Digitizing can bring new life into this film and leave it for future generations. I believe Andrzej Munk is here with us and will be very pleased we are able to participate in the re-release of "Eroica".
Film historian, critic, curator, and lecturer; since 2012 CEO of the National Film Archive in Prague. After graduating from Charles University in Prague he worked as a curator and researcher at the National Film Archive in Prague; 1995-2002 editor-in-chief of the quarterly Iluminace (Journal for film theory, history, and aesthetics). He taught at FAMUsince 1991 and for two terms he served as the dean of the school, after that he was the chair of FAMU International. As the head of a film archive and a member of executive committees of ACE and FIAF he is mainly committed to coopertion in the field of cultural heritage and its sustainability.
Bendik Bryde is a business development manager for the Norwegian organization Piql. His academic background stems from a strong combination of business and social science, with a special keen interest in history and how we take care our cultural-historical heritage. Piql work closely with organizations around Europe to safeguard their most irreplaceable digital assets, making sure original content are kept protected and authentic and stays available for both current and future generations.
Thomas C. Christensen
Thomas C. Christensen is M.A. in film studies from the University of Copenhagen in 1993. After teaching film history, film analysis and production at University of Copenhagen and University of Aarhus he was appointed Curator at the Danish Film Institute in 1998. His main areas of responsibility are acquisition, preservation and restoration of Danish cinema. He has supervised several full digital intermediate restorations and a series of DVD publications. He has served on the FIAF Technical Commission 2003-15. In 2007 he finished a project on the lost films of Danish actress Asta Nielsen. Since 2010 he has been on the Executive Committee of the European Cinematheque Association (ACE). Currently he is involved in a digitization and online project on Danish non-fiction films from 1896 to 1975.
Dennis Doros started at Kino International where he was responsible for restoring Erich von Stroheim’s QUEEN KELLY and Raoul Walsh’s SADIE THOMPSON, both starring Gloria Swanson. In 1990, Dennis Doros co-founded Milestone Films with my wife Amy Heller. Working with film archive and labs around the world, they have restored and distributed independent films, including works by Charles Burnett, Margot Benacerraf, Billy Woodberry, Kathleen Collins and Kent Mackenzie. They have produced over 200 home video releases and over 100 silent film scores. Luminaries Martin Scorsese, Barbara Kopple, Steven Soderbergh, Thelma Schoonmaker, and Sherman Alexie have helped promote Milestone releases. For the last twelve years, Doros has been a consultant to Turner Classic Movies. Doros and Heller have been awarded the National Society of Film Critics' first Special Archival Award and its Film Heritage Award (five times), the International Film Seminars' Leo Award, the NY Film Critics Circle's Special Award (twice), the LA Film Critics first Legacy of Cinema Award and the Film Preservation Honor from Anthology Film Archive. Doros is a three-term Board of Director for the Association of Moving Image Archivists, and the winner of their William O’Farrell award in recognition for services to the field.
Gian Luca Farinelli
Gian Luca Farinelli has been the director of the Cineteca di Bologna since 2000. He oversaw the creation of the first Italian film restoration school L’Immagine Ritrovata, funded by the European Union, and the inception of the restoration lab by the same name. The lab has been active since 1992 and works today with major film archives around the world. Since that time he has been recognized internationally as one of the most important film restoration experts. He has been the director of Bureau Recherche des films perdus, a research project promoted by European film archives for retrieving lost films around the world. He played a leading role in the creation of the Association des Cinémathèques Européennes. In 2014, he was awarded with the Silver Medallion at the Telluride Film Festival.
Michael Friend studied history and art history at Berkeley and film history at UCLA. He has conducted archival work at the UCLA Film and Television Archive, the AFI's National Center for Film and Video Preservation, and the Academy Film Archive, as well as at Universal, MGM/UA and Sony Pictures Entertainment, where he currently serves as the director of the digital archive. He has been a participating member of FIAF, AMIA, SMPTE and Los Angeles FilmForum. Since 1995, he has been the co-organizer of The Reel Thing, a symposium on moving image restoration and preservation.
Amy Heller is co-founder (with husband and partner, Dennis Doros) of Milestone Films. The pair started this very independent film distribution and restoration company in their one-bedroom apartment on New York’s Upper West Side in 1990. Now, 27 years later, they continue to seek out films that have been lost, overlooked, and underappreciated. As part of the its commitment to challenging the canon, Milestone has had the honor of introducing film audiences to Charles Burnett’s Killer of Sheep, Kent Mackenzie’s The Exiles, Lionel Rogosin’s On the Bowery, Mikhail Kalatozov’s I Am Cuba, and Shirley Clarke's The Connection, Portrait of Jason and Ornette: Made in America — among many others.
Milestone has received awards from the National Society of Film Critics, the International Film Seminars, the New York Film Critics Circle, the Fort Lee Film Commission, and Anthology Film Archive. In 2008, the Los Angeles Film Critics Association gave its first Legacy of Cinema Award to Heller and Doros “for their tireless efforts on behalf of film restoration and preservation.”
