2021 FIAF Programming Winter School Participants

I have been a a curator/programmer at the Cinematheque of the Swedish Film Institute in Stockholm since 2011. Before that I worked a few years programming Swedish films for Göteborg Film Festival. Over the last decade I have realized that working as a programmer for a Cinematheque doesn't really have any parallels within the Swedish film industry. Film is of course a common topic, but festivals tend to focus on new film, and writing about or studying the history of film is not the same thing as showcasing and contextualizing it in an actual cinema. When I took part in the 2020 FIAF Winter School (and also when I meet my colleagues in the Nordic countries) that feeling of solitude disappeared: being in a room of peers, with a sense of belonging to a specific guild, strengthened me immensely. I brought a lot of ideas and notes with me back (Jurij Meden's crash course in programming the standout) and I hope for the same this time, even if the "room" is different. I also look forward to the many opportunities for discussion.

J'ai acquis mes premières expériences dans le domaine de la programmation au Österreichisches Filmmuseum à Vienne. En tant que documentaliste aux collections films de la Cinémathèque française je participe à la programmation régulière "Fenêtre sur les collections". Actuellement je fais partie du programme de recherche Beauviatech qui consiste à étudier et valoriser le fonds d’archives de la société Aaton, fabricant de matériel audiovisuel en France. Ce fond contient aussi des bobines films qui ont majoritairement été tournées pour des raisons techniques. Cependant elles racontent également l’histoire de cette entreprise et de son fondateur. Le programme est passionnant et il est très enrichissant d’apprendre à travers les expériences vécues par les collègues dans le monde entier. Je m’intéresse particulièrement à la programmation du cinéma amateur, au montage et « recyclage » de films d’archives par des artistes. La sensibilisation de publics atypiques est également un sujet important. La programmation en ligne permet notamment aux archives, qui ont longtemps gardé leurs trésors cachés, d’atteindre de nouveaux publics et de diffuser plus largement le patrimoine audiovisuel.

Débora Butruce is an audiovisual preservationist, researcher and cultural producer. She has been dedicated to audiovisual preservation field since 2001 and has worked in the main heritage institutions in Brazil, such as Cinemateca do MAM-RJ, Arquivo Nacional, Centro Técnico Audiovisual and in projects with Cinemateca Brasileira. She has a PhD in Media and Audiovisual Processes from University of São Paulo (Brazil), with a research on film restoration and the digital turn in Brazil. She was a Visiting Scholar at NYU in Moving Image Archiving and Preservation Program. Débora has experience as curator and film programmer, she is one of the founders of Cachaça Cinema Clube, a cine club based in Rio de Janeiro and dedicated to Brazilian short films of all times, which existed from 2002 to 2015 doing screenings at cinema Odeon, a movie palace from 1929. She also did special programs for several film festivals as Interfilm – Berlin International Short Film Festival, Santa Maria da Feira Film Festival (Portugal), World Cinema Amsterdam, São Paulo International Short Film Festival, Janela Internacional de Cinema do Recife and others. She is currently the president of the Brazilian Association for the Preservation of Audiovisual (ABPA). In Brazil today, despite the moment we are going through, with Cinemateca Brasileira, our largest audiovisual archive, in the worst crisis in its history, there is an increasing interest in audiovisual preservation, including film programming and curatorship. Participating in this course will be a great opportunity to learn from specialists with different perspectives and challenges, and then share this experience with the Brazilian community.

Je suis conservateur et programmateur à Cinémathèque16 depuis sa création. Nous avons entrepris un travail de recherche sur l'histoire du format 16mm, de sa création en 1923 à nos jours, et dont l'aboutissement naturel est la présentation aux spectateurs des documents et films étudiés. C'est ainsi que nous présentons les films de notre collection principalement en copie originales et systématiquement accompagnés d'une présentation, ou d'une conférence, au sujet de la copie, son histoire, sa matérialité. Ces séances s'adressent aussi bien à un public cinéphile averti qu'au jeune public. C'est ainsi que nous montrons nos films dans des lieux aussi variés que le Club de l'Etoile, les écoles et les collèges, les festivals et la Fondation Jérôme Seydoux-Pathé. La période de pandémie que nous traversons freine naturellement notre activité, qui en temps normal est extrêmement tournée vers "l'expérience-cinéma" et la virtualisation de nos activités est vraiment contre-nature. Nous espérons que cette Winter School sera porteuse d'idées nous permettant de continuer à atteindre un public sans perdre le sens de notre mission.

I am a member of Filmoteca Valenciana programming team since 2006. I am in charge of communication and I am the editor of the monthly programming bulletin. See the last one here: https://ivc.gva.es/admin_ivac/assets/pdf/programaciones/456w.pdf I participated in previous editions of the Winter School and they were extremely rewarding for me. It seems essential to me to know the experiences of other colleagues in the FIAF in order to constantly call into question my own work and improve it as much as possible, especially in these turbulent times for the consumption and distribution of films, when the programming work of cinematheques must be reinvented over and over. We should answer the main question now: what a cinematheque can offer to make a difference from the rest of exhibitors and VOD platforms and how to appeal to young audiences by showcasing our curatorial work. In short, how can we ensure that cinematheques continue to be temples for film lovers, today and tomorrow. I am specially interested in 2021 edition because it deals with programming in times of crisis. I’m also looking forward to attending the sessions on programming amateur and home cinema because our regional archive keeps a large collection of this kind of films.

Actuellement adjointe à la programmation et à l’exploitation à la Fondation Jérôme Seydoux-Pathé, j’ai d’abord été assistante de programmation pour le festival Entrevues Belfort et les Cinémas du Centre Pompidou. Je participe également à la sélection du festival Côté Court de Pantin et fais partie de l’équipe de Enlève tes chaussons rouges – Festival de films dansés. Je souhaite assister à la Winter School de cette année pour pouvoir tisser de nouveaux liens à travers le monde, acquérir de nouvelles connaissances et renforcer mes compétences dans le domaine de la programmation.

