International festival of restaured films

international festival of restored films 3rd edition / 28 january - 1 february

Over the past few years now, our cinematographic heritage has become the object of increasing interest, from the public as much as from professionals.

The awareness that cinema henceforth has a long history, just like the feeling that its past is ineluctably part of the present, are henceforth deeply inscribed.

The Toute la mémoire du monde festival is the moment when this love of what makes the history of cinema alive and topical can concretely be embodied in the form of exceptional screenings and professional encounters capable of interesting a broad audience attentive to the way in which repertoire cinema is now an integral part of cinephilia.

Thanks to the reduction in costs, the technological innovations linked to digital have favoured the rerelease of old films in cinemas as well as distribution on other supports and media (TV, DVD, VOD...).

The issues connected to preservation and, above all, to restoration now arouse growing curiosity that goes beyond specialists alone, and the popular success of numerous events and initiatives attests to this.

Toute la mémoire du monde, organized

by La Cinémathèque française, was created in 2012 from this evolving

context as well as from the observation that, in Paris, there was need for a key moment devoted to the celebration of film heritage. Projections of prestigious restorations in the presence of filmmakers, actors and film technicians; hidden gems; contribution to the history of cinema in the form of discoveries or rediscoveries of emblematic films; the occasion to meet a renowned filmmaker attentive to the stakes of heritage, and the possibility of listening to specialists on technical and aesthetic issues concerning the repertoire and its restoration are so many reasons for attending this great annual rendezvous in Paris, devoted to the celebration of film heritage. Thus, the vocation of Toute la mémoire du monde is to bring together spectators and professionals, public authorities and catalogue holders once a year, for thinking as well as for a festive event. The programming, organized in several sections, mixes screenings and professional encounters linked to the most burning issues.

The guest of honour of this third festival will be Francis Ford Coppola. At a time when La Cinémathèque française is undertaking the restoration of the so-called “complete” version of Abel Gance's Napoléon (1927), the director

of Apocalypse Now will discuss his attachment to an extraordinary film that still fascinates with its innumerable formal innovations, thousands of extras, grandiose cast and musical editing. Moreover, a selection of films directed by Coppola will be presented in the framework of an homage to the filmmaker, culminating with the projection of The Godfather trilogy and a cinema lesson given by him.

One can also discover rarities and masterpieces recently restored round the world by archives, cultural institutions and private catalogue holders: Roman Polanski's Macbeth, Raoul Ruiz's Time Regained, The Tales of Hoffmann by Michael Powell and Emeric Pressburger, or Nagisa Oshima's Cruel Story of Youth.

Tribute is being paid to the prestigious private American Cohen Collection.

Legendary amongst film buffs for decades, the collection boasts some 700 titles assembled by the archivist, programme director and distributor Raymond Rohauer, a film enthusiast who had moved to Los Angeles and long ran the Coronet Theatre where he programmed great classics, foreign films and many avant-garde works. It was

assembled in particular with exceptional donations from Buster Keaton, Mrs Harry Langdon and Douglas Fairbanks, Jr. Programming and lectures by specialists on the birth of Technicolor will contribute to a history of colour in cinema. In late 1915, the Technicolor Corp. was founded by graduates of MIT, the Massachusetts Institute of Technology, aimed at finding a solution to the problem of colour in the film industry. The Black Pirate, A Star is Born, The Adventures of Robin Hood or Gone with the Wind mark so many fascinating steps in this evolution. Some very rare prints are presented in the authentic Technicolor imbibition system.

The program includes the finest two- and three-colour productions of the 1920s and '30s!

A seminar is being organized in collaboration with the CNC and will allow specialists and experts to take stock of the current challenges concerning film heritage.

Finally, with the "Once upon a time there was the Western (1910-1919)" programme, the Jérôme Seydoux-Pathé Foundation is

opening its doors to the festival for fifteen showings, with piano accompaniment, of restored films from the collections of La Cinémathèque française. Between the Camargue region of southern France and California, they offer an unusual itinerary through the early days of the western.

Such an event takes on full meaning only if it is also disseminated in Paris, world capital of cinema and cinephilia, and will associate various sites and cinemas.

