of Film Archives: http://www.ace-film.eu/

FIAF: International Federation of Film Archives: http://www.fiafnet.org/

FIAT: International Federation of Television Archives: http://www.fiatifta.org/cont/index.aspx

EAO: European Audiovisual Observatory

CEN: European Committee for Standardization

EU projects:

MIDAS: http://www.filmarchives-online.eu/

EFG: eContentplus project "European Film Gateway", http://www.europeanfilmgateway.eu/ 68

PRETOSPACE: http://prestospace.org/

Europa Film Treasures: http://www.europa-film-treasures.eu/home.htm

EDL: European Digital Library, www.europeana.eu

FIRST: Film Restoration and Conservation strategies,

http://www.ist-world.org/ProjectDetails.aspx?ProjectId=d50f9b697f704d23970de8b86dcda33d

EDCine: www.edcine.org

68 Participating Film Archives: Association des Cinémathèques Européennes, Cinemateca Portuguesa, Cineteca del Comune di Bologna, Deutsches Filminstitut – DIF,

Det Danske Filminstitut, Filmarchiv Austria, Cinecittà Luce (former Istituto Luce), La Cinémathèque Française, Lichtspiel – Kinemathek Bern, Lithuanian Central State Archive, Magyar Nemzeti Filmarchívum, Národní Filmový Archiv, Nasjonalbiblioteket Norway, National Audiovisual Archive Finland, eye Film Institute

Netherlands (former Nederlands Filmmuseum), Tainiothiki tis Ellados

Video Active: http://www.videoactive.eu/

TABLE 9.1 – FOLLOW-UP OF PRIORITIES (question 11.1):

MEMBER (1) Long-term strategy for national film heritage

STATE

Austria Austrian Film Archive: annual strategy plans for restoration projects ; Austrian Film Museum: defines long-term strategies in the areas of

digitisation, restoration, education, detailed measures are set out in the annual work programmes.

Belgium : federal institutions

Belgium : The Preservation and Exploitation of Cultural Heritage Plan, adopted by the government in October 2007, covers the French Community's

French film heritage.

Community

Belgium : N.C.

Flemish

Community

Bulgaria BNF: Strategy for archives to 2014, prepared and submitted to the Ministry of Culture and updated annually.

Cyprus Since 2004 the CFA has been working with Turkish-Cypriot film producers on a programme of film records covering the entire territory of

the Republic.

Czech Rep. Plans to digitise the national film heritage (2007-2013) have been drawn up. Annual restorations and digitisation plans for film material,

posters, photographs, periodicals. An extensive questionnaire has been drawn up for the national strategy on digitizing cultural artefacts. A

list has been drawn up of the 200 most important films (1898-1993) that should be digitized.

Denmark This priority was already followed: restoration takes place according to a Restoration plan, and is financed by an annual restoration budget,

ensured by law on the basis of a parliamentary agreement for a four-year period.

MEMBER (1) Long-term strategy for national film heritage

STATE

Estonia Unofficial working group to discuss possible strategies and plans

Preservation schedule of the National Archives of Estonia also includes film heritage. Each year an annual work schedule for the Film

Archives is adopted.

Finland KAVA has started preparing its digitisation strategy and participation in the development and implementation of the National Digital Library

(2007-2011) project.

France The conservation and restoration plan for heritage films enables the CNC to fund the restoration of collections deposited with national

heritage institutions. 2 major strategic objectives: 1. the national inventory of all films available on French territory and legal deposits for

entirely digital films.

Germany Top-level political initiatives have been trigger by the Commission's recommendations on film heritage.

As regards preserving the film heritage retrospectively, the only option available is damage limitation. Strategy talks on the handling of digital film formats in the context of the basic problem that adequate long-term archiving on a technically reliable and financially feasible

scale is not yet available. Restoration work continues.

Greece N.C.

Hungary MNFA draws up annual strategic plans on film restoration, digit of films digitisation and education.

Ireland Has no national film policy on film heritage and therefore no centralized long-term strategy. No institution has been enabled to

comprehensively undertake the task of preserving Ireland’s audiovisual heritage.

Italy N.C.

Latvia "Cinema film processing laboratory" project aiming at establishing an audiovisual document restoration and digitisation laboratory. It has not

been completed, as it did not receive support from the Structural Funds.

MEMBER (1) Long-term strategy for national film heritage

STATE

"Programme for the digitisation of an accessibility to Latvia's film heritage 2009/2013" is not being developed further due to lack of funding.

Lithuania The new version of the Cinema Act envisages all objectives.

Luxemburg N.C.

Malta After the consultation process on the National Cultural Policy focusing on national heritage, including audiovisual heritage, a long-term

strategy can be established.

Netherlands Since 2007 all activities in the field of national film heritage have received an extra boost via the "Images for the Future" programme.

Poland In April 2009 the National Audiovisual Institute was established as the central body specializing in digitisation and coordinating the

programme of preservation, extension and sharing of digital cultural heritage. The National Film Archive has established two new teams:

Team for Digitisation of Iconographic Collections and Online Information and the Tape Restoration Team.

Portugal Annual programmes have been undertaken for some years for the preservation and restoration of cinematographic works and for the

digitisation of titles in the collection.

Romania CNC has drawn up a digitisation strategy for the collection of films forming part of the national film heritage.

Slovakia Project Systematic Restoration of the Audiovisual Heritage of the Slovak Republic and its accessibility, current period: 2008-2011, expected

to continue until 2033.

National project aimed at the digitisation of film and video is intended for 2010-2015.

Slovenia Digitalization plan for the period 2009-2011. Funding from Ministry of Culture used for copying and new equipment.

Spain "Digitisation plan" containing overall actions aiming to address the needs of preservation, archiving, cataloguing, research and dissemination

both of analogical cinema and cinema on digital support. A Digital Laboratory will be set in motion in 2010.

MEMBER (1) Long-term strategy for national film heritage

STATE

Sweden Since 2007 there have been the "Guidelines on the Archival Film Collections of the Swedish Film Institute" (revised in April 2009) laying

down the rules governing collection, cataloguing, preservation etc. In addition, annual restoration and work plans are drawn up. A plan for the

future preservation of digitally produced original film will be drawn up in the course of 2010.