Heller studied American labor and working-class history at NYU and Yale before starting her career in film distribution in 1985. For the last 17 years she and her partner have run Milestone from the basement of their home in the New Jersey suburb of Harrington Park. In 2016, Milestone produced its first film, Ross Lipman’s documentary essay Notfilm. However Heller is proudest of the couple’s very first production: their 21-year-old son, Adam Doros, a senior at Case Western Reserve University.
Maggi Hurt has worked in cinema exhibition for more than 30 years. At Tyneside Cinema, in Newcastle upon Tyne, in 1980s she was responsible for setting up one of the first libraries and bookshops specialising in film studies outside London. Working with pioneer director Sheila Whitaker she supported and developed a programme that embraced archive and film history as well as emerging talents. In 1981 she was involved with the first UK regional presentation of the reconstructed Napoleon, with full orchestra.
Joining BFI in 1988, she is currently Advance Programme Co-ordinator, at BFI Southbank in London where she has programmed events showcasing materials from archives around the world, primarily, of course, the BFI National Archive. She has also worked on a wide range of international seasons presenting rediscoveries and restorations. In 2015 she collaborated on the presentation of the Martin Scorsese Presents Masterpieces of Polish Cinema project at BFI Southbank with KINOTEKA, the Polish Film Festival in London. Curated by Martin Scorsese and presented in beautiful digital restorations, the programme (parts of which also toured the UK) was augmented with on stage discussions, high profile guests, an education programme and a specially selected poster exhibition.
Martin Koerber has been Chief Curator of the film archive at Deutsche Kinemathek – Museum für Film und Fernsehen since 2007, and a professor for the restoration of photography and audiovisual heritage at Hochschule für Technik und Wirtschaft [University of Applied Sciences], Berlin, since 2003. After studies in media, art history, and musicology at Freie Universität Berlin, he worked odd jobs on a variety of experimental and documentary films during the 1980s. Before joining the Kinemathek’s permanent staff in 1998, Koerber did free-lance projects for the Nederlands Filmmuseum and other archives. From 1995 to 2003, he organized retrospectives for the Berlin Film Festival. Recognized as one of the world’s preeminent restorationists, Koerber has restored many films, including Fritz Lang’s M. Testament des Dr. Mabuse, and Metropolis, as well as silent-era classics such as Die Büchse der Pandora, Die weiße Hölle vom Piz Palü, and Menschen am Sonntag.
Josef Lindner is a graduate of the Communication Arts department of the University of Wisconsin-Madison, where he received his master’s degree in Film Studies in 1996. He has worked for the Academy Film Archive since 1998, and became Preservation Officer in 2002. He has supervised the preservation of many short films, including animation by John and Faith Hubley; the Oscar winning documentaries Dylan Thomas (1961) and Lindsey Anderson’s Thursday’s Children (1954); and the 70mm 30 f.p.s. short The Miracle of Todd-AO. From the silent era, he has supervised work on the first film released by the Thanhouser Company, The Actor’s Children (1910), as well as the feature films The Deadlier Sex (1920) and Her Wild Oat (1927). Additional projects include two films by Satyajit Ray, Jean Renoir’s The River (1951), Otto Preminger’s The Man with the Golden Arm (1955), and William Wyler’s The Big Country (1958).
Through the Academy Film Archive’s long time partnership with the Los Angeles Latino Film Festival, he preserved and presented Mina Alaska (Bolivia, 1968); ¡Asegure a su mujer! (United States, 1935); and Cita en la Frontera (Argentina, 1940) with Libertad Lamarque. Further presentations at the Festival Internacional del Nuevo Cine Latinoamericano in Havana led to partnering with the Cinemateca de Cuba to preserve two feature films by the legendary Cuban director Tomás Gutiérrez Alea (Una pelea cubana contra los demonios, 1972 and Los sobrevivientes, 1979). Since 2013 he has served on the Executive Committee of the International Federation of Film Archives (FIAF), and helped plan and present the 2017 FIAF Congress in Los Angeles.
Head of Film Culture Dissemination and Promotion department at Polish Film Institute (PFI). A law graduate for years associated with the cinema market in Poland. In the years 2004-2005, she acted as the co-ordinator of the Arthouse Cinemas Network. For many years was involved in the cinema distribution network. At PFI supervises projects associated with the development of cinemas, film dissemination and promotion, digital reconstruction of audiovisual collections and education.
Céline Ruivo is the head of the film archive of La Cinémathèque française since 2011 and has worked before in the restoration department of the Éclair laboratories. She is also the head of the FIAF Technical Commission since 2016. She has promoted with a thesis on the Three Strip Technicolor process in Paris III University in 2016.