Several events, previews and special showings are thus programmed in the capital's network of art-house cinemas such as Le Grand Action, Le Champollion and the Filmothèque of the Latin Quarter, Le Louxor, as well as in the regions, in partnership with the ADRC (Agency for Regional Cinema Development) and AFCAE (French Association of Art-House Cinemas). These cinemas, presenting restorations, archive films, and cinéconcerts, will ensure the discovery of classics along with rarities.

Toute la mémoire du monde also contributes to heightening the awareness of schoolchildren and young people in the framework of educational actions

intended to make the film heritage alive, close and attractive to the youngest.

Such an initiative would not be possible without the precious support of the CNC, the major patrons of La Cinémathèque française, the Neuflize OBC bank and the GAN Foundation for the Cinema, the Franco-American Cultural Fund (DGAMPA-SACEM-WGAW), the Jérôme Seydoux-Pathé Foundation, and the City of Paris, particularly concerned with accompanying the network of art-house cinemas and developing the younger generations' education in the image, leading players in the film industry such as Technicolor or Eclair and, of course, faithful media partners TCM Cinema, France Culture and Télérama.

Our sincere thanks to them all for the greatest pleasure of the public and for the love of cinema!

PAULINE DE RAYMOND Programmer of the festival SERGE TOUBIANA General Director of La Cinémathèque française

tribute to francis ford coppola

Coppola, the art of rebirth all, haunted by cinema and ready to explore all its facets. He became a scriptwriter (amongst others: René Clément's Is Paris Burning? and Franklin J. Schaffner's Patton) and in 1969, founded the production company American Zoetrope with his friend and ally George Lucas. He kept one foot in the industry and the other elsewhere, especially in San Francisco where he settled to distance himself from Hollywood.

One from the Heart, Francis Ford Coppola, (1982)

It is probably because he did everything at a very young age, in Hollywood, that Francis Ford Coppola allowed himself to wage war against the studio system at the risk of losing his shirt. Each time, he took up the fight again, punctuated by defeat and sometimes by victory. For him, the essential thing was to be reborn. A member of the "New Hollywood" generation with his friends George Lucas, Brian De Palma, William Friedkin, Steven Spielberg and Martin Scorsese, he is doubtless the one who has gone furthest in the vision of a "renaissance" in American cinema, driven by a desire for a new spirit or a new golden age.

When still quite young, he began tinkering with images and sounds, tried his hand at theatre, branched off towards cinema, studied at UCLA, and met Roger Corman who gave him a leg up: the ideal itinerary of a maverick who, very early on, confronted the system. There he learned to negotiate, bounce back, use cunning, and, above all, to assert his personality and taste for freedom. Coppola was only 24 in 1963 when he shot Dementia 13 on a shoestring. Four years later came Big Boy, a veiled reference to the French New Wave in the style of Breathless, and selected in competition at the 1969 Cannes Festival. A photo by Henri Traverso shows the young Francis Ford on La Croisette, wearing a wool jacket, tie and trousers a bit too short. He was still an unknown, but the young man was ambitious and, above

In 1972, the triumph of The Godfather put a considerably new light on things. Coppola proved that he was capable of both working within the studios whilst imposing his views. It was he, for example, who insisted on Marlon Brando against the advice of Paramount. Between The Godfather 1 and 2, shot in 1974, Coppola made one of his finest films, The Conversation, which won the Golden Palm at Cannes in 1974. Five years later, he would be awarded a second for Apocalypse Now. With Coppola, artistic cycles alternate films made to get back on his feet financially or because they are the object of a command, and more personal works marked by a desire to experiment with new languages and new techniques. As such, One From the Heart (1982) constitutes the grand finale of the filmmaker's offensive strategy, rebelling against the stranglehold and standardization of studio films.

Although he was the first major filmmaker to experiment with shooting in video, the film's flop forced him to return to "minor" films: The Outsiders and Rumble Fish, which, paradoxically, put him back on his feet. Author of one of the richest, most prolific catalogues in American cinema, alternating genres, he carried out a strategy of avoidance then confrontation with the heart of the industry. More recently coming back to total independence with such masterful works as Tetro (2009) and Twixt (2011), his last two films, Francis Ford Coppola resembles the protagonist in Tucker, a visionary engineer who confronts the Detroit auto industry by himself. The artist needs this struggle to survive and create; if he loses, he will go draw new strength to return to fight. Rebirth is the very subject of his work.