I have worked as a film curator for the Korean Film Archive's Cinematheque KOFA since Jan 2020. Screening programs I have organized last year include 'Cities on Film: Taipei,' a showcase of 17 Taiwanese films spanning six decades curated with the cooperation of the Taiwan Film and Audiovisual Institute, 'THE SAFDIES,' a retrospective of the shorts and features directed by the Safdie brothers, 'Archiving 101,' a double feature of two documentaries that showcase the importance of film preservation, among others. By participating in the 2021 Winter School, I hope to learn much about the fundamental principles of programming and the variety of approaches fellow programmers take in their craft. I also hope to take the opportunity to connect with many fellow programmers from around the world.

I work for Fondazione Centro Sperimentale di Cinematografia-Cineteca Nazionale (National Film Archive, Rome, Italy) at Cultural Diffusion Office since 2005. As programmer I conceived several retrospectives and events from 2005 to 2017, especially on issues as: Women’s Films, African and Diaspora Cinemas, History and Cinema, Italian colonial cinema, Migration Cinema, Social Problem Films. After Covid 19 pandemic emergency and lockdown, we are facing a period of rapid transformations. Following the global pandemic, all requests for films on cultural loan to our institution, for events in Italy and abroad, have been greatly reduced or cancelled. This forced pause leads us to ask ourselves how to propose films even with closed theaters and to understand which paths it will be appropriate to take when we return to showing films in theaters. It is likely that the pandemic has accelerated an already underway process, the transition from film to digital, from theaters to the web, and we need to understand how to manage both ways. To keep the history of cinema and its visual culture alive and at the same time reach the public accustomed to new technologies. In a word, keeping synchronicity and asynchronicity of vision together. I am curious to learn from the experiences and examples that will come from participating to the Winter School, which for me would be the first time.

I recently graduated from a masters programme in Film, Exhibition and Curation at the University of Edinburgh and currently work as Head of International Promotion at the Mexican Film Institute. Some of my expectations for this Winter School programme is to learn how to approach different archives in order to create different exhibition programmes, as well as to learn the best ways to boost national archive films with different international communities.

I’m a film programmer based in between Porto and Berlin, recently appointed curator of a new film center to open in early 2022 in Porto, named Batalha Centro de Cinema, to exist in a cinema originally from 1947. Currently also a member of the advisory board of the Berlinale Panorama (DE) and a shorts programmer at IndieLisboa (PT). Previous programming positions include the Berwick Film and Media Arts Festival (UK), the BFI London Film Festival (UK) and the Queer Lisboa International Queer Film Festival (PT), the latter as co-director. I now look forward to starting programming repertory cinema myself for the first time. I’m excited to gain further knowledge on the current best practices in researching, locating, accessing, and hiring prints as well connecting with film archives and their professionals. I'm interested in being stimulated to think of creative ways of integrating heritage film into the programme of a new institution with a deeply contemporary approach to programming.

At goEast - Festival of Central and Eastern European Film, a project of the DFF, I currently assist festival director Heleen Gerritsen in her pursuit of putting marginalized cinema and film history on the map, by aiding her work as a member of the competition selection committee, supporting the organization of the film historic symposium and raising funds for the festival. I am also part of the short film selection committee of the festival. Since 2018 I have been a programmer at FILMZ - Festival des deutschen Kinos with a focus on current feature and short films. Since 2019 I have also supervised the festival's formats dealing with German film heritage such as the yearly silent film presentation. In 2020 I curated the festivals online feature film retrospective on the streaming website alleskino.de, leading up to its online edition. In the course of the 2021 FIAF Winter School I expect to explore new possibilities of presenting film heritage during the ongoing crisis and, as a young film worker, to gain a better understanding of archival programming and its history.

Après des études de cinéma et de valorisation des patrimoines cinématographiques en France, puis quelques expériences chez des distributeurs et archives de films privées, j’ai appris le métier de la programmation d'une cinémathèque à la Filmoteca Espanola à Madrid de 2001 à 2013. Parallèlement, j'ai exercé de programmatrice freelance en Espagne et en Argentine. En 2013, j’ai intégré l’équipe de la Cinémathèque de Toulouse, je suis actuellement adjointe de programmation. Nous accueillons près de 90.000 spectateurs à l’année : séances publiques (cycles thématiques, rétrospectives, festivals, ciné-concerts… ), festivals accueillis, événements hors-les-murs, séances scolaires et extra-scolaires… Le programme de la Winter School proposé cette année (programmation online, recycled cinema, films amateurs, etc..) m'intéresse particulièrement et s'ajuste aux problématiques de la Cinémathèque de Toulouse. Lors de mes débuts dans la programmation, il n’était pas encore question de « films de patrimoine », d’ «événements », de « nouveaux publics », de « programmation online »…, le métier change, évolue sans doute, nos questionnements aussi. Le travail de programmateur s’enrichit de rencontres et d’échanges, et en ces temps compliqués, nous avons d’autant plus besoin de motivation et de nous enrichir des expériences, des idées, des propositions des uns et des autres.

