The French â€œInstitut National de lâ€™Audiovisuelâ€(INA) has joined the Video Active project as an associate partner. By welcoming INA, Video Active will offer an even richer collection of television heritage on its portal, www.videoactive.eu.
INA is one of the largest audiovisual archives in the world. INAâ€™s collections cover more than 60 years of radio and 50 years of television programs; more than 4 millions hours of radio and television. INA will sign a special contract becoming associate member to the project and agree upon providing a minimum number of assets to the portal, available for online viewing. The beta release of the portal can already be accessed online, the first public version will be launched at the end of April 2008.
Next to INA, the archives of VRT (Belgium) and Moving Image Communications (UK) already joined the project as associate partner at an earlier stage. The total number of Eurpean archives represented in the portal has now reached 14. Video Active encourages other content providers to join the project. (more…)
Nisimasa, a European network of young film professionals, students and enthusiasts for European cinema, devoted their March edition of their online magazine to the topic Film Archives. According to chief editor Caroline Fournier, young film professionals don’t really know much about this topic and are closed off because of bad access. At the same time archives have great potential to contribute to their future work through reuse of the material.
“These images can become part of the artistic process, in a society which wants to recycle its heritage, which likes to reuse old images in order to realise something new”
There are interesting initiatives going on to give better access the material. Film Archives Online for example gives free access to catalogue information of film archives from all over Europe, via a multi-lingual web portal. At the Moving Images Archive you can view around 2000 films from the Prelinger Archives. But, do these facilitate young filmmakers in reusing the archives enough? What do young filmmakers expect from the archives? How can cultural heritage contribute to their work and how would they like to have access? If you have an opinion on this topic, please comment.