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DIASTOR at Cinema ritrovato in Bologna

Please join us for our presentation at the festival Cinema ritrovato in Bologna on July 2, 4 pm in the Auditorium, Università di Bologna, Via Azzo Gardino, 33. The presentation will be part of the FIAF Summer School.

In a joint session with a presentation of Timeline of Historical Film Colors, DIASTOR team members Barbara Flueckiger, Claudy Op den Kamp and David Pfluger will give an overview on some of DIASTOR’s latest case studies with a focus on film colors. The panel will be completed by DIASTOR team member Franziska Heller and Caroline Fournier from the Cinémathèque suisse for a final discussion with the audience.


See you there!

DIASTOR Conference Presentations Available for Download

Our speakers have kindly agreed to offer their conference presentations for download. Please go to the DIASTOR conference page where you will find the corresponding links at the end of each abstract. Please follow this blog for further up-dates.

Unsere Referenten haben sich freundlicherweise bereit erklärt, ihre Präsentationen für den Download freizugeben. Sie finden sie auf der DIASTOR-Konferenz-Website, jeweils am Ende der entsprechenden Abstracts. Bitte abonnieren Sie diesen Blog  für weitere Infos.


DIASTOR Conference a Success

The DIASTOR conference in Zurich was a full success! 160 participants attended the conference, many of whom expressed their enthusiasm and gratitude after the event.

Our invited speakers delivered highly interesting and entertaining insights into their fields of expertise and their experience with the transition to the digital realm in restoration and archiving.

The first slot was dedicated to the topic of digitization. It was chaired by DIASTOR team member Claudy Op den Kamp. Giovanna Fossati, chief curator at EYE Film Institute Netherlands and Professor at the University of Amsterdam opened the conference with an overview of a variety of frameworks to restore, conserve and exhibit (archival) film. Tom De Smet, head of collections at Netherlands Institute for Sound and Vision, explained to the baffled audience what it means to digitize and store thousands of hours of film. Both Giovanna Fossati and Tom De Smet were part of the Dutch digitization program Images for the Future which started in 2007. Their insights highlighted the fact that a public and political debate is necessary to raise awareness and financial means for the transition of the film heritage to the digital domain.

In the second slot, chaired by David Pfluger, Mikko Kuutti, deputy director at National Audiovisual Institute Finland, focused on the film scanning process by connecting technical aspects to perceptual dimensions of seeing film in a theater. Like the Netherlands, Finland started its digitization program several years ago, and Mikko Kuutti has been involved in the transition to digital postproduction and archiving from the start in the early 2000s. David Landolf, founder and head of the Swiss film archive Lichtspiel in Bern opened up a completely different perspective by showing his analog collection, not only of films but also of many film-related pieces of hardware such as cameras and projectors. He discussed the difficult task to maintain and develop a small archive in a state of transition from analog to digital technologies.

After a delicious lunch with a fine vegetarian buffet from the Zurich based restaurant Hiltl, the afternoon started with two very seasoned speakers from the field of distribution. The program was hosted by Franziska Heller from the DIASTOR research team. Dennis Doris from Milestone Films presented their Project Shirley, a huge project investigating, restoring and presenting the films by dancer and filmmaker Shirley Clarke. Project Shirley is a prime example of how an independent filmmaker’s work can gain new attention by digital means of restoration and distribution. Serge Bromberg from Lobster Films in Paris concluded the talks with insights into their restoration and distribution projects from Georges Méliès’ “Voyage dans la lune” [“Trip to the Moon”] to the documentation of Henri-Georges Clouzot’s unfinished masterpiece “L’Enfer”. Bromberg set a focus on financial requirements for the restoration and distribution of historical films.

The day was concluded by a panel discussion concerning the film preservation situation in Switzerland. Compared to the invited speakers’ experience, Switzerland is still in a state of infancy when it comes to digitization of historical films and long-term storage of digital films. Since no national program has been developed so far, panel chair Barbara Flueckiger discussed with her guests current and future strategies. Caroline Fournier represented the Cinémathèque suisse and explained their selection criteria for the digitization and restoration of films. The Cinémathèque’s new vaults in Penthaz were planned without the concern for a digital infrastructure. They will open in 2017. Heinz Schweizer represented SRF Swiss Radio and Television who own the rights for many Swiss classics. He stressed the fact that we have to be very careful with our cinematic heritage and he voted for film-out as a means of long-term storage. Filmmaker and producer Werner “Swiss” Schweizer, who is also a member of the board of the Cinémathèque suisse, explained that their company Dschoint Ventschr has established their own long-term storage system to keep their productions safe for the future. Contrary to panel chair Flueckiger, “Swiss” Schweizer does not support the safeguard of a lab in Switzerland, but opts for a European competition. The fourth panelist, filmmaker Clemens Klopfenstein, could not explain why his world-famous film “Geschichte der Nacht” cannot be digitized and restored for financial reasons at this point. However, the panel clearly showed that Switzerland is split into many particular perspectives and that it lacks a comprehensive strategy.