I currently manage the BFI’s international programme, collaborating with film archives, festivals and venues worldwide to promote our archive. Previously, I worked on film festivals and in theatrical distribution. I started working with non-fiction archival film in 2012 when I managed the digitisation of the British Council’s Film Collection and commissioned three new films drawn from the collection. I occasionally programme archival pop-ups for community groups. I hope that this will be an opportunity to learn about digital platforms and heritage cinema, and to exchange ideas with international colleagues, especially around access, materials, rights and commercial realities. The rise of online platforms during the pandemic has meant that demand for content is sometimes at odds with collections policy and materials held, while our business model still tends to privilege the distribution of celluloid. There are also questions around connecting with diverse audiences and moving beyond the canon. I hope that this experience will help me streamline my thoughts in order to develop ways of working with our collection which takes into account our need to balance preservation with access and collaboration.

Je suis chargée de valoriser les collections de la Cinémathèque auprès de différents publics, tant sur le territoire que sur notre site internet letelepherique.org. Je participe également à la programmation de notre salle de cinéma axée sur la projection de films de patrimoine et documentaires. Nous faisons évidemment la part belle à l'archive !

Professionnelle du secteur culturel depuis plus de 25 ans et disposant d’une expérience stratégique et opérationnelle au sein de la direction de la programmation de la Cinémathèque française, j’ai suivi en 2017 une année une formation d’Administrateur de projets culturels dispensée par l’IESA afin de donner un nouveau souffle à ma carrière.

Je fais partie de l'équipe des documentalistes Film de La Cinémathèque française. Nous travaillons au catalogage des éléments filmiques des collections films. Nous proposons mensuellement une programmation intitulée "Fenêtre sur les Collections". Ces programmations sont constitués de thématiques variées et des raretés issues des collections. Nous privilégions les projections des éléments dans leur support d'origine mais il nous arrive de faire appel à notre Atelier de numérisation lorsque les états des éléments sont trop fragiles.

I'm a film critic and programmer with more than five years working experiences on managing multiple film and cultural mediation projects. I hold a Master degree in Anthropology, and specialize in Southeast Asia and Taiwan cinema. Since 2017, I've worked as a programmer and selection committee for Taipei Film Festival and artistic director for Taoyuan Film Festival in 2018. Besides from film programming, I'm the co-founder of Hide & Seek Audiovisual Art, an artistic-base collective who has been working on several film mediation projects for teenagers with schools and cultural institutes in Taiwan. Under the times of digitization, we have so many new kinds of media booming rapidly in different formats. I do believe the mission of archival isn't only belong to the film institute such as National Film Archive, it should be partaken by anybody in society who has a will to do so. As a film festival programmer and an artistic-base collective who has been working on several film mediation projects, I do believe and eager to know and share what a "non-Film Archive" could do and going to do on making our audiovisual heritage more vividly no matters on what position it stand.

Since 2010 I am responsible for the film distribution and access service at Deutsche Kinemathek in Berlin.This includes the creation of film programmes on the basis of our film collection and the consulting of cinemas and festivals. I am also part of the selection team and programme coordinator of the film heritage festival Film Restored since its beginning in 2015. Having been faced with the COVID pandemic we had to adapt the past festival edition to a hybrid format including a streaming platform, zoom conferences and live streams. So, I am particularly interested in the experiences of other colleagues how to cope with the new challenges in presenting programmes online - which ecompasses curatorial, technical and legal issues. I am also curious to learn more about programming ones film collection for non cinephile audiences and outside cinema venues.

Chargé d'étude pour la gestion documentaire des collections depuis début janvier 2021 à la Direction du Patrimoine cinématographique du CNC, j'ai également la responsabilité de préparer et de mener des actions de médiation, directement ou en lien avec des associations/collectivités, auprès des publics des Maisons de retraites et des quartiers prioritaires définis par la Politique de la ville. Le jeu de programmation de la FIAF est ma première expérience de programmation cinématographique et je me réjouis de participer à la Winterschool de la FIAF, notamment pour pouvoir discuter avec des programmateurs professionnels de la question de la valorisation du patrimoine auprès de publics éloignés (maisons de retraite notamment) mais aussi pour l'ensemble du programme de ces quatre journées qui, j'en suis sûr, enrichiront mon expérience et mon réseau professionnel dans le domaine de la préservation du patrimoine cinématographique.

Despite being the head of the cinema, I am not its main programmer, which is my much more experienced colleague Milan Klepikov. Thanks to our mutual cooperation I gradually gained more curatorial experience and in the last few years I was working on regular Midnight Movies cycle dedicated to cult films or towards films with huge fan following and on programmes and retrospectives which were organised more with external institutions while my colleague stayed focused on the contextualization of our collections. From the WS 2021 programme I got a feeling that it reflects in a very interesting way the fact, that the nature of the cinema as a physical place is changing. The uniqueness of a shared cinema experience cannot be questioned, as its greater technical quality, but we may not realise enough that new generations may perceive a shared experience very differently. In our cinema, we decided to use the online environment as great tool for accessing our collections. For exhibiting programmes which are niche (mostly amateur or intelligence films) and sometimes fragmented and its difficult to attract an audience to their physical screening despite its (theirs) uniqueness.

I am a film scholar, curator and moving image archivist and have curated film programs in collaboration with film festivals, art house cinemas and museums (e.g. Internationale Kurzfilmtage Winterthur, Pordenone Silent Film Festival, Cinema Zuid Antwerpen, Museum Arnhem). As I have a background in film archiving/restoration, presentation/curating and academia, my work often connects these aspects and aims at bringing them together with the general public. Currently, I am working on an exhibition about the film and cinema history of Hamburg, which will open in September 2021 at the Altonaer Museum. Due to the pandemic, we need to think about hybrid and online presentation and programming forms as part of and in addition to the on-site show. Therefore, I am particularly interested to discuss and exchange ideas and experiences with online programming, possibilities, limitations and practicalities. Another aspect I hope to learn more about is how to engage and address diverse audiences, including underrepresented and disadvantaged groups and minorities. One of the core aspects of the Hamburg-project is to focus on diversity and inclusion and bringing groups to the museum that normally do not feel addressed and represented by and in a museum show - or a film program.

