Force Project Film: Multimedial Training Materials for Film Restoration

By Farinelli, Gian Luca; Mazzanti, Nicola | Journal of Film Preservation, October 1993 | Go to article overview

Force Project Film: Multimedial Training Materials for Film Restoration


Farinelli, Gian Luca, Mazzanti, Nicola, Journal of Film Preservation


The origins of the project

The origins of this project date back to 1991, at the start of activity of the Association of the European FlAF Archives (ACCE). One of the aims of this association was to obtain as much help as possible from the European Community for film preservation, restoration and conservation. The participating archives had recognized that, together with financial help for restoration, training of staff was one major issue and need for all Archives.

This was a need shared both by small and big archives. The first are usually interested mostly in gathering knowledge and information about techniques and methods of film restoration, technical facilities, and to improve preparation of their staff, both concerning direct practical restoration work and quality checking of the works obtained by external laboratories.

On the other hand, the latter have the problem of establishing training techniques and procedures and having at disposal some training materials specially designed to train new staff or to improve their technicians' knowledge and abilities.

ECIPAR, a non-profit institution for professional training based in Bologna having always had a special attention on restoration issues (it had organized the film restoration school in Bologna as well as many other courses in other arts restoration), proposed ACCE to use the recently EEC proposed FORCE project as a possible tool to solve this problem. In fact, FORCE project has been created to finance the production of training materials. A Committee of partners was formed to that purpose and a project submitted to the European Community, which approved and financed it. The Committee was formed by the film archives having their own internal laboratory and some commercial laboratories which had special relationships of collaboration with FIAF archives.

In practice, these are the members of the Committee: Nederlands Filmmuseum (Amsterdam), CNC/Service des Archives du Film (Bois d'Arcy), Cineteca del Comune di Bologna (Bologna), Cinematheque Royale (Bruxelles), Bundesarchiv-Filmarchiv (Koblenz), National Film and Television Archive (London), Filmoteca Española (Madrid), Cinarchives (Paris), Haghefilm (Leiderdorp), Hendersons Film Laboratories (London) L'lmmagine Ritrovata (Bologna), Studio Film and Video Communications (London).

So, technicians from film archives and laboratories could work together in true collaboration; in fact they all agreed that they shared similar needs in training, and that knowledge about film restoration techniques did not belong to one person or institution only, or to one type of body only, but that experiences had to be compared, knowledges and informations diffused as much as posible, also in order to help comprehension and to find a common language.

The work of the Committee

After checking the situation, organization, characteristics and training needs of film restoration labs, the Committee decided that the training materials had to match some characteristics. …

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