United Screen Heritage UK project received investment from the Government in Nov 2007 to realize ling-term strategy: Ensuring that public are able

Kingdom to access, learn about and enjoy their screen heritage, regardless of where they live or where the materials are held.

£ 25 million are devoted to Screen Heritage UK project. Implementation has begun.

TABLE 9.2 – FOLLOW-UP OF PRIORITIES (questions 11.2-11.4):

MEMBER (2) Monitoring compliance with (3) Promoting voluntary (4) Film databases

STATE mandatory forms of deposit deposit and possible cultural uses of deposited material

Austria N.C. Ongoing efforts to encourage VD N.C.

and where possible agreements with depositors on the right to use works for cultural purposes.

Belgium : federal institutions

Belgium : French N.C. The Plan Pep's provides for the The Plan Pep's provides for the standardization and

Community creation of a systematic inventory interoperability of, and access to the institutions'

of all cinematographic works. databases.

Belgium : N.C. N.C. N.C.

Flemish

Community

Bulgaria N.C. BNF encourages this. N.C.

Cyprus Yes. Payment of any grant is conditional to No decisions yet. Planned.

the deposit of a good quality copy of the film. Policy of acquisition of private collections.

Czech Rep. N.C. N.C. EFG and MIDAS projects.

Denmark All material is inspected and quality Foreign films are deposited DFI participates in the European Film Gateway

controlled. Reminder is sent if material is not voluntarily. project. DFI is leader of WP3.

MEMBER (2) Monitoring compliance with (3) Promoting voluntary (4) Film databases

STATE mandatory forms of deposit deposit and possible cultural uses of deposited material

deposited by the required deadline.

Estonia N.C. Open calls each year. Measures Film database which will be accessible via the

taken to raise awarenesse of internet and internationally interoperable to be set up preserving film heritage in the by the Estonian Film Database non-profit association. Estonian Film Archives.

Finland Yes without any problems. KAVA organizes screenings and National Digital Library project.

lends films to various film festivals.

Finnish Film Heritage Festival.

France Systematic monitoring of films deposited on Voluntary deposits are increasing. National heritage institutions are involved in the work

photochemical material is done. Rules Agreements provide for noncoordinated by the European Commission and governing the future legal deposit of digital commercial uses. working within FIAF on the international

films to be defined. standardization.

Germany No statutory provisions yet, but film funding Federal Film funding guidelines www.filmportal.de and www.filmarchives-online.eu

institutions have committed themselves to provide for VD of the starting contribute to interoperability and wide availability. make payments conditional to deposit. materials of a film.

Greece N.C. N.C. N.C.

Hungary A separate expert monitors works whose MNFA asks right-holders Entire feature film stock of MNFA is available via the

deposit is obligatory. Quality of all legal individually for permission for Internet. deposit copies is checked. screening their work.

Ireland Yes Yes Not currently addressed.

MEMBER (2) Monitoring compliance with (3) Promoting voluntary (4) Film databases

STATE mandatory forms of deposit deposit and possible cultural uses of deposited material

Italy Work proceeded on the planned check of N.C. Check of mandatory forms of deposit adheres to

mandatory forms of deposit. standards and forms that are particularly binding upon the user.

Latvia Yes, in the case that the creator of a N.C. The second stage of the National Archives Joint

cinematographic works uses materials from Information System is due to include public access to

the National Archive. archives' catalogued information through the internet.

Lithuania N.C. N.C. Access to the databases has been free of charge.

Luxemburg N.C. N.C. N.C.

Malta Respective entities are responsible for N.C. National Archives will eventually launch a new

preserving audiovisual works that are housed website making archived material accessible. in their archives.

Netherlands N.C. N.C. N.C.

Poland No checks for compliance of the deposit National Film Archive has taken Work is being carried out to improve the databases. It

obligation. actions to implement the is planned to share part of the collections on agreement negotiated between the Europeana soon.

ACE and the FIAPF in the Polish context.

Portugal N.C. Yes: letters to municipalities to Efforts are being made in particular with regard to

encourage voluntary deposit, financing for the development and implementation of agreement with right-holders. an information infrastructure to include various

aspects of the work of the Cinemateca.

MEMBER (2) Monitoring compliance with (3) Promoting voluntary (4) Film databases

STATE mandatory forms of deposit deposit and possible cultural uses of deposited material

Romania N.C. Insufficient promotion. Filmographies will be made available via the Internet

and included in the EFG.

Slovakia Legal basis: Act No 343/2007. SFU carries Deposit is compulsory, but They plan to implement European standards EN

out the monitoring. producer may decide whether to 15477 and EN 15907 in the SK CINEMA deposit the work with the information system.

statutory or a voluntary depositary.

Slovenia Provisions regarding obligatory deposit are Archive encourages VD by New archivScope software purchased.

implemented successfully. Minimal producers, other establishments problems resolved. and private individuals.

Spain Measures are already in place: certification Voluntary deposit is already a European Standards on interoperability of film

of the perfect condition of the copy common practice. databases will be applied. The objective is to have the deposited is required in order to receive Filmoteca Espanola Resource Catalogue on the

payment of public aid. internet in 2011.

Sweden A special unit in the SFI's film archive is Films deposited voluntarily are www.svenskfilmdatabas.se

checking the quality of material subject to made available on the SFI's own compulsory deposit. Payments are premises and are inter alia loaned conditional to deposit of good quality out to the National Library. material.

United Kingdom No action. No further activity. Union Catalogue of all screen archive databases.

TABLE 9.3 – FOLLOW-UP OF PRIORITIES (questions 11.5 - 11.6):

MEMBER (5) Restoration of cinematographic works by establishing partnerships (6) Seeking agreements with right-holders

STATE with

the commercial sector other film archives

Austria Close cooperation with specialist film -Cooperation of the Film Museum with The Film Archive and the Film Museum include

laboratories and rights- holders. the Krems Film Gallery and the Film corresponding provisions in their storage contracts as far Archive in the field of digital film as possible.

restoration.

-Reconstruction project with German archives. Austrian Film Archive is currently leading three international reconstruction projects.

Belgium : federal institutions

Belgium : French N.C. N.C. N.C.

Community

Belgium : Flemish N.C. N.C. N.C.

