An invaluable portion of collective memory to look at Italian history from a micro-social point of view.
The project is realized with the support of the Ministry of Cultural Heritage and Activities and SIAE, the Italian Society of Authors and Publishers, in the framework of the initiative Sillumina – Copia privata per i giovani, per la cultura (ed. 2017) and promoted by Archivio Cinescatti / Lab 80 film (Bergamo), Cineteca Sarda / Società Umanitaria (Cagliari), and Archivio Superottimisti / National Museum of Cinema in Turin. These film archives will make their home movie holdings available for the participants. They constitute a heritage of home movies shot in substandard film formats such as 9,5mm Pathé Baby, 16mm, 8mm, and Super8 made from the twenties to the nineties by amateur filmmakers that recorded their daily life throughout the 20th century.
Re-framing Home Movies / Heritage Regained is the next step of a cultural strategy initiated last year with Re-framing Home Movies / Residenze in archivio with the aim of promoting and sharing amateur film collections as well as providing high-quality training for young artists, scholars, archivists, and film-makers, raising awareness about the archival treatment of the Italian home movie heritage.
An invaluable portion of collective memory to look at Italian history from a micro-social point of view and on a human scale. Given its specificity, it requires preparatory analysis and in-depth study that help the historical, technical, and cultural values of this heritage emerge while effectively unveiling its aesthetic, expressive potential.
Therefore, the course’s objective is to provide the participants with a ‘toolbox’ that will allow them to comprehend the archival context and the theoretical, technical, and artistic tools to approach home movies consciously and re-use them within projects of valorisation and artistic recontextualization.
The training course is implemented with the collaboration of ICAR, the Italian Central Institute for Archives, and Fondazione Sardegna Film Commission and the recognition of AVI – Associazione Videoteche e Mediateche Italiane.
Project and coordination
Karianne Fiorini e Gianmarco Torri
Giulia Castelletti, Sergio Visinoni (Cinescatti/Lab80), Giulia Carbonero, Giulio Pedretti, Vittorio Sclaverani, (Superottimisti/AMNC), Luigi Cabras, Martina Mulas, Antonello Zanda (Cineteca Sarda/Società Umanitaria)
Giulio Pedretti (Superottomisti/ANMC)
Graphic Communication and Web Development
Social Media Manager
The course includes 120 hours of lectures and 40 hours of workshops in 4 full-time intensive modules besides individual practical exercises and a final phase of creative rework.
The lectures are divided into 3 one-week modules to take place between September and November 2018. The participants will receive a wide range of stimuli and specific knowledge on the problems related to the archival treatment and valorisation of home movies, such as restoration and digital preservation of small gauge films, cataloguing, archiving, and experiences of valorisation in the domain of art (galleries, museums) and audio-visuals (film, audio-visual works, installations).
The educational path is meant to produce a critical reflection on the crucial issues posed by the re-use of archival footage and in particular of home movies. The reflection is developed on several levels – cultural, archival, historic, ethic, and aesthetic – that need to be discussed when these materials are involved in a project of reworking and valorisation.
All modules take place in one of the partner archives. They include 40 hours of class every week (Monday-Friday 9am-1pm / 2pm-6pm). In each module, the training follows three educational paths:
Archival treatment of home movies and substandard films
We will delve into the archival methodologies and procedures of collection, restoration, preservation, and cataloguing of home movies. At the same time, we will illustrate some of the main film collections preserved at project partner archives.
Theoretic, historical, and aesthetic problems in the re-use of archival footage and home movies within projects of artistic valorisation and reworkings.
We will illustrate crucial themes that need to be addressed when you decide to re-use an archival image from the historical, ethical, and aesthetic point of view.
Expressive and formal techniques and strategies of recontextualization; re-use of archival footage and home movies.
This module will focus on the technical, practical choices in footage re-use, recontextualization, and valorisation. By way of meetings with artists, film-makers, and authors from different traditions and origins, the participants will be able to discuss at large some strategies and approaches that can be used when working with archival footage and home movies in particular.