All the presentations were followed by lively discussions with the audience, both within the auditorium and outside during coffee breaks.

After a dinner break, the new digital restoration (2014) of “The Cabinet of Dr. Caligari” was screened with live-music by Günter A. Buchwald (piano and violin). Unfortunately Anke Wilkening, who was responsible for the film’s restoration at the Friedrich Wilhelm Murnau Foundation, had fallen ill and had to cancel her introduction. DIASTOR project leader Barbara Flueckiger delivered an introduction on short-term’s notice. She explained the restoration with a focus on DIASTOR’s color analysis for the Caligari restoration.

In 2K projection on the cinema screen, the new Caligari restoration looked fantastic, even better than at its premiere at the Berlinale in February 2014.

Many attendees were highly interested in learning more about strategies of digitization, long-term storage and digital distribution.

All the speakers generously provide their slides for download on this site. Check back soon or subscribe to the blog to receive access to them.

We would like to thank all the sponsors and DIASTOR partners for making this happen!

The conference was a co-production with FOCAL, supported by Schweizer Radio und Fernsehen SRF, the Kulturfonds von Suissimage, the Hochschulstiftung der Universität ZürichMemoriav, Swiss National Science Foundation and Dr. Wilhelm Jerg Legat.

We would also like to thank the conference team for their tireless support:
Franziska Heller (head ofcoordination)
Claudy Op den Kamp (layout, editing)
Kristina Jungic (catering, locations)
Brigitte Paulowitz (guests and speakers, technical support)

Special thanks to
Pierre Agthe, Anne Perrenoud and Katja Schudel FOCAL
Corinne Siegrist-Oboussier, Michel Bodmer, Primo Mazzoni and Hans X. Hagen Filmpodium Zurich
Student assistants Michelle Beutler, Isabel Krek, Manuel Joller
Alice Christoffel und Ursula McCormack Institute of Cinema Studies, University of Zurich.




The DIASTOR buttons have arrived

Alle DIASTOR-Team-Mitglieder und Partner werden an der Konferenz einen dieser Buttons tragen. Sprechen Sie uns in den Pausen an!

All the DIASTOR team members and partners will be wearing a button at our conference. Get in touch with us!


Warum fehlt das Bundesamt für Kultur in dieser Diskussion?

Vor welchen Problemen stehen Schweizer Regisseure und Produzenten, wenn sie ihre Filme digitalisieren, sichern und bewirtschaften wollen? Welche Hilfeleistungen und welche Strategien brauchen sie? Warum fehlen beispielsweise die Mittel, einen der bedeutsamsten Schweizer Filme – “Geschichte der Nacht” von Clemens Klopfenstein – zu digitalisieren?

Wie stellen sich institutionelle Entscheidungsträger wie die Cinémathèque suisse oder SRF Schweizer Radio und Fernsehen zu Fragen der Digitalisierung des Schweizer Filmerbes?

Und warum fehlt das BAK in dieser Diskussion?

Unsere Tagung FILM IM DIGITALEN ZEITALTER Filme digitalisieren, sichern und bewirtschaften ist als Impuls gedacht, verschiedene Lösungsansätze aus Ländern vorzustellen, die der Schweiz um Jahre voraus sind, wie zum Beispiel Holland und Finnland. Einzelne Verleiher haben eigenständig Programme zur Digitalisierung und digitalen Bewirtschaftung Ihrer Bestände realisiert, und zwar haben wir Wert darauf gelegt, nicht reine Selbstläufer zu präsentieren, sondern unabhängige Verleiher, die durchaus schwierige Herausforderungen gemeistert haben.

Es ist uns ein Anliegen, diese drängenden Fragen ins Bewusstsein von Branche und Öffentlichkeit zu bringen und so einen langfristigen, aber dringend nötigen politischen Prozess anzuschieben.

Welche von den vorgestellten Ansätzen können wir in der Schweiz umsetzen und wie können wir ein nationales Digitalisierungsprogramm in die Wege leiten, das den vielfältigen Anforderungen gerecht wird?

Weitere Informationen, den Link zum Anmeldungstool sowie sämtliche Abstracts und Kurzbios unserer Referenten finden Sie auf der Tagungswebsite.


Warum fehlen die Mittel einen der berühmtesten Schweizer Filme “Geschichte der Nacht” von Clemens Klopfenstein zu digitalsieren?


Registration for the DIASTOR Conference Open

As of today, the registration for the DIASTOR Conference is open. It will take place in the cinema Filmpodium in Zurich on June 5 2014.

Our partner FOCAL takes care of the guest administration. To register please follow the link on the DIASTOR Conference website where you will find also all the details concerning the conference. Should you have any problem with registration or would you like to ask specific questions, please send an e-mail to Franziska Heller of the DIASTOR team.

The conference will be tri-lingual in English, German, and French with simultaneous translation into all the languages.

We hope to see you there!