Community

Bulgaria N.C. N.C. N.C.

Cyprus No This is one of the priorities in the programme being

implemented by the CFA.

Czech Rep. Bilateral agreements. The NFA has entered into appropriate contracts with

individual producers.

MEMBER (5) Restoration of cinematographic works by establishing partnerships (6) Seeking agreements with right-holders

STATE with

the commercial sector other film archives

Denmark If possible. If possible. See Table 5. Rights issues have yet to be resolved with

regard to cultural heritage. The fact that most films are produced with support of the DFI and are stored and digitized by DIF should be taken into account in relation

to the payment of royalties.

Estonia Cooperation primarily with Specific agreements between the Estonian Film Archives

international businesses in Finland and and rights-holders.

Germany.

Finland Collaborative projects every year. N.C. Permission to use domestic films in teaching is given by

production companies and Tuotos (copyright association for audiovisual producers) to schools for using film records for educational purposes since 2006 in exchange

of an annual fee.

France Increase in private donations since Yes, contracts with right-holders enable the heritage

2005, particularly for prestigious institutions to make the works available to the public. works.

Germany Not much commercial interest in film Restoration is carried out mainly in Contractual agreements are concluded in order to ensure

restoration. publicly funded institutions. the non-commercial use of films.

Greece N.C. N.C. N.C.

Hungary With the public and commercial Cooperation with foreign archives as Rights to the films created by state-owned studios were

televisions and the distributors. regards the increase of Hungarian completely transferred to MNFA on 31 December 2009. feature films.

MEMBER (5) Restoration of cinematographic works by establishing partnerships (6) Seeking agreements with right-holders

STATE with

the commercial sector other film archives

Ireland Not currently addressed. Would need government, BCI and IFB support.

Italy N.C. N.C. Efforts are being made to reach understandings with rightholders which promote and facilitate access to and thus awareness of cultural heritage.

Latvia N.C. Cooperation with the Russian State National Film Centre has concluded contracts with the

Archive. right-holders of films to be made available at www.filmas.lv.

More cooperation between the National Film Centre and the Latvian State Archive in the future to implement the restoration and digitisation project.

Lithuania N.C. N.C. N.C.

Luxemburg N.C. N.C. N.C.

Malta N.C. N.C. N.C.

Netherlands N.C. N.C. N.C.

Poland Participation in a project coordinated Cooperation with all film institutions Cooperation with the Ministry of Culture and National

by an Austrian company, obtaining and companies in Poland. In 2009 Heritage pointing to the need of solving the issue of

access to the RestorNet application – cooperation with German and Swedish "orphan works".

Project for digital collaborative archive in relation to films from the

restoration. silent era.

MEMBER (5) Restoration of cinematographic works by establishing partnerships (6) Seeking agreements with right-holders

STATE with

the commercial sector other film archives

Portugal N.C. N.C. N.C.

Romania Partnerships between CNC and private No agreements concluded. companies.

Slovakia None at present None at present Collaboration with the Association of Slovak Film Clubs

on Slovak territory and the Association of Czech Film

Clubs on Czech territory

Slovenia Commercial sector is not interested in Cooperation in restoration and So far ad-hoc and isolated negotiations with individual

providing financial support. purchase of films that are not part of copyright holders. Still problems related to former regime Archive’s collection. (all works were common property).

Spain Currently partnership projects in place, Yes. Active and fruitful relationship with rights-holders, which

in particular for digitization of content. allows screenings in the Cinematheque and lending to other FIAF archives.

Sweden On occasions, rights-holders make a N.C. ACE-FIAPF model contract for voluntary deposit not yet

financial contribution to the archive's used. restoration work.

United Kingdom Ongoing priority of the BFI National Ongoing priority of the BFI National Negotiations currently in abeyance.

Archive. Archive.

TABLE 9.4 – FOLLOW-UP OF PRIORITIES (questions 11.7 – 11.8):

MEMBER (7) Creating specialized courses at university level (8) Giving higher visibility to educational programmes STATE and activities

Austria Austrian Film Archive: Staff teaches students in specialized Austrian Film Museum has multiplied the number of training

university training sessions. One or two training events per year programmes on offer over recent years. in cooperation with university institutes.

Belgium : federal institutions

Belgium : French N.C. Privileged access to the editorialisation of the common portal to

Community the French Community's digitized heritage for educational

institutions and students.

Belgium : Flemish N.C.

Community

Bulgaria N.C. N.C.

Cyprus The Ministry of Education and Culture is responsible. Such programmes are implemented in the private sector by

private universities. CFA would like to work closely with them.

Czech Rep. In 2009 the NFA inaugurated a university-level course in the Information on the NFA’s activities through the internet,

restoration of film materials. television, radio, World Day of Audiovisual Heritage.

Denmark The University of Copenhagen and other institutions are DFI projects for primary schools: Film-X, “Med Skolen I Biffen"

responsible for providing media studies courses. (Schools to the cinema)”, developing of teaching materials.

Estonia Individual lectures and student visits at the Estonian Film Special programmes on Estonian film heritage broadcast on Archives. Estonian TV's second channel.

MEMBER (7) Creating specialized courses at university level (8) Giving higher visibility to educational programmes STATE and activities

Finland Courses on film history in regular collaboration with the Helsinki N.C.

University and the University of Art and Design Helsinki.

France Cinematographic archives are part of the universities' and cinema N.C.

schools' training programmes.

Germany No new developments. Vision Kino was introduced in 2005 raising children's and young

people's awareness.

Greece N.C. N.C.

Hungary No courses offered by the MNFA. NAVA launched its "Thematic Collections project" in 2009,

making such content accessible to NAVA points – 57% are

educational institutions.

Ireland Not possible since there are no laboratories or specialist centers. Education is one of the IFI’s main objectives. IFA is undertaking

many educational projects in collaboration with third level

organizations, the IFI’s education department.

Italy N.C. The Cinema Directorate-General has supported projects proposed

by private entities and university-level institutions aimed at disseminating, including within education, cinema products and

components of cinematographic culture.

Latvia N.C. N.C.

Lithuania N.C. N.C.

Luxemburg N.C. N.C.

MEMBER (7) Creating specialized courses at university level (8) Giving higher visibility to educational programmes STATE and activities

Malta N.C. N.C.