I am a freelance film critic and programmer collaboration externally on projects of the Bulgarian National Film Archive. In the recent past I have curated programs for Filmoteca de Catalunya and Filmoteca Española, Xcentric experimental film archive (CCCB, Barcelona), MECAL Short and Animation Film Festival (Barcelona), MUCES International Film Festival (Segovia), goEast Film Festival (Wiesbaden, Germany). During the 6th Winter School I will be glad to learn about archival footage programming especially in the online domain. I am also looking forward to receive a feedback on the program I have submitted for the Programming Game page.

I am an archivist at the Filmarchiv Austria, where I oversee acquisition, inspection, cataloging and digitalization of film collections, amateur films and home movies from different austrian regions, partly available on our online program. The current Covid-19 crisis is accompanied by many challenges. I am eager to compare my ideas on programming with those of international colleagues and experts. FIAF's engagement in networking and proactive collaboration among its affiliates is extremely important in time of crisis. This Winter School will offer me a unique opportunity to learn about current programming topics and to discuss the challenges ahead with international colleagues and experienced programmers. At the Viennale I was particularly interested in the curatorial approach of Michael Loebenstein, focusing on "found footage filmmaking" that creates new works out of the abundance of film stored in archives. I would be delighted to attend his lecture at this Winter School. Editing has been my focus during my studies at the University of Paris and it's now one of my tasks at the archive. It would be great to have the possibility to discuss this topic with filmmaker Bill Morrison. Last but not least, I expect this training not only to enrich me with the lectures of experienced programmers, but also with the creative contributions to the FIAF Programming Game coming from other participants.

Je m'occupe de la programmation jeune public à la Cinémathèque française :une centaine de séances par an accueillent petits et grands. Au programme, des films de toute l'histoire du cinéma, de tous les pays, qui se répondent et riment entre eux. Des séances de ciné-concerts, des spectacles de lanternes magiques, des contes, ou encore des rencontres avec des réalisateurs contemporains viennent rythmer ces rendez-vous. Les rencontres de la FIAF sont toujours enrichissantes, relancent ma curiosité et renouvellent mon regard. Au-delà de la programmation jeune public, j'ai également été membre fondatrice de l'association Braquage (qui promeut le cinéma expérimental) et je suis membre du conseil d'administration de la coopérative Light cone.

As the co-founder of the Reel to Reel Institute, a non-profit organisation aims at promoting and developing preservation of audio-visual heritage in Hong Kong, I have been working as one of the programmers of ‘Reel to Reel Film Heritage’, an annual event dedicated to restored and rediscovered films, thematic programmes in aspects of film history, technical development and historical context in Asia. I also worked for the Hong Kong Independent Film Festival (2016 to 2018) and programmes of the Hong Kong Film Archive (2012 to 2016). For my personal interests and the development of the organisation, I hope to continue work in the aspects of moving image curatorship, research and education. Winter School provides me with a chance to explore the trend of film heritage programming and make connection to the professionals in related fields. The topics of this year's meet our organisation's needs and focuses. We hope to develop the annual event to a larger scaled film festival, and these are the topics we want to include to the future editions. It is a pleasure to join the Winter School and hope it could gain us wider knowledge and insights, which permit us to progress to similar programmes here.

Film archivist at the ECPAD, since 2010, I've always been interested in the presentation of the moving image. I've initiated screenings of silent films with live music accompaniment and put together a program to the profit of all FIAF archive members in order to celebrate the 100th anniversary of the ECPAD. I've also been an active member of the team that organised the Home Movie Day in Paris between 2010 and 2016. What I'm looking for is new ideas to present films in the actual crisis context and ways to present amateur films to new audiences. Last but not least, I'll be very glad to meet collegues from around the world that I would not be able to meet otherwise.

I’m a Finnish curator, film critic and a filmmaker. I'm the programmer of the National Audiovisual Institute’s cinematheque Kino Regina in Helsinki, but besides my foremost position, I’m also the artistic director of Loud Silents, a silent film festival, which uses newly commissioned scores to bring film history to a live cinema setting. I’m also the former artistic director of the oldest running music video festival in the world in Oulu and I’ve curated screenings short film and music video festivals in Finland and abroad. As a film critic I’m a member of FIPRESCI, the vice president of the Finnish film critics union and I’ve served in various short film and music video juries in Ireland, Latvia and Norway. My latest silent film as a producer, ‘The Moonshiners’ was nominated as the best short film of the year in the Finnish Oscar's. I’m most excited to attend the sessions regarding programming film heritage festivals to learn about different cultures. In these isolated times, it is vital to keep networking and sharing ideas in your own field. I believe the new perspectives I would attain from the course would help me in my approach of taking film history and archival programming further.

Guillaume Lafleur a publié depuis 1999 près d’une centaine d’articles et essais sur le cinéma contemporain, l’histoire du cinéma québécois, le cinéma expérimental et l’esthétique du film. Il détient un doctorat en Littérature comparée (option littérature et cinéma) de l’Université de Montréal (2007), où il a enseigné l’histoire du cinéma et l’analyse du film, entre 2003 et 2008. Il multiplie ensuite les activités de diffusion en cinéma, d’abord à titre de directeur artistique de l’organisme culturel Antitube, basé à Québec (2009-2012), puis a titre de directeur général et artistique de Daïmôn (2012-2014). Il y a supervisé des résidences d’artistes, des performances en arts médiatiques et un programme soutenu, axé sur le documentaire et l’approche expérimentale. Il a également initié et dirigé trois symposiums consacrés au cinéma expérimental et à l’art vidéo, à Gatineau et à Montréal, entre 2013 et 2015. Arrivé à la Cinémathèque québécoise en 2014, d’abord à titre de programmateur-conservateur, il devient directeur de la diffusion et de la programmation en 2017. Plusieurs sujets abordés à la Winter School de la FIAF cette année recoupent des préoccupations courantes dans mes activités de programmation. Mes attentes oscillent entre la saine émulation et le plaisir de faire des découvertes.