SERGE TOUBIANA General Director of La Cinémathèque française

tribute to Francis FORD coppola

Restorations and incunabula

Back to the roots The section also allows for discovering works less seen and sometimes even lost. That is the case with one of cinema's very first adaptations of Sherlock Holmes, directed by Arthur Berthelet in 1916 with William Gillette in the title role. For more than twenty years, Gillette enjoyed success in adapting and playing Sherlock Holmes in the theatre, on Broadway and in England, and Orson Welles went so far as to say, “Sherlock Holmes resembles William Gillette exactly”. The showing will feature a musical accompaniment by the British pianist-composer Neil Brand, who will reproduce the period sound effects.

Macbeth, Roman Polanski, (1971)

The “Restorations and incunabula” section proposes several restorations carried out in France and elsewhere in the world in 2014, thus offering a variety of activities invigorated by digital technologies.

On this year's programme: the restoration of Roman Polanski's Macbeth, the adaptation of Shakespeare's play that gave the filmmaker the opportunity to plunge to the heart of evil and stage the brutal loss of innocence. Settings, skies, sound effects... everything contributes to expressing anxiety in this Gothic tale in which the best, the most loving, and the most valiant will soon be the most monstrous.

In 1999, Raoul Ruiz took up the challenge of adapting Marcel Proust's Remembrance of Things Past, giving it a facetious representation that plays on the memories that each of us has of the text and condense them. “If one imagines the novel, if one dreams it, making all the anamorphoses of the dream intervene, one can find a way to adapt it ”, said Ruiz. The Chilean filmmaker proclaims the dual influence of Georges Méliès and Max Linder, amusing himself by filming the world like a theatre.

For decades, Mouchette has been absent from the big screen.

The restoration, proposed by Argos Films and supervised by Mylène Bresson, will allow for rediscovering the density of the film's image. Robert Bresson and his director of photography, Ghislain Cloquet, had carried out new experiments to get away from a certain “bressonian” neutrality, devising more mobile shots and, above all, deepening the blacks to accentuate the sordid aspect of the story.

Restorations and incunabula

We are also presenting one of Nagisa Oshima's films restored by Shochiku, the company that produced the director's first films.

Cruel Story of Youth paints the portrait of an ailing Japanese society, which cinema must contribute to exploding. At the time, Oshima thought of his films as scathing attacks in reaction to a Japanese cinema submissive to the established order.

A newfound film by Robert Flaherty, Night of the Storyteller, provides us with a fine occasion to propose a film marathon dedicated to this great pioneer of documentary cinema who forged his art by observing peoples he loved, still protected from “progress”. Moana was shot in 1924 on the Polynesian island of Savaii. The version given a soundtrack in 1980 by the filmmaker's daughter has just been restored in the United States.

Finally, a projection of rushes from Tabu, with commentary by Martin Koerber, will go back over the turbulent collaboration between Flaherty and Murnau during the shooting.

These films and many others – including an unreleased interview between Jean-Luc Godard and Serge Daney, or The Tales of Hoffmann by Michael Powell and Emeric Pressburger, in a sumptuous Technicolor – constitute an edition 2015 rich in surprises and discoveries!

PAULINE DE RAYMOND Programmer of the festival Toute la mémoire du monde 1 - « Dans le laboratoire de La Recherche. Entretien avec Raoul Ruiz », Cahiers du cinéma n°535 (mai 1999).

PROJECTIONS WITH ENGLISH SUBTITLES It happened at the inn / Goupi Mains Rouges, Jacques Becker.

Thursday 29 January, 7pm Sherlock Holmes, Arthur Berthelet. Saturday 31 January, 5.30pm L’Udenzia / L’Audience, Marco Ferreri. Saturday 31 January, 10pm

Cohen Film Collection

Saving yesterday’s treasures for tomorrow’s audience exhibition and distribution of avant-garde work in Los Angeles and became a close associate of filmmaker Stan Brakhage.

In 1954, Buster Keaton and wife Eleanor attended a screening of The General at the Coronet. It was there that Keaton informed Rohauer of the cans of film that he had stored at his house.