Has worked in the film industry since 2003, beginning as a graphic designer. In 2005 he started working at The Chimney Pot where he was responsible for the company’s technological development. He was responsible for calibrating the feature film creation process, designing and testing workflow processes, creating IT tools and writing programing code for postproduction purposes. He has served as Head of the Digital Intermediate Department since 2008. In 2009 he created Digital Picture Restoration Department which he began supervising. In 2011 he became the technological representative of The Chimney Pot Warsaw in the international TCP group. In 2012 he was made chairman of the international Digital Intermediate group formed within the structures of The Chimney Pot Group. In 2013 he co-created and became co-owner of DI Factory where he is responsible for technological development. He has created services like DI Library and DI View which are designed to aid the creation of advertisements and feature films. At the same time, in 2016, he founded the Polish section of the Society of Motion Picture and Television Engineers® (SMPTE) of which he is chairman.
He has worked on over 180 Polish as well as foreign feature films, both modern and restored, including: “Afterimage”, “Loving Vincent”, “Warsaw ‘44”, “Planet Single”, “Katyn”, “Suicide Room”, “Letters to Santa”, ‘The Hourglass Sanitarium”, “The Wedding” and “The Saragossa Manuscript”. He supervised over 150 of the above mentioned films as DI Supervisor. He has presented his accomplishments at various international conventions on numerous occasions including those organized by New York Film School (New York), FMX (Stuttgart), InsightOut (Berlin), IDIFF (Paris) and Camerimage (Bydgoszcz).
Jędrzej Sabliński, co-owner and CEO of DI FACTORY, in the film industry since 1993 when he joined Eastman Kodak as sales manager of motion picture products. In 2000 he became General Manager of The Chimney Pot Warsaw. He introduced and developed digital image processing in Poland: in 2005 he introduced Digital Intermediate process, and digital colour grading; in 2007 he began the process of digital restoration of feature films for cinema and TV as part of the KINO RP project.
He supervised postproduction of almost 200 feature films and digital restoration of more than 70 titles including “The Saragossa Manuscript”, “Pharaoh”, “Promised Land” and 4K version of “Knife in the Water”.
He is the initiator and manager of the project “Martin Scorsese Presents: Masterpieces of Polish Cinema”.
He presented his achievements at numerous symposiums and seminars, incl. IBC in Amsterdam – film and television industry’s largest trade fair, FMX in Stuttgart – European VFX fair, and at IDIFF in Paris – European post production symposium. He also gave lectures in Łódź Film School.
A graduate of the Cracow University of Economics and Koźmiński University, she was the producer of the Film and Arts Festival "Summer of Films" in Kazimierz Dolny from 2001-2005. She has also worked on the production of a number of documentary films. In the years 2008-2015 she worked at the Polish Film Institute, including a period as the Plenipotentiary of the Director with responsibility for the Dissemination and Promotion of Film Culture. She also coordinated the programmes of the Polish Film Institute for the digital reconstruction of films, cinema modernisation, vocational training and the organisation of film festivals. She is currently Deputy Director of the National Film Archive - Audiovisual Institute, where she supervises film reconstruction and digitisation.
Matěj Strnad (1989) is a graduate of the Center for Audiovisual Studies at FAMU in Prague and has worked as a digital projects assistant in the National Film Archive in Prague (NFA) between 2014 and 2016. He has been the coordinator of an EEA grants funded »Digital Restoration of Czech Film Heritage« project. Since 2016, he is responsible for development and methodology of audiovisual collections at the NFA. He serves as an appointed expert on digitization and film heritage to the Czech Ministry of Culture and the Czech State Cinematography Fund. He is occasionally active as an editor, writer and lecturer in the field of film and media art preservation.
Kieron Webb is Film Conservation Manager at the BFI National Archive, leading teams within the film conservation laboratory and overseeing the Archive’s restoration projects. He has worked on the restoration of the first films of Charlie Chaplin, Alfred Hitchcock and David Lean as well Joseph Losey’s Accident (1967) and The Great White Silence (1924), Herbert Ponting’s cinematic record of Scott’s Antarctic expedition.
Having studied film at University of Kent, Kieron joined the BFI in 2000. He has a special interest in the history of film colours and their representation today, motivated by his involvement with restoration of tinting and toning, Dufaycolor, Technicolor and Eastmancolor. Kieron’s essay on „Colour and the restoration of Motion Picture film“ was published as part of the CREATE project and he was interviewed for the BFI book „British Colour Cinema: practices and theories“. He is a member of FIAF’s Technical Commission.
Elżbieta Wysocka - is a head of Film Restoration and Digital Repository at the FINA in Warsaw, Poland. Wysocka has been responsible for overseeing the National Film Archive digital collection and supervision of digitization and restoration of feature and animated movies in the framework of Culture + Program (2011-2015).
She was educated at the Academy of Fine Arts in Krakow in traditional methods of restoration, but accomplished her master thesis on video preservation (2006). Before joining the National Film Archive team she has working for postproduction houses. Passionate about film, video, performance and net art preservation. She is an author of the book The Virtual Body of Art. The Preservation and Access of Audiovisual Art (the winner of the National Centre for Culture competition for the best doctoral thesis in the field of cultural sciences, in 2013)