Interview von Uni News, Universität Zürich (in German)

Die Kommunikationsabteilung der Universität Zürich hat ein Interview zu DIASTOR und zur Caligari-Restaurierung geführt:



Fotografie einer historischen Nitratkopie von «Das Cabinet des Dr. Caligari». Copyright: Friedrich-Wilhelm-Murnau-Stiftung, Wiesbaden. Quelle: Archivo Nacional de la Imagen – Sodre, Montevideo/ Cineteca di Bologna. Fotografie: Barbara Flückiger, Timeline of Historical Film Colors / DIASTOR (Bild: zVG)

DIASTOR Conference Program Online

Please have a look at the program which is available on our conference website now.

Registration will be open on April 7, please check back!

Thanks for sharing this information on Facebook, Twitter, in mailing lists or with other interested groups.

Join our event on Facebook https://www.facebook.com/events/587146458044626/ and get always the latest news!







DIASTOR-Tagung am 5. Juni 2014

Filme digitalisieren, sichern und bewirtschaften

Filmproduzenten, Filmemacher und Verleiher stehen vor der grossen Herausforderung, ihre analog gedrehten Filme zu digitalisieren und die digitalen Elemente nachhaltig zu sichern und zu bewirtschaften. Die Anforderungen an die Archive sind nicht weniger gross, denn auch sie müssen neue Strategien entwickeln, wie sie den Zugang zu ihrem Bestand optimieren und die Filme dauerhaft archivieren.

Ziel der Tagung ist es, einem Publikum aus Branchenvertretern (Produzenten, Regisseuren, Verleihern), politischen Entscheidungsträgern und Archivaren einen Überblick über das komplexe Gebiet zu geben. Dazu gehören alle Aspekte von der Auswahl des Filme, den technischen Verfahren, Standards und Work-flows, den kuratorischen und archivarischen Fragestellungen, ökonomische und kommerzielle Gesichtspunkte und Chancen, kulturpolitische Perspektiven, langfristige Prognosen und Anforderungen an nachhaltige Lösungen.

Das anwendungsorientierte Forschungsprojekt DIASTOR Bridging the Gap Between Film History and Digital Technology entwickelt seit Mai 2013 Standards und Workflows für die Digitalisierung und Langzeitsicherung von Filmen im Austausch mit internationalen Experten. Diese Experten werden an der Tagung Einblick in ihre Erfahrungen und Praktiken geben.

In der gegenwärtigen öffentlichen Debatte ist das Bewusstsein für den Wandel und die Kenntnis der möglichen Lösungsansätze noch nicht vorhanden. Dabei ist die Thematik von grösster Bedeutung, wenn die Schweiz ihr Filmerbe bewahren und sichtbar machen will.

Datum und Ort:
5. Juni 2014 im Filmpodium Zürich

Rund 150 Teilnehmer, davon ungefähr 50 Vertreter aus der Film- und Fernsehbranche (Produzenten, Regisseure, Verleiher), 20 politische Entscheidungsträger auf Bundes- und Kantonsebene, 30 Archivare und Kuratoren von nationalen und regionalen sowie privaten Archiven, 20 Filmjournalisten und Medienschaffende, 30 Wissenschaftler (Film- und Medienwissenschaftler, Informatiker, Historiker), evtl. 20 weitere Teilnehmer (interessierte Öffentlichkeit).

Die Tagung wird in Zusammenarbeit mit der Stiftung FOCAL http://www.focal.ch/D/ durchgeführt und vom Kulturfonds von Suissimage, von Memoriav http://de.memoriav.ch/ und dem Schweizerischen Nationalfonds http://www.snf.ch/de/Seiten/default.aspx unterstützt.

Kontaktperson DIASTOR: Franziska Heller

Save the date: June 5, 2014 DIASTOR conference in Zurich

On June 5th, DIASTOR organizes the one day conference Film im digitalen Zeitalter. Digitalisierung, Bewirtschaftung und Sicherung von Filmen (Film in the Digital Age. Digitization, Access, and Storage of Films) in Zurich. The conference aims at providing information to a broad audience of film professionals (directors, producers, distributors), archivists, politicians, journalists, film scholars and historians. International experts in the field will give insights into their practices, solutions, standards and work-flows. The talks will be in German, English, or French with simultaneous translation for participants.

Every filmmaker and producer faces the challenge of keeping their films accessible for future audiences, either by digitizing analog films or by constantly migrating their digital assets in accordance with the dynamic evolution of technical requirements. At the same time, many new questions arise on how to preserve digital film elements for the future. The topics covered at this conference include international best practices, technical solutions and standards, curatorial aspects, costs and economical benefits, memo-politics, long-term perspectives, and requirements for sustainable approaches. The day will be concluded by a screening of the new restoration of Das Cabinet des Dr. Caligari with an introduction by Anke Wilkening, Head Restorer of the Friedrich Wilhelm Murnau Foundation.

The DIASTOR team organizes the conference in collaboration with FOCAL Foundation for professional training in cinema and audiovisual media. It is supported by Swiss National Science Foundation and Memoriav.

We will provide regular updates on the progress with our conference organization. Please subscribe to this page to receive all the information. Please send further inquiries to DIASTOR team member Franziska Heller.

See you in Zurich!

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