A workshop at the FIAF congress on the transition to digital technology, l-r Jon Wenstrom (Swedish Film Institute), David Walsh, Thomas Christensen (Danish Film Institute), Sungji Oh (Korean Film Archive). Courtesy of the China Film Archive.
The collective noun for a gathering of film archivists? A vault? A screening? The more cynical might say a confusion. Certainly, at the annual congress of the International Federation of Film Archives (FIAF) held in Beijing in May, in addition to a certain amount of confusion surrounding voting procedures (something of a tradition at FIAF congresses), archivists were understandably confused by the sheer scale and rapidity of the changes to their world brought about by digital technology. And so a good deal of the proceedings set about addressing some of these concerns, not least the workshop organised jointly by the Technical Commission (of which I am the head) and the Programming and Access Commission, where we looked at the digital world from different perspectives and tried to offer some guidance on acquisition, management, preservation and access. (Some of the guidance we offered is now available in a few handy documents on the FIAF website).
Our fellow commission, Cataloguing and Documentation, have also worked hard to push for worldwide implementation of an important new European standard for film metadata (EN 15907:2009), and are hoping that this will become an ISO standard shortly. To boost their case, they had the British Film Institute to present their successful adoption of CEN standards in their new Adlib database (the first organisation to do so). This commission is also working on a revised set of cataloguing rules which will be compliant with this standard.
FIAF retains a very strong interest in analogue film technology, and there are many who view the demise of this traditional technology not just as regrettable, but as something to be resisted at all costs. In this context, when the Technical Commission wondered in passing whether it should investigate the feasibility of film archives manufacturing their own film stock when all the big players (Kodak, Fuji) decide to drop it, the FIAF delegates were understandably excited. Establishing a cottage industry for film stock seems implausible to many, but I suspect that unless we can come up with definitive evidence to support this view, the idea will not rest.
The History of IWM: the galleries at Crystal Palace, 1920-24.
Steeped as they are in stories of the past, it is not often that museums get to step back and take a look at their own history. The History of IWM Workshop, held at IWM London on 2 May 2012, brought together IWM staff, external researchers and several of IWM’s AHRC-funded Collaborative Doctoral Award (CDA) students to review the current state of research into IWM and discuss avenues for further investigation.
Roger Smither, Research Associate, began with a look at the pioneering work of IWM’s Film Archive. Thanks to forward-thinking individuals such as Edward Foxen Cooper and IWM’s first Curator, Charles ffoulkes, the museum had been a leader in the field of film collecting. Next came Dr Toby Haggith who looked at memory within the museum – arguing that IWM has always been, through its collections and its displays, and the thousands of interactions between staff and the public, a site of both personal and collective remembering. Dr Catherine Moriarty of the University of Brighton, ended the first panel by describing IWM’s programme of art commissions between 1981 and 2007. Her conversations with former IWM Keeper of the Department of Art, Angela Weight, revealed how this creative programme allowed artists to draw inspiration from IWM’s unparalleled collections and added an extra dimension to the museum’s displays. Dr. Moriarty ended by urging future researchers to explore the lesser known stories within IWM’s history.
One of the disinterred soldiers from the Pheasant Wood mass grave being carried for burial in the new CWGC Cemetery at Fromelles, 22 February 2010' IWM: Damon Cleary
As a Collaborative Doctoral Award student working on IWM’s depiction of the First World War, I had the opportunity to attend a one-off collaborative research symposium, hosted by the IWM, on 10 February 2012. Titled ‘Fromelles and Beyond: History, Heritage, Archaeology and Memory of the Great War’, it was organised by Dr Keir Reeves (Monash University, Australia & Kings College, London) and Professor Carl Bridge (Director of the Menzies Centre for Australian Studies, KCL). It brought together some of Australia’s leading First World War historians with leading academics and historians from France and the UK – a thought-provoking forum for new research on current understanding of the War.
Opening papers from Dr Jenny Macleod (Hull), reappraising the iconic Gallipoli battle from an international perspective, and IWM’s Nigel Steel, who shared the ‘Regeneration’ plans for the new First World War galleries, set up a forward-looking approach to the day.
Professor Bruce Scates (National Centre for Australian Studies, Monash) told everyone about the international project ‘Anzac Day at Home and Abroad – The Centenary History’. This ground-breaking project will investigate the history of Anzac Day, within both Australia and New Zealand, as well as its largely undocumented role within Turkey, France and the UK. Dr Catherine Moriarty (Brighton) expanded on this theme, looking at the Australian War Memorial at Hyde Park Corner, and how this ties in with our respective national understandings of the conflict. Peter Francis (Commonwealth War Graves Commission) then explained recent changes in the CWGC’s mission, brought about principally by the Fromelles project.