Netherlands N.C. N.C.

Poland There is a Film Academy in Poland, which is the country’s only Chain of Studio and Local Cinemas of the national Film Archive, regular course of film history on an academic level. The Polish associating 115 cinemas in Poland, using special funds of Polish Film Academy is supplementary to arts courses of higher Film Institute for education and popularization of film culture in education institutions also operating as a free university. Lectures Poland. Thanks to this activity it is possible to organize film of the Film Academy and Polish Film Academy are recognized as events and reviews, ca 50 educational programs in studio cinemas an optional subject by many Warsaw universities. by year, in which children and schoolchildren take part.

Portugal Cinemateca Junior was established in 2007.

Romania Special post-high school courses have been launched. The CNC is promoting and providing grants for educational

programmes and activities involving films.

Slovakia None at present. N.C.

Slovenia N.C. SFA: further expert training at specialist conferences, workshops

and higher education establishments.

Spain Growing partnership between Filmoteca Española and Training activity, relationships with universities, scholarship

universities in Spain. stays and internships performed in the Filmoteca Espanola are providing greater visibility to the important role of film archives.

Sweden Representatives of the SFI's film archive hold lectures in N.C.

Stockholm University's Department of Cinema Studies.

United Kingdom Discussions with HE sector on developing further research and Has always been a priority.

teaching work in these fields.

TABLE 10 – MEASURES FACING THE CHALLENGES OF THE DIGITAL ERA (question 12)

MEMBER Collection and Storage / conservation Application of digital Access via internet to the Digitisation /

STATE acquisition of digital of digital material technologies for collections Integration in material restoration Europeana

Austria Partners of the Austrian Austrian Film Museum: 2 Yes, through EFG.

Film Gallery for the non-film collections available development and online 2008; Austrian Film implementation of digital Archive: Newsreels Archive film restoration. and Film library available online.

Belgium : federal institutions

Belgium : Plan Pep's: systematic See provisions of the Plan See provisions of the Plan See provisions of the Plan N.C.

French inventory. Pep's. Pep's. Pep's.

Community

Belgium : The coalition agreement Under the coalition

Flemish states that solutions to the agreement the government

Community problem of digital storage, has also undertaken to

preservation are being develop a horizontal sought. digitisation policy.

Bulgaria Films are periodically Films are periodically

transferred onto digital transferred to digital media. media.

Cyprus The CFA locates Cypriot No No No, but the CFA wants to Yes. 60% of films are

films, buys them and enable this when the Research digitized. Web page to digitizes them. Centres have been set up. show extracts of film in

MEMBER Collection and Storage / conservation Application of digital Access via internet to the Digitisation /

STATE acquisition of digital of digital material technologies for collections Integration in material restoration Europeana

preparation.

Czech Rep. This is done through legal N.C. N.C. This issue should be tackled in EFG

deposit. a harmonized way at pan European level.

Denmark DFI is currently Wherever possible, the Digitisation strategy has been Digitisation strategy has

forecasting and calculating DFI uses digital developed. Funds are needed been developed. the colossal cost of storing technology in its for its implementation and to digital films – new funds restoration and resolve right-holder issues, EFG needed. preservation work. including with regard to orphan works. Common digital archive in cooperation with the other national cultural institutes is under consideration. It would pool expertise in storage techniques.

Estonia First cinema using digital Policy on digital Estonian TV: restoration National Library of

technology was opened in preservation, main unit since autumn 2009. Estonia: www.nlib.ee 2009. equipment has been acquired.

Finland Digital copies should be Data systems to manage Digital technologies have Collections will soon start KAVA is involved in the

deposited in the future as digital material will be already been used in being published on the EGF and the National part of legal deposit. created. restoration projects. internet. Material for which Digital Library, both Change of legislation is KAVA owns the copyright Europeana aggregators. required. will be published first.

MEMBER Collection and Storage / conservation Application of digital Access via internet to the Digitisation /

STATE acquisition of digital of digital material technologies for collections Integration in material restoration Europeana

France CNC will become the Too high costs for Laboratory of the CNC is Yes, based on partnerships Not planned at present.

depositary for and managing the legal deposit equipped with all the with private distributors. administrator of digital of entirely digital cinema. hardware and software films. required for the digital Technical audit is restoration of the assessing all options of collections. preserving digital film - results by spring 2010.

Germany German Digital Library to Cooperation with the The Federal Archives have www.filmportal.de : selected EFG

be established in 2010. German Nestor the technology for digital items available online. competence network for restoration. www.filmportal.de digital preservation. Highlevel

symposium on the The digital restoration www.bam-portal.de preservation and archiving sector is still in the

of digital data in spring development stage. www.athenaeurope.org

2009.

Greece Yes N.C. Yes N.C. EFG

Hungary N.C. Digitisation of collections N.C. EFG

by public archives with the purpose of preservation is allowed by law.

Ireland IFA doesn’t receive IFA does not have digital Co-operation with Trinity Currently impossible under Not yet been considered.

digitally distributed file storage capabilities College Dublin on a current Irish copyright material, even if digital nor the funds to create digital restoration project legislation. projection is undertaken in them. of early Irish films.

MEMBER Collection and Storage / conservation Application of digital Access via internet to the Digitisation /

STATE acquisition of digital of digital material technologies for collections Integration in material restoration Europeana

Ireland. IFA is working together

with UK colleagues.

Italy Planned gradual digitisation of the cinematographic heritage and bringing into line with new technologies the N.C.

collection, conservation, restoration, accessibility and film distribution on the national network.

Latvia N.C. N.C. 2 nd stage of the National The "Programme for the

Archives Joint Information digitisation of and System is due to make accessibility to Latvia's documents available through film heritage 2009-2013" is the internet. not being developed due to lack of funding. Copies of films are available at www.filmas.lv Plans to link the APEnet portal with Europeana.

Lithuania National project "“Lithuanian documentaries on the Internet” is being prepared for tendering to be funded from the European Union Structural

Funds. All the problems mentioned above will be solved when the project is implemented by LCVA.

