In 2020, IWM initiated Digital Futures, a five year project to digitise 1.8 million films, photographs and sound recordings and slow down the degradation of 6.8 million items by freezing, isolating or refrigerating them. This mass preservation project is digitising some of our most vulnerable media from the Cold War era.
The Battle of the Ancre and Advance of the Tanks (1917) is a little known masterpiece of British non-fiction cinema that documents the winter stages of the Somme campaign on the Western Front. The sequel to the famous Battle of the Somme (1916), which covers the opening phase of the campaign, ‘Ancre’ should not be dismissed as Somme II. Although similar to the ‘Somme’, Battle of the Ancre is cinematically the better film and contains haunting images of trench warfare, notably of the mud that beset the trenches in the winter, the waves of troops advancing into no-man’s land, the use of horses and the first views of the tank - the secret weapon which it was hoped would break the deadlock on the Western Front.
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).