At the end of every week of training, the participants will be prompted to produce a practical exercise. They are supposed to draw conclusions from the skills acquired and suggestions received by way of exercises in footage viewing and cataloguing, research in history, writing exercises, and theoretic reflections. These will also act as a link between the different modules.
At the end of the three lecturing modules, the last, 40-hour module, to take place in the month of December 2018, foresees a workshop under the guidance of the project managers. The workshop takes place over one week and will see the participants at work together, in a spirit of dialogue. The goal is to find a possible format for a public presentation of home movie collections in the archival, audio-visual, or museums domain.
Once the format and process of audio-visual writing are found, the next step is selecting 10 film collections that are particularly relevant from the historical and social point of view, including their characteristics in terms of history, production, family, and biography. Each participant will be assigned one of them.
Each participant can rely on remote mentoring over the two months of individual work to realize a short study of the film collection assigned to them according to the strategies and methodologies identified and fine-tuned collectively during the workshop.
In this phase, the participants will be tutored by the project managers, who will support their disciples on the creative, technical, and archival levels.
The study will constitute the final test of the course. The studies carried out by the participants aim at describing the rediscovery of the Italian home movie heritage through the holdings of the archives and the work done by the attendees.
The output of the course will be presented in a public venue with an event to be organized in March 2019 (with a public screening or exhibition). At a later stage, the studies can be published, including on line, by the project promoters.
Among the instructors, artists and professionals too will offer their point of view on techniques, methodologies, and strategies to be used in operations of analysis and re-framing of archival footage.
The faculty includes the project managers and representatives of the promoting archives besides some of the major Italian and European experts in analysis, archival treatment, and re-use of home movies in the archival, academic, curatorial, film, and art realms.
Archival treatment of home movies and substandard films
Giulia Castelletti and Sergio Visinoni (Archivio Cinescatti / Bergamo)
Luigi Cabras and Martina Mulas (Archivio Cineteca Sarda / Cagliari)
Giulio Pedretti (Archivio Superottimisti / Turin)
Paolo Caneppele (Collection Manager Austrian Film Museum / Vienna)
Karianne Fiorini (Independent Film Archivist and Curator / Milano)
Reto Kromer (Expert in Film Restoration / Lausanne)
Stefano Vitali (Director Istituto Centrale per gli Archivi / Rome)
Theoretical, historical, aesthetic problems inherent to the re-use of archival footage and home movies within projects of valorisation and artistic reworking
Susan Aasman (Media Historian / University of Groningen)
Christa Blümlinger (Professor and Researcher in Film and Audio-visual Studies / Université de Paris 8)
Efrén Cuevas (Film Historian / University of Navarra)
Laura Rascaroli (Film Historian / University of Cork)
Federico Rossin (Film Historian, Independent Curator and Programmer / Paris)
Matthias Steinle (Film Historian / Université de Paris 3)
Gianmarco Torri (Independent Curator and Programmer / Milan)
Expressive and formal techniques and strategies of recontextualization; re-use of archival footage and home movies
Gustav Deutsch (Artist and Film-maker / Vienna)
Albert Elings (Film-maker and Editor / Amsterdam)
Luca Ferro (Film-maker and Independent Researcher / Florence)
Péter Forgács (Artist and Film-maker / Budapest)
Alina Marazzi (Film-maker / Milan)
Anne Paschetta (Documentary Writer and Writing Consultant / Paris)
Antoni Pinent (Film-maker and Independent Curator and Programmer / Barcelona)
Nicolas Rey (Film-maker, Founder and Manager of L’abominable / Paris)
Project Calendar and Phases
June 29, 2018
September 24-28, 2018 / Bergamo
October 15-19, 2018 / Turin
November 12-16, 2018 / Cagliari
December 10-14, 2018 / Bergamo
The 10 studies realized by the students will be presented by the end of March 2019 with a public event in one of the project headquarters.