Luxemburg Collection of digital Most material is digitized Films transferred onto Plan to make works available Almost all the archive has

material foreseen by legal on MPEG2 and stored in a video and then restored through the internet but been digitized. deposit law. "StorageTek" robot. digitally, mostly by currently no adequate external partners. database.

Malta N.C. N.C. N.C. Access to archived material The future website of

via the future website of the National Archives could be National Archives. integrated in Europeana.

Heritage Malta launched new website to upload

MEMBER Collection and Storage / conservation Application of digital Access via internet to the Digitisation /

STATE acquisition of digital of digital material technologies for collections Integration in material restoration Europeana

online audiovisual data – HeritageSTORproject.

Netherlands Film Museum is digitising Film Museum is Innovative use of new Film Museum is participating Film Museum database is

film material in high developing a strategy for digital techniques for in the portal "Filmotech.nl" being set up in a way resolution for the purpose long-term storage of its restoring its film aiming at providing online which makes it possible its of digital cinema digital files. collection. films and information about integration in Europeana. protection.. these films. Dutch Institute for Sound Dutch Institute for Sound Dutch Institute for Sound and Vision is developing and Vision: High Digital archive of the Dutch and Vision is forming a strategies guaranteeing the resolution digitizing of Institute for Sound and Vision digital archive for digitallong-term accessibility of film. is accessible via a closed born and digitized legacy the digital archive (e.g. via online network. collections. Presto Prime).

Poland Acquisition outside the National Film Archive Tape Restoration Team Database to be made available Planned to share part of the competence of the started delivery of the responsible for developing online. collection on Europeana in National Film Archive. project "Preservation and principles and methods for November 2010.

digitalisation of pre-War digitisation of the oldest feature films", aimed at resources of Polish the permanent cinematography. preservation of the most valuable archival films of Polish cinematography from the pre-War period and reproducing them on new media. The purchase of equipment and fixtures for the National Film Archive’s laboratory

MEMBER Collection and Storage / conservation Application of digital Access via internet to the Digitisation /

STATE acquisition of digital of digital material technologies for collections Integration in material restoration Europeana

planned in the framework of this European Project will allow further digitalisation and conservation work.

Portugal Same practice of They are working to Restoration work in The Cinemateca is partner in the EFG project and is

encouraging the deposit of improve the conditions of ANIM's laboratories is contributing 170 non-fiction films (1896-1931), graphical

film materials will be storage of digital material. chemical in nature and material documents and textual documents.

applied to digital material. concern film media.

Transfer to digital formats of the collections is daily work

and aims at making the collection accessible.

Romania Yes Digital material are stored Yes: In the ANF telecine In progress. In progress.

by the ANF. laboratory and in certain private laboratories.

Slovakia 2 copies of digital master Since 2007 all new titles Digital intermediate Digitisation strategy, Indirect integration via

at highest type level to be stored and preserved at format selected for preserving and making national/international submitted. highest type of quality of restoration. Then, restored available the Slovak projects for providing digital master. material can be transferred audiovisual heritage, at content via aggregators back to film or make any planning stage. planned. derived format from it.

Slovenia So far no large quantities In accordance with the SFA: no equipment for Digitised material posted on Not planned.

of digital material entering Uniform Technological digital restoration. Only 3 SFA server. For access via MEMBER Collection and Storage / conservation Application of digital Access via internet to the Digitisation / STATE acquisition of digital of digital material technologies for collections Integration in

material restoration Europeana

the archive. Requirements (ETZ), on of the earliest Slovenian Internet, copyright to be

basis of the MoReq 69 EU films have been digitally clarified.

report and ISO standards. restored.

Spain Works produced in new Film archives are The film archives, Priority to give access to This objective is in line

media are already preparing to deal with the especially the Filmoteca collections under public with the policy of Spain’s deposited. This kind of switch to new formats and Espanola, already apply ownership. Ministry of Culture. depositit is expected to media. This requires both digital techniques. increase, as well as the professional training and types of support. investment in infrastructure.

Sweden Short and documentaries never released on film stock is The SFI's first fully digital In spring 2010, 300 short National strategy on acquired as DigiBeta or HDCam tapes. restoration was carried out films from the archive's digitisation is under in 2009. Costs are still so collection will be made discussion.

A plan for preservation of films only released in digital high that it can be only an available via the Internet as cinemas is being drafted in 2010. occasional project. part of the project Regarding Europeana, the "filmarkivet.se". film heritage has not been subject of any integration measures up to now. It is possible that films available at "filmarkivet.se" will be integrated.

United Kingdom Currently imminent public Participation in all Investment from Screen BFI Screenonline and BFI Not sufficient resources.

consultation by the BFI European and international Heritage UK in the BFI InView.

EN 134 EN

MEMBER Collection and Storage / conservation Application of digital Access via internet to the Digitisation / STATE acquisition of digital of digital material technologies for collections Integration in

material restoration Europeana

about its collecting policy. discussions. National Archive. BFI channel on Youtube:

www.youtube.com/bfifilms TABLE 11 – FILM POLICY AND FILM HERITAGE (question 13)

(1) Is film heritage fully included in the film policy of your Member State?

(2) Have you considered linking film production funding and film heritage?

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

Austria X Yes Yes Key questions related

to financing and copyrights to be resolved.

Belgium : federal X institutions

Belgium : French X They seek agreements Community with producers for

educational use of

audiovisual works.

Proposal: retrospective payment for the actual use of the film for educational purposes.

Belgium : Flemish X With the new Flemish

Community Institute for

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

Preservation and Distribution of Multimedia Data in Flanders and in consultation with the Cinematek film heritage will be incorporated into film policy even more

closely.

Bulgaria X In agreement No action yet. A link between

with rightholders. funding and film heritage is enshrined in law (compulsory deposit of financed films) but not respected.

Cyprus X X Specific provisions in

funding contracts or respective activities of the Cyprus Film

Archive.

Czech Rep. This must be answered by the Ministry of Culture.

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

Denmark X DFI has right to

screen subsidized films in its own cinemas and documentaries via Filmstriben.

Estonia X X The Estonian Film

Foundation has the right to use films to which a grant was awarded for promoting Estonian culture.

Finland X Discussion and Use under the right of Film heritage is fully

common position quotation may be included in the film needed. considered (2-3 policy but linking Necessary to be minutes clips). funding film limited to production and film festivals with heritage would need

film heritage to be discussed. theme.