In the past seven years as the head programmer of the Cinematheque of Bogotá I designed more than 40 film programs in co- production with other cinematheques on a worldwide level, embassies and cultural centers. I coordinated retrospectives from directors such as Barbara Hammer (2013), Luis Ospina (2016), Roberto Minervini, Claire Denis and Apichatpong Weerasethakul (2019). Also I have been project advisor and jury in different institutions of Colombia and worldwide in events such as Berlinale and Transcinema Film Festival. Currently I also work as a Film History Professor at Universidad de los Andes in Bogotá, Colombia. I am very interested in this experience given that the FIAF promotes critical and engaged practices in an international level, but mostly because through my experience I have developed a passion and a critical perspective around visual arts and at the same time I have the constant need to expand my knowledge in the fields I am interested in. For me it's very important to connect film archives with the different circumstances that are affecting the world right now: I think there is a need to rethink new programming models, learn more about online platforms and explore new possibilities for online programming.

I currently work as a director at IndieLisboa International Film Festival. I have been programming for a decade for IndieLisboa and most recently for Tribeca Film Festival in NY. I also work as a director at IndieJunior Children and Youth Film Festival in Porto, a festival fully dedicated to younger audiences. After participating in FIAF Film Restoration Summer School I collaborated with Cinemateca/ANIM for the restoration of Portuguese films. Participating in the FIAF Winter School will help me structure a long-term project: a new cinema in Lisbon. I would like to help create a new space complementary to the existing cinema offer, showing archival programming, with specific screenings and activities for children and youth. At this course I expect to hear about and debate challenges in programming archival work, such as those related to representation, and also how to develop strategies to reach younger audiences.

Je travaille à la Cinémathèque française pour le programme d'Education à l'image "Le cinéma, cent ans de jeunesse" dont j'assiste la coordination depuis 2014. Il s'agit des ateliers de cinéma où nous faisons découvrir la richesse de l’analyse de films de toutes les époques et de la fabrication de l'image cinématographique à des écoliers, collégiens et lycéens de partout dans le monde. Par ailleurs, je chapeaute un atelier appartenant au programme dans mon pays d’origine, le Mexique. Je suis tout particulièrement sensible à la pertinence du thème de cette année de la Winter School. Réfléchir à la proposition de films de patrimoine (ou pas) sur des plateformes en ligne dans cette période singulière où la plupart de la population mondiale est censée rester enfermée à la maison et à la recherche des contenus audiovisuels pour ne pas rompre totalement avec l’extérieur. Puis en contrepartie, le cinéma itinérant : ses problématiques et limitations surtout dans le contexte actuel. Je me nourrirai des expériences des intervenants et de tous les participants afin que cela me prépare à rentrer, je l’espère, dans le monde de la programmation d’aujourd’hui.

I'm Founder and Director, since 2016, of Mexico Silent Film Festival. During eight years, I've been a film programmer as well for the Alliance Française and the National Museum of Mexican Railroads, both located in the city of Puebla. With a masters degree in Arts and Aesthetics (BUAP-Mexico), I've given speeches, presentations and courses regarding film history and gender studies for Cineteca Nacional de México and Instituto Mexicano de Cinematografía. I've also been curator for the Giornate del Cinema Muto/Pordenone Silent Film Festival in 2018. For the 2021 Programming Winter School I expect to learn from the experiences of the FIAF community regarding the pandemics and its implications on curating for film heritage festivals. I'm expecting as well certain discussions about film programs and their relation with the audience's social movements and struggles, specially those regarding gender and identity rights that are so currently urgent around the world. In correspondence, I hope to give back to the community through my FIAF Programming Game proposal, "Women and Work in Early 20th Century", which reflects about the issues mentioned above.

I have worked as a film programmer for some years now both for the International Film Festival Kino Otok - Isola Cinema and the Slovenian Cinematheque. At both "venues" we insist on presenting the cinematic expression and film history as a complex and diverse field, accompanying the professional and ethical film projections with talks, discussions, lectures, writing... With this principle we try to reach the broadest public as we believe film is also one of the most branched and at the same time precise means of communication. At the 2021 Winter School I expect to get to know colleagues with diverse experience - and share those, also addressing the current circumstances of our work (having in mind not only the effects of the epidemic, but also the issues of digitization, rights, habits and needs of the audience, printed word ...).

I have been working in the film industry including a distribution company and an independent micro cinema after I graduated from the university in 2011. Since 2018, I have been a curator for the film department at Kawasaki City Museum. (but unfortunately, we have been severely damaged by the typhoon in 2019 and still undergoing the rescuing of our collection) As a film archive, the previous film programs that I programmed are mainly based on our film collection: mostly Japanese independent films from 1950s to 1990s. My past programs includes “The Close Encounters: Contemporary Music and Japanese Cinema 1950s-1970s” which focused on the relationship between the development of Japanese electronic music and Japanese cinema in the 1950s to 1970s. I have also programmed feminist film programs in March, which celebrated the Japanese premiere of “Born in Flames” (1983) by Lizzie Borden. By participating this Winter School, I hope to absorb the knowledge and wisdom from the various cases as much as I can and explore the ideas that could be applied to our cases. Finally, I hope to enrich the networks and meet many friends to survive in this rapidly changing COVID-19 era.