The cooperative Lab 80 Film was established in Bergamo in 1975. It operates in several fields, such as screenings and retrospectives organization, film production and distribution, and as service provider for the making and screening of audio-visual products. In 2010, it launched a project of preservation and valorisation of home movies collected from the province of Bergamo. Lab 80 also manages the archive known as Cinescatti, that currently holds nearly 3,000 home movies realized from the twenties up to the eighties of the last century.
AMNC - Superottimisti
The Associazione Museo Nazionale del Cinema di Torino (AMNC), founded by Maria Adriana Prolo in 1953, deals with film heritage, movie tourism, and cultural projects of social inclusion, including screenings and formative meetings distributed in the region. In 2015, AMNC acquired Superottimisti, a regional archive of home movies, from the association Documentary in Europe. They have been working on the preservation of film heritage by way of the collection and valorisation of substandard films for over ten years.
The Sardinian film archive was established in 1966. It was the first public audio-visual facility with a cultural and educational scope in Sardinia. Over the years, its public mission has been further defined in terms of regional audio-visual service for citizens, cultural operators, and schools through the loan of films and documentaries or technical equipment, assistance to audio-visual programming in schools and associations, promotion of theme retrospectives, etc.
Moreover, the Società Umanitaria della Sardegna promotes the project “Your memory is our history”, a regional campaign whose goal is to construct an archive of the private and public heritage of Sardinians. The projects envisages the collection, conservation, and valorisation of all the home movies made until 1985 by those who recorded habits and recurrences of family life, daily moments and ceremonies, or places and traditions, regardless of the format of film stock.
Karianne Fiorini is an independent film archivist and curator. A co-founder of the Archivio Nazionale del Film di Famiglia, she has always worked on the management of the archive’s film collections and the methodology of archiving and cataloguing home movies. Co-curator of the Italian Home Movie Day since 2004, she has become a member of the scientific committee of the international Home Movie Day in 2018. She works in the training to home movie archival treatment, and has curated several projects of valorisation of this footage such as the project Una città per gli archivi and Censimento degli archivi femminili della provincia di Bologna. She has been a frequent contributor to international meetings and symposia panels on amateur film and home movies, including the AMIA Conference and the Home Movie Summit. Since 2013, she has collaborated with ICAR/MiBACT on the project Storie di Famiglia to be found in the Antenati web portal. She has been working for the past few years on a project of film preservation and promotion and curating a publication in the form of catalogue raisonné of film-maker Helga Fanderl’s complete works (www.helgafanderl.com). She collaborates with the Pesaro Film Festival as co-curator of the section dedicated to Super8 films. She is the Italian manager of the project International Media Mixer (Chicago Film Archives), and works with the American Center for Home Movies. With ICAR (Istituto Centrale per gli Archivi), she is carrying out a survey of archival institutions that deal with the preservation of the Italian home movie heritage, whose output will be published on line shortly. She has been teaching Advanced Training in Contemporary Archival Science at the Archivio Centrale dello Stato since 2017.
Gianmarco Torri, independent cultural organizer and curator, is the person in charge of the audio-visual collections of CTU – Milan University, for which he also co-directs the festival Docucity.
He curated programmes and retrospectives on documentary and non-fiction films in Italy and abroad.
Promoter and co-founder of the Archivio Nazionale del Film di Famiglia since 2003, he was in charge until 2104 of the Archive’s development of methodology and coordination of the projects of local retrieval, of the Milan headquarters, of the Giornate del Cinema Privato (Private Film Days), and of presentations, seminars, and workshops on its activities at Italian and international film festivals (Anteprimadoc – Bellaria Film Festival, Nodo Doc Festival, Filmmaker Festival, Via Emilia Doc Fest, États généraux du film documentaire de Lussas, and Yamagata International Documentary Film Festival).
His research interests are focused mainly on diary film and autobiographical cinema, found footage, creative re-use of home movies, essay film, and self-produced documentary.
He is a member of the Board of Directors of AVI – Associazione Videoteche e Mediateche Italiane and of the Scientific Committee of the Pesaro Film Festival, where he is also a co-curator of the sections Super8 and Satellite – Screenings for the future cinema.