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

Educational use is possible thanks to an agreement between schools and Tuotos (copyright association for audiovisual producers in Finland).

France X System of agreements

with depositors and right-holders enabling relatively broad use of the films preserved by national heritage

institutions.

Germany X Proposed regulation

will mean a substantial encroachment on producers' private legal positions. Not aiming at such a blanket scheme.

Common practice in individual cases to reach agreements

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

with producers for screenings in schools

free of charge.

Greece X N.C. Yes. In practice, Film screenings in

they also consult cultural clubs in right-holders. Greece and around the world and in Consulates. Fees are symbolic or zero.

Hungary X X Producers authorize

films to be screened for educational use without paying a fee.

Ireland IFI must pay fees. IFI uses films but Clips would need to

must pay fees. be cleared with rights holders.

Italy X Italian law allows the National Film

Archive to use the deposited copies for cultural and educational purposes, after 3 years of the time of deposit and on a non-profit-making basis.

Latvia X X In practice, funding contracts provide

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

the National Film Centre with noncommercial distribution rights. These rights are used to:

  • provide access to Latvian films in libraries
  • screening in film festivals and cultural events free of charge.

Lithuania Revision of the

Cinema Act envisages

these objectives.

Luxemburg Films are freely used

for cultural and educational purposes by producers without any formal agreement

with the State.

Malta X X If work is funded,

it can be screened during cultural events free of charge.

Netherlands Voluntary deposit.

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

Their use is regulated by contracts with

rights-holders.

Poland X X National Film - Educational and Materials deposited in

Archive’s the exhibition activities the National Film Museum of Film of the Archive are shared Art presents film Cinematography upon their owners' repertoire in Museum consent with film regular thematic societies, higher series and special - Operating education and

festivals. Programme of the research institutions. Organizes the Polish Film Chain of Studio Institute Education and Local and film culture Cinemas, using propagation” special funds of

Polish Film - Operations of the Institute for Arthouse Cinemas popularization of Network (part of film culture in the National Film Poland. National Archive).

Film Archive provides films for the most important film events and festivals.

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

Portugal

Romania X X Films funded by

the public are made available for cultural and educational purposes in film libraries.

Slovakia X X Audiovisual Act: One To be solved: making

copy of publicly educational or other funded films to be non-commercial use

submitted to SFU and at European level. may be used for noncommercial purposes within SFU. Its cultural or educational use at European level has not yet been resolved with regard to copyright.

Slovenia X All dissemination by

the Archives for educational, cultural or research purposes

MEMBER STATE Linking film production funding and film heritage Comments

(1) (2) Cultural Educational use Extracts made Other uses Screenings available in

Europeana

is free of charge.

Spain X X Yes, two years Recipients of The producer can

after the premiere financial aid for film oppose the uses, or and if this does creation must introduce conditions, not prejudice the authorize the ICAA to if he considers that it exploitation of use the film in its prejudices the the film. promotion activities exploitation of the

in its website. film.

Sweden X X

United Kingdom These considerations

are important objectives but have

not been pursued.

TABLE 12 – MEASURES ADDRESSING PROBLEMS ENCOUNTERED AND EXAMPLES OF BEST PRACTICES (questions 15 and 16)

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

Austria - Database networking and EU level This problem has not been possible to - Making popular collections available on

organisation of collections are not possible resolve yet, but the Austrian Film Museum's DVD that can be purchased on-line. for budgetary reasons. budget has been increased by the Ministry for Education and the City of Vienna in a - The popular collection 'Wochenschau' has first step. been made available on DVD to the public. The Austrian Film Museum devises research and educational projects and cooperates with other museums.- Cooperation between the Austrian Film Archive, the Austrian Film Museum and the Krems Film Gallery ( www.kinoimkesselhaus.at ) in the area of digital film restoration.

  • Construction of a new nitrate film depot enabled by the funding from the Ministry for Education in 2008.
  • Cooperation projects in the areas of preservation, presentation, research.
  • One or two training events per year in cooperation with university institutes.

Belgium : - Active involvement in the negotiation of a federal European framework contract on voluntary

institutions deposit.

  • Participation in dissemination of knowledge on digital preservation at the

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

European level.

  • Courses and other educational initiatives to promote local knowledge of

    cinematographic heritage.

Belgium : - Heritage preservation and exploitation

French plan.

Community - Standard contracts for pedagogical use of

films.

  • Campaigns addressed to pupils ('Secondary school pupils' prize', 'Films on file', 'Big screen on a blackboard') and in cooperation with producers and

    distributors.

Belgium : Media Literacy Centre to be set up. - Initiatives to promote media literacy,

Flemish especially in early phases of school Community education, including film heritage

component.

  • Research-based preparation of general preservation and access strategy for

    audiovisual material.

  • Funding of purchase of collection containing material on historical development of film of international

    relevance (Vrielynck collection).

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

Bulgaria - Lack for resources for enforcing the legal

deposit.

  • Urgent need to find appropriate storage facilities.
  • Shortage of funding prevents participation in large European projects.
  • It is impossible to restore and take new high-quality copies of the source materials stored at the BNF.

Cyprus Insufficient financial resources. Problems are being discussed. Definitive

solution: setting up Research Centres, enabling the CFA to extend the scope of its work.

Czech Rep. N.C. N.C. - National heritage preservation

programme.

  • Restoration efforts include ancillary

materials.

  • Partnership with schools.
  • Cooperation on DVD releases in a

minimum of three European languages.

  • Bilingual Yearbook on films.
  • Course of Film History for High School MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems students.

  • Packages of films for students and

teachers on Internet (in preparation).

Denmark - Availability of technical equipment to - This is an international problem. It is - Film preservation programme

ensure accessibility of the preserved material usually solved by migrating the material to is a problem. new technical platforms/formats. - Voluntary deposit agreement for foreign films.

  • Database available online.
  • Link between State aid to film production and showing of films in the film heritage

    institution.

    • Education projects.

    Film i skolen.

    www.filmstriben.dk

    • Release of classics of Danish silent film

    on DVD with Danish and English intertitling.

    • DFT has developed guidelines for the

    digitisation of moving images for EFG.