Since 2013, I've programmed for the Yale Film Archive in my role as Special Projects Manager. This includes work on our ongoing "Treasures from the Yale Film Archive" series, an ongoing documentary series in partnership with PBS, and numerous short series or stand-alone screenings. Prior to Yale, I worked in programming departments at UC Berkeley's Pacific Film Archive and the Independent Television Service (ITVS). I'm particularly interested in public programming in educational/academic contexts.

I am a student of Preservation and Presentation of the Moving Image MA program at University of Amsterdam. I worked at the International Documentary Film Festival Amsterdam (IDFA) in 2019 (as an intern in the Program department) and in 2020 as a Program Producer. I have collaborated with several festivals in Slovakia, my native country. Currently, I am the head programmer of the film section at a multimedia festival Starry Nights (Hviezdne noci) in Bytca, Slovakia and I also work as an editor for the Czech and Slovak Film Database. From participating in the WS, I expect to get up-to-date insight from experts in the field which will help my research on my thesis, focused on the presentation practices of Eye Filmmuseum. Moreover, I am also hoping to get to know other participants and learn from their experiences.

I joined the National Cinema Museum of Turin as a junior curator. The first major project I worked on is a tribute devoted to Amir Naderi, which included a book, the complete retrospective of his films and an exhibition of photographs by the Iranian director. I curated the tribute to Werner Herzog, also in this case composed by a interview book, the complete retrospective, the exhibition co-curated by Alberto Barbera at the Sandretto ReRebaudengo Foundation, a live concert at Teatro Regio and a workshop at Scuola Holden. The strength of my activity is the ongoing organization of Q&A with directors, scholars and crew members, called to dialogue with the public. I would like to attend to the Winter School 2021 since the programming work needs continuous updating and training. In order to be able to select films and present them on a silver screen, to a paying audience, it is necessary to gain a deep knowledge not only of the history of cinema and the new trends of contemporary cinema, but also and above all, sharing ideas with those who are involved in programming in different institutions around the world.

Romantic way talking: My obsession for films is a black hole: I want to catch everything. I'm Cinemateca Nacional del Ecuador's Cinema Club programmer. Cinemateca Nacional del Ecuador has been working for 40 years. Even thought's the most representative Film Institution that preserves and digitizes film archives in the country, I feel It could be taken to the next step. With this, I mean that it needs a fresh and contemporary perspective of thinking about and programming film archives: playing with past, present and future notions, mixing them, since they are the same physical concept in the background: time. My principal expectation is that the Winter School will allow me to see the international panorama on film archives programming, and I will try to take notions and settle them to the Ecuadorian reality. All the best. ;)

Currently i am working as curator and head of the programme department at the Slovenian Cinematheque. I started collaborating with the Cinematheque in 1998 as curator of animated film programmes. From 2004 i am programme director of the Animateka International Animated Film Festival. As programme at the Slovenian Cinematheque i curated the following retrospectives: Jan Švankmajer, Norman McLaren, Karel Zeman, Ingmar Bergman, Jean Renoir, Roy Andersson, Federico Fellini and others. My expectations of the 2021 Winter School are to increase my knowledge on film heritage programmation, to get new contacts and to have a chance to listen to great lectures from colleagues.

Director of the National Film Institut Hungary, Film Archive Before 2017, 13 years’ experience in theatrical and video distribution, festival organisation, creator of the cinema of the Hungarian Institut of Paris, founding member of Kino Visegrad Association in Paris. Focus: Central European film heritage. Since 2017, as the director of the Hungarian Film Archive, I am also responsible for the development of the national and international distribution of the Hungarian Film heritage. Yearly (except the Pandemic year of 2020), we are managing more than 700 screenings with national partner cinemas, reaching around 60.000 viewers. Managing the Archival content (220 titles) of our VOD platform (www.filmio.hu) and our educational film database (www.alapfilmek.hu). Director of the BUDAPEST CLASSICS FILM MARATHON international restored film festival, programming 100 films in 6 days in 5 venues: - Professional program (3 days): Professional lectures and seminars on restoration, film heritage, preservation, film identification, transmission of knowledge, case studies, etc. - Program focuses: Special guests, Homages, Director's focus, Open Archives, Double features, Special themes: Tuned to films, Earlie talkies, Silent in stereo, Women in film, Grand Budapest, etc. I expect from the Winter school a constructive exchange and to learn from each other.

I have been a film programmer with UCLA Film & Television Archive since November 2016, where I've focused on increasing the visibility of female-identifying filmmakers through public exhibitions of genre-spanning, international works. I am a programmer for the Slamdance Film Festival in their Breakouts (non-first-time filmmakers) section and have previously worked as a shorts programmer for AFI FEST. Prior to working with the Archive, I was the Director of Programmer with the (now defunct) Cinefamily at the Silent Movie Theater in Los Angeles. My four years of film programming with UCLA Film & Television Archive is but a small contribution in the decades-long legacy of public film exhibition at the university, and represents the current phase of an ever-evolving effort that nonetheless has always sought to look beyond the canon. Shifting socio-political realities mandate an active, intentional re-discovery on the part of moving image curators. With no formal training as a curator (sa ve for on-the-job experience), I enter this intermediate period of my career seeking to learn from others in the field. It is my hope that participation in the 2021 Winter School will motivate and inspire a sustainable praxis of ongoing re-discovery within UCLA Film & Television Archive's collection.