Estonia - Scarce funding and technology for Unofficial working group was set up to - Database available online.

restoration of film heritage. discuss possible strategies and operations in line with the State's existing financial - Cooperation with other countries in

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems capacity. restoration.

Process of compiling the Estonian Film - Partnership with universities. Database has started.

  • EF100 project: preparations of the 100 th

anniversary of Estonian Filmmaking in

2012.

  • Estonian Film Database.

Finland No particular problems were encountered. - Watchdog Unit for checking compliance

with legal deposit obligation;

www.elonet.fi

  • Database available online.
  • Partnerships with private sector for digital

restoration.

France - Special Unit for checking compliance

with legal deposit obligation.

  • Database available online.
  • Excellent storage facilities; storage of materials systematized according to both

    type of support and type of materials.

  • System of agreements with depositors and rights-holders is addressing most of the issues arising in relation to access to the

    works held by heritage institutions.

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

Germany - Long time digital deposit is difficult to It has not been possible to solve completely - Voluntary deposit schemes in operation

provide for at this point due to the short the problems in the long-term archiving. for national films not covered by deposit

product lifespan of digital products. However, digital preservation is high on the obligation and for foreign films.

political agenda.

awareness of Germany's film heritage. -

Lost Films project: www.lost-films.eu

  • Annual Schulkinowochen promote youth media literacy by bringing the classrooms

    into the cinema.

Greece - Database available online.

  • EU programme: 'Digital Archive of Greek

Film'.

  • International Documentary Festival on

Disability.

Hungary - No specific education activities. - The archive is still uninvolved in BP: Hungarian Film History Photo

educational activities, but is actively Collection. - MNFA website is only available in participating in training for adults.

Hungarian. BP: NAVA points through which audiovisual is accessible for educational and research use.

Ireland - Lack of funding to expand digital None currently. - Database available online.

restoration activities. - Co-operation with UK.

  • Does not have film laboratories suitably equipped for carrying out restoration work. - Digital film restoration in cooperation

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

  • Media literacy and education would need to with private sector.

be developed.

  • IFI's collections do not benefit from the exemptions granted for education and research purposes.
  • Terms on which deposited materials may be made available to the public remain to be settled.

Italy N.C. In the brief time since the first report there - Database available online.

has not been sufficient time to be able to provide definitive information regarding the - Support for course on Multimedia progress already made. Archiving.

  • Educational initiatives aimed at secondary

school.

Latvia - Due to the small number of film screening N.C. - Database available online.

places and because of the inaccessibility of film copies and the low profitability of - Establishment of a medium-term Latvian films, most of the Latvian population programme for restoration, digitalization does not have access to an integral part of the and providing access to film heritage. The Latvian film culture. implementation of the Film Heritage Recommendation is one of the driving - The "Programme for the digitisation of and forces. accessibility to Latvia's film heritage 2009- 2013" is not being developed due to lack of - "Latvian films in Latvian libraries" – 80 funding. Latvian films available for free at www.filmas.lv

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

Lithuania - Nitrate films with no safety copies. - The workgroup for drafting the legislation - Voluntary deposit of cinema documents

governing cinema, formed by the Minister of for storage with LCVA. - Lacks of the technology for restoration of Culture, is actively addressing the said issues film heritage. and looking for possible solutions. - Project 'Lithuanian documentaries on the

Internet'. - Limited access to some part of film heritage because of poor physical conditions of film tapes.

Luxemburg Database not yet available on the Internet. N.C. - Legal deposit foresees explicitly deposit

of digital material.

  • Almost all the archives has been digitised.

Malta National Cultural Policy including Project of the Department of Information:

audiovisual sector and film heritage. educational DVD with films of historical events.

Investment in designated bodies to ensure their financial and technical resources. Anthology of films collected and transferred onto DVD for the Notte Bianca 2009.

Netherlands - 'Images for the future': long-term project

involving 6 Dutch audiovisual heritage institutions: 22.510 hours of film will be

digitised and made available for the public. Includes contextualization for general adult

audiences and educational use.

  • the Dutch Film Museum is involved in various research and development projects,

    including digitisation at 2K resolution in MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems accordance with Digital Cinema Initiative standards and developing software for digital restoration.- Filmotech.nl.

Poland - No obligation to deposit negatives. - The Polish Film Institute is planning to - Project 'School Film Archive': providing

earmark a separate priority within Operating educational packages on film for students - Digitisation and reconstruction are very Programmes, under the name of and teachers, interactive website: costly projects- it is necessary to finance the “Digitalisation and preservation of film www.filmotekaszkolna.pl works ad hoc from structural funds, specificarchives”, purpose subsidies or international projects. - Restorative actions and screenings of

  • The Ministry of Culture and National restored films, such as the recently Heritage has announced the Programme of published DVD “It started in Poland 1939”.

    “Digital resources” Priority 4 “Digitalisation of audiovisual materials”. The expected budget of the programme is PLN 7m.

Portugal - Proactive in promoting voluntary deposit.

  • Establishment of annual preservation

plans.

  • 'Cinemateca junior' for primary and

secondary students.

Romania - ANF introduced film digitisation system. - Database available online.

  • ANF improved conditions for preserving, - Free access to students to the

as new depositories have been opened. cinematheque.

  • "Dictionary of Romanina Fiction Film" and "Cinematographic Dictionary of the

    Romanian Arts".

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

  • Raising awareness of film heritage by publishing filmographies for news reports

    and dictionaries of cinematography.

  • Financial support of the CNC for preservation and restoration (3% allocation

    of national cinematographic fund).

Slovakia - No measures for preservation of showing Act No 516/2008 on the Audiovisual Fund - SFU has the rights of films produced

equipment. aiming at support for technology under the former State monopoly. development came into force in 2009.

  • Project for the Systematic Restoration of the Slovak audiovisual heritage – long term

    strategy.

  • SFU has issued methodological guidelines for the deposit of non-film

    material.

  • SK CINEMA project cataloguing the items of the audiovisual heritage and

    increasing system interoperability.

  • Inclusion of the digitisation in the "Information Society" operational

    programme for 2007-2013.

Slovenia -More information from database available on Internet.

-Digitisation has begun.

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

-1st independent release of Slovenian

tourist films in DVD format.

Arrangements and discussion with

copyright holders on copyright.

Spain - Database not available online due to - Intention to have the General Catalogue - Financial support for preservation given

unresolved copyright issues. available on the internet in 2011 and to to producers. launch a website with information on

activities and including several collections of - Active policy to promote voluntary

its resources. deposit.

  • Joint Spanish-Portuguese project for restoring the 'Sagarmina Collection' (120

    films from 1896 to 1906).

    • Financial support for preservation given

    to producers.

    • International annual workshop on film

    archives.

    • Regular meetings with copyright holders

    associations.

  • Active policy in the areas of unregulated training relating to film heritage

    preservation.

    • Cultural dissemination work: monthly

    programme in its public screening rooms.

MEMBER Problems encountered / Weak areas Measures taken addressing these Examples of best practices

STATE problems

Sweden - Preservation of digital film material is - A key issue is the long-term preservation of - Optimum design of depositories for the

currently not undertaken because no suitable digital film. A plan for the future best possible long-term preservation of film storage medium is available. preservation of digitally produced original material. film will be drawn up in the course of 2010. - The DVD anthology with excerpts from silent films to be used by teachers in lower and upper secondary schools.

United -Screen Heritage UK project.

Kingdom

  • Educational projects:

www.screenonline.org.uk/

www.bfi.org.uk/inview

  • Film restoration in partnership with the commercial sector and philanthropists.
  • Skillset: Archive Skills Strategy.

www.skillset.org/archives

TABLE 13 – SUGGESTED NEEDS FOR FURTHER EU ACTION (question 17)

MEMBER STATE Suggested action

Austria The exchange of expert knowledge at EU should continue. A greater focus on film itself on the part of the EU would be desirable. It would be

more logical to address the accessibility of audiovisual collections in a second phase.

MEMBER STATE Suggested action

Restoration laboratories in Europe, which could offer the national institutions favorable conditions in terms of prices, could be addressed as well.

Belgium federal N.C. institutions

Belgium : French N.C.

Community

Belgium : Flemish European action should be taken on harmonizing copyright and protecting the rights of titleholders with special attention being paid to

Community exceptions.

Bulgaria Subtitling of Bulgarian films into most widely-spoken EU languages, so they can be accessed.

Cyprus Yes.

Czech Rep. It is absolutely essential to resolve the issue of copyright at European level. The issue of access to collections should be tackled in a harmonized

way at pan-European level.

Denmark Copyright is a key challenge in passing on cultural heritage. The Memorandum of understanding on due diligent search for orphan works is both

an obstacle and a solution.

Estonia No proposals.

Finland The EU should concentrate on legal aspects in order to increase the cultural rights of film archives regarding the non-commercial screenings and

cultural use of films deposited in the archives.

France The EU should address the matter of conditions for the preservation of digital cinema. There is no preservation system at present and the entire

digital cinema could disappear rapidly if the conditions are not clearly defined.

Germany Germany has consulted the interested parties on the creation of mechanisms to facilitate the use of orphan works. It has to be discussed whether

and to what extent measures need to be taken at EU level.

MEMBER STATE Suggested action

Promoting the use of the European standards on interoperability of film databases.

(Co-)financing digitisation of moving pictures.

Greece N.C.

Hungary Providing funding at Community level for the preservation of European film heritage.

Resolving the issue of copyrights in a satisfactory manner.

Ireland A direct Recommendation that the central government in each of the MS recognizes the importance of film heritage and its preservation and

creates a national strategy on the issue with the organizations.

A directive from the EU asking member states to draft national policy within a specified timeframe.

Consider the establishment of a European film preservation fund such as that administered by the USA's National Film Preservation Foundation 70

(non-profit organization created by the U.S. Congress)

Establishment of a European film registry in the model of the USA's National Film Registry.

Italy The prerequisite for any further EU action in any of the areas related to film heritage is in-depth knowledge and comparison of the situation in

each Member State.

Latvia A support system at the EU level positively discriminating small language countries should be developed for the digitisation and restoration of

audiovisual heritage.

Lithuania Yes.

Luxemburg Television heritage and amateur films should be integrated into current thinking about European audiovisual heritage, which would help to speed

EN 158 EN

MEMBER STATE Suggested action

up collection, archiving and accessibility of sources that provide invaluable information, in particular on daily life in Europe.

Malta To develop European Programmes helping the Member States to cooperate in the fields of restoration and conservation of film heritage, to

exchange best practices as well as to realize innovative projects and to continue the research in technological developments in the fields of

conservation and restoration of film and audiovisual heritage.

Netherlands To concentrate on harmonizing legislation as regards the copyright protection of cinematographic works, particularly to focus on problems

regarding the protection duration, orphan works, foreign works, law applying to the internet and the transfer of future rights.

Poland The primary challenge for a digitally stored film is to find a safe format. It would be essential to support programmes of “perpetual copy” which

along with the typically digital form will also contain its material form by being recorded on a safe, modern polyester tape.

Portugal To set up national registration systems for copyright in all Member States and to interconnect them in a European network.

To set up a general framework for Legal Deposit and to lay down the minimum parameters defining them.

Romania To draw up European standards for film preservation and archiving.

Slovakia -Support for standardisation, research and development of digital archiving of audiovisual works (i.e. storage of digital and digitised films)

-Support for further standardisation, research and development in the field of film cataloguing and film databases (e.g. metadata for describing

entities connected with cinematographic works – authoritative recordings, creation of multilingual thesauri, ontologies etc.).

Slovenia N.C.

Spain N.C.

Sweden In view of the fact that access to blank film and laboratory facilities will become more limited in the near future and, in the longer term, is likely to cease altogether, it would be a good idea if the EU's discussions concerning film heritage were to cover the urgent need to duplicate and restore the film stock. Digitalising the historic film archive is an excellent way of making it accessible. It should not be forgotten, however, that preservation work is a key factor in ensuring that there will actually be anything to be made available.

MEMBER STATE Suggested action

United Kingdom The MEDIA programme should reinstate a funding stream to support archival work given the growing understanding of the significant use to

which the holdings of the film archives can be put to realise both commercial and public value.

Formal review of the whole copyright legislation in the area of orphan works.

 
 
 
 

3.

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