I am the Screen Heritage Producer for the BFI Film Audience Network, overseeing a nationwide fund that encourages independent cinemas, film festivals and curators to programme screenings and events using moving image material from the UK’s 13 National and Regional Film Archives. The four-year programme (2018-2022) aims to increase exhibitor confidence with programming archive film, to enhance links between cinemas and archives and to engage young (16-30) and diverse audiences with heritage collections. For the past ten years, my academic interest has focused on recovering the work of the UK independent film and video sector in the 1980/90s and has led me to archive and programme the films of Marc Karlin and the Amber Film and Photography Collective in cinemas, film festivals and gallery spaces. In the Winter School, I am interested in expanding my own knowledge of the creative collaborations between archives and exhibitors, specifically how different organisations are exhibiting material that develops young audiences, how they represent diverse communities on screen and in the immediate sense how venues aim to resume audience facing activity with archive material in the face of the Covid-19 challenges.

I am a programmer and archive manager at the Munich Film Museum. Before that, I worked for several film festivals (Film Festival Munich, goEast Festival Wiesbaden) and a Munich based film distribution company while completing a PhD analysing the films of Russian director Aleksandr Sokurov. I only recently started working at the Munich Film Museum. Thus, in participating in the Winter School I initially hope to get impulses and information regarding the programming of film heritage in general. Moreover, I am looking forward to establishing connections with employees of other FIAF-affiliated institutions. Beyond that, I believe the unprecedented situation we all experience currently presents a chance to intensify the focus on the development of additional forms of film presentation. I am curious to see how other institutions deal with these challenges.

I am currently a graduate student in the Preservation and Presentation of the Moving Image program at the University of Amsterdam. My programming experience has mostly been in conjunction with Columbia University’s Women Film Pioneers Project, a digital humanities initiative that advances research on silent era women filmmakers that I have managed since 2013. While programming is not the main aspect of my job, I have had the opportunity to curate and organize a number of silent film screenings devoted to early women filmmakers, including at Meno Avilys in Lithuania, Anthology Film Archives, and the New York Public Library, among other places. While I’ve informally learned a lot while developing my curatorial voice and practice during these events, I also want to connect with and hear from individuals who have extensive experience in film programming and archival film exhibition more broadly (both online and in-person). As an emerging archival professional and film curator interested in silent cinema and the relationship between exhibition and film historiography, I am looking forward to the opportunity to engage with a wider network of established professionals and peers.

I am film historian, researcher at Central European University, and Festival Director of Verzio International Human Rights Documentary Film Festival in Budapest, Hungary (verzio.org). I have been programming Verzio for 17 years, and have experience of participation in various international collaborative projects, including educational events and exhibitions that include heritage film screenings. I also have teaching experience in visual studies and film history, I have published a monograph on early Soviet nonfiction expedition films (Screening Soviet Nationalities, 2017) and several articles on early cinema. In my current research and programming practice I am particularly interested in two themes: the use and repurposing of amateur footage and photography and the compilation/montage films. I am looking forward to the FIAF program and to discussing curatorial strategies and cutting-edge archival and heritage programming practices with the international group of participants and tutors.

I am currently coordinating the programming department of the Cinemateca Portuguesa. It is a kind of a happy return to the institution where I started my career as a programmer (from 1998 to 2003) after which I created, ran and programmed IndieLisboa film festival for 16 consecutive editions. At IndieLisboa even if I was more involved with contemporary cinema I always tried to create a connection of our audience with other periods of film history either through the festival retrospectives or the Director’s Cut section. With the Cinemateca’s venues still closed because of the pandemic, I hope to take this break from a routine of daily programming and enjoy the plethora of 2021 Winter School fascinating panels to refresh and enrich my views as a programmer. Namely, the challenges of online archival programming and the creation of film programs outside traditional cinephilia habits are for me what’s more interesting to be learned from the experiences and case studies that will be shared in this seminar.

My name is Tamara Shvediuk, I graduated in cinema critic and, currently, I am senior art critic at the Gosfilmofond of Russia. I am a specialist of foreign silent titles in the archive collection and, right now, I am curating the digital restorations of several early films. I also assist with programming for the cinema «Illuzion» in Moscow and I have been a lecturer in some public events. Moreover, I take care of the requests about our film collection from other institutions and festivals, many of which are FIAF members (I support them with programming as well, if required). I have a specific interest in attending the FIAF Programming Winter School because, in my own experience, even with a very accurate planning beforehand, it’s not always enough to devise a great program, since there are many factors that might threaten the success of a public event. This edition of the FIAF Winter School represents a unique chance to analyze all topics related to programming, drawing fully from the first-hand experiences of fellow programmers and artistic directors who, last year, were obliged to face a dramatically different and unexpected situation.

I am currently part of the technical team at the National Film Archive of India (NFAI). As of now my only experience with film programming has been part of a school assignment, so basically I have no professional experience. My primary expectation from Winter School 2021 is to gain useful insights about how to successfully engage local audience via film programming, especially when the content is not what that specific audience is used to.

Activist for preservation and public access to audiovisual archives in Mexico. In 2015 I created Experiences of Archives, a monthly program of films from the collections of Cineteca Nacional where since 2012 I have been in charge of the videographic, iconographic and digital collections. I have promoted and collaborated with initiatives that show renegade archive material. I programmed the archival section "Retrovisor" for the Ambulante Documentary Film Festival (2018-2020): Por ahí del 68: amateur films, newsreels and television commercials made in Mexico at 1968; expanded Cinema with newsreels and celebrations in mexican amateur films and ethnographic productions. I collaborated with Reencuentros al margen. El cine hecho en cine (2017-2019) with the Laboratorio Experimental de Cine. My main topics interests are: amateur films, experimental and indigenous audiovisual works. I combine my career as archivist in a national institution with my interest to show non-fictions films in outdoors screenings at community environments.

Active as one of the three residential curators at Slovak Film Institute Cinematheque (Filmotéka, a screening room at Kino Lumière in Bratislava, Slovakia) since 2014. Since its very beginnings we have been screening films mostly from 35 mm prints stored in our own film archive. When programming we do our best to look at the history of cinema in “spatial” terms rather than “temporal”, the history of cinema in this perspective is a vast territory, for which we try to outline some maps. The principal guideline for our programming is an idea of “organic” programming: one film links to the other, the other one to another one and so on. Out of this “fluid” process a “network” with multiple entrance points, junctions and nodes arise. I have been curating the film programmes using my knowledge of national and world cinema, employing my „instincts and intuition", but above all, programming the cinematheque programme out of our sheer passion for cinema, many times breaking „conventional rules“ of programming. Taking part in the Winter School I wish to get inspired and (possibly) inspire my fellow curators in order to move on with the film programming into „the new era“.

My name is Federico Striuli and I am a freelance film programmer, especially for silent film festivals and events. In 2014, I was the curator of a special program (prime time show) for the Pordenone silent film festival “Le Giornate del Cinema Muto” together with the Cineteca Nazionale of Rome, consisting of 12 early short rare movies, almost all 35mm prints. In 2016, I curated another film program for the same silent film festival together with the Gosfilmofond Archive of Moscow: a previously lost 1916 American series, “Who’s Guilty?”, dealing with many social themes (divorce, strikes, violence, etc.). In 2019, always together with the above mentioned archives, I curated and screened the full reconstruction of a previously lost 1919 American serial, “The Great Gamble”. This last endeavor required a huge effort, considering the fragmentary source materials. Being a regular in many silent film festivals over more than ten years, both as member of the audience and as film programmer, I am particularly interested in how to face film programming problems and issues, in order to eventually achieve success with the audience. In this respect, I think that the 2021 Winter School is a great opportunity for self-improvement.

I've been working in NFA as a film curator for one year, I would like to improve my programming skills and learn from more experienced programmers. I'm especially interested in online cinema programs and how usual cinema program should be modified for online presentation.

Since June 2019 Arianna Turci is Head of analog film collections at the Cinémathèque Royale de Belgique - Koninklijk Belgisch Filmarchief: she is responsible of conservation, cataloguing, restoration, digitalizing and exhibition of film collections. From November 2016 to May 2019 she has been Responsible for access - acquisitions and restoration of film collections for the same institution. Nowadays she remains in charge of Access to film collection’s department ad interim. From June 2015 to October 2016 she has been Conservatrice at La Cinémathèque de Toulouse (France) where she was responsible for managing both film and non-film collections and she even coordinated the library asset. From 2006 to 2015 she has been film archivist at the Archivio Nazionale Cinema d'Impresa (National Italian Industrial Film Archive – Ivrea/Italy). There she was in charge of conservation, cataloguing and restoration of industrial and advertising films. In 2004 she attended the D.E.S.S. Valorisation du Patrimoine cinématographique et audiovisual at the University of Paris VIII, in 2005 she frequented the MASTER Preservation and Presentation of the Moving Image at University of Amsterdam and in 2009 she attended the FIAF Summer School at the Cineteca di Bologna. In 2006 she published the article "The Use of Digital Restoration within European Film Archives: A Case Study "(The Moving Image - Volume 6, Numero 1 - AMIA – Hollywood) and in 2016 she published the article "The Archivio Nazionale Cinema d’Impresa Collections: An Overview" (in Bo Florin, Nico de Klerk and Patrick Vonderau (eds.), Films that Sell: Moving Pictures and Advertising, BFI/Palgrave; Cultural Histories of Cinema series).

My professional experience with film programming began as theatre manager at the George Eastman Museum’s Dryden Theatre, where I acquired knowledge about film curation, preservation, and exhibition, as well as booking and coordinating processes. In 2019, I transitioned to my current position as program manager at the Harvard Film Archive. In this role, I have continued to develop my understanding of film programming by having opportunities to construct programs, locate print materials and rights, organize visiting guest itineraries and special events, and oversee financial invoicing and budgets. I have fervent interest in attending the FIAF Programming Winter School in order to gain greater perspective into the international programming experiences of film archives and museums. I am specifically curious about how diverse institutions are programming experimental/found film/home movie collections, formulating online programs during the global pandemic, in addition to preserving and programming film within challenging environments. Through the Winter School, I hope to further expand and enrich my knowledge of film programming, as we all exist in this ever-changing environment of collective cinematic experience.

Travaille à l'Institut Jean Vigo, la cinémathèque de Perpignan depuis 1989. Programmateur depuis une vingtaine d'années. Les conditions sanitaires actuelles nous obligent a repenser certaines de nos activités et confronter les expériences est toujours enrichissant. Notre Institut a considérablement développé son secteur cinéma amateur. Il a également développé ses actions envers les publics empêchés (prison, EHPAD....Ici encore, la confrontation des expériences ne peux être qu'enrichissante.

I'm part of the programming team at FINA – the Polish National Film Archive–Audiovisual Institute (formerly NInA) – since May 2015, when the new audiovisual space in Warsaw's Służew has been made available to the public. I curated many projects centered around the idea of re-contextualizing archives, including: FINA's longest-running fortnightly series of screenings called "Teraz-wtedy" ("Then-now"), in which new documentaries are juxtaposed with Polish classics from FINA's archive; "Double bill", a program in which the newest international features are juxtaposed with classics; "Affective archives", a program exploring the re-use of personal video archives as found-footage films or music-video experiments. I'm also interested in new forms of digital storytelling. I'm the manager of an international festival of meaningful video games Games for Impact (https://gamesforimpact.pl/en/). In 2016 I also created a four-day festival dedicated to the new wave of TV series. I'm hoping the FIAF Winter School will help me craft better online and hybrid events, build on my experience in programming found footage and spearhead the accessibility effort at FINA.