Rohauer and Keaton became business partners and began to preserve many of his greatest films. It was also at this time that actor James Mason, having purchased the house that Keaton lived in at the height of his fame, found a large collection of Keaton’s films which were made available to Rohauer. Traveling programs of Keaton’s silent films began to circulate, in particular at the Cinémathèque française in 1962, culminating in a tribute to him at the 1965 Venice Film Festival, five months prior to his death.

Encouraged by his relationship with Keaton, Rohauer entered into similar arrangements that increased his library. He became business partners with Douglas Fairbanks, Jr. and the two formed a company to preserve and distribute the films of Fairbanks’ father, Douglas Sr. Rohauer also partnered with the estate of “The Fourth Genius of Silent Comedy”, Harry Langdon, to rescue his films from obscurity. Other significant parts of the Collection include a large number of British titles, including films featuring Paul Robeson, Vivien Leigh, Laurence Olivier, and Douglas Fairbanks, Jr.; dozens of music and comedy shorts produced

by Paramount in the early 1930’s featuring such performers as Duke Ellington, Billie Holiday, Louis Armstrong, George Burns, Gracie Allen, W.C. Fields and Robert Benchley; and silent features

by D.W. Griffith and starring Norma and Constance Talmadge.

Dementia, John Parker, (1953)

Cohen Film Collection: The Rohauer Library is a world-renowned collection of rare movie classics. Long acclaimed for its immensity and entertainment value, this esteemed collection of over 700 titles spans 75 years of the cinema’s most dynamic eras.

This unique screen treasure was amassed by Raymond Rohauer (1924–1987), the former film curator of the Huntington Hartford Gallery of Modern Art in New York, who devoted his life to collecting these distinguished films.

Rohauer moved to Los Angeles as a teenager in the late 1940’s driven by his passion for the movies. He went on to found the Society of Cinema Arts, offering events and regular screenings of experimental, classic and foreign films at the Coronet Theatre, playing an important role in educating the film community in Los Angeles about cinema history. Rohauer was instrumental in the

Cohen Film Collection

In 2011, the Collection was acquired by Charles S. Cohen, a lifelong cinema fan and one of America’s most important commercial real estate owners/developers, as well as an influential patron, innovator and visionary of culture and the arts. Under the stewardship, and guided by the vision of Mr. Cohen, plans for the systematic preservation and restoration of the many classics in this unique film library will ensure that they are available to be enjoyed by generations to come. Through strategic partnerships with the most prestigious archives in the United States and abroad, film titles are selected on an ongoing basis to undergo complete digital restoration, so that the best possible versions of these historic films are available. In addition to the treasures contained in The Rohauer Library, Cohen Film Collection augments its library through the acquisition of classic films from around the globe in order to offer an ever-growing selection of the classics in world cinema.

TIM LANZA Archivist, Vice-President of the Cohen Film Collection

BY WAY OF INTRODUCTION

The beginnings of Technicolor,

new colours for Hollywood The year 2015 celebrates the centennial of the birth of Technicolor, a celebration that the third edition of the Toute la mémoire du monde festival has chosen to accompany with projections of rare films.

The Technicolor company has dominated the colour film industry from the moment when its process, made up of three primary colours: red, green and blue (three-colour or three-strip), arrived on the screens in 1932 with Walt Disney's Flowers and Trees.

However, Technicolor was initially a two-colour or two-strip process. The company's founders presented it as a 'natural' reproduction of colours on the screen. The first film in Technicolor, entitled The Gulf Between (Wray Bartlett Physioc, 1917, now lost), was shot with Process 1. This additive process would soon be replaced by Process 2, which came into being in 1922 and in which two tinted positives, each in orange-red and blue-green, are glued together. In addition to three feature films entirely in colour - The Toll of the Sea (Chester M. Franklin, 1922), Wanderer of the Wastelands (Irvin Willat, 1924, lost), and The Black Pirate (Albert Parker, 1926) - this process generally appeared in the form of sequences at key moments in the films.

Process 3 was current between 1927 and 1933 and used the same camera as the Process 2 in which two successive frames on a negative are sensitized to the colours red and green. The true major difference of Process 3 comes from the new printing method: the transfer of colours by imbibition, with the use of two matrices, a technique that would be taken up for the three-colour process.

The invention of the three-colour camera in 1932 played a determining role in the advent of the three-colour process on the screen. Its construction was a technical challenge for it could contain three black and white negatives, recording the three primary colours simultaneously. The first shots were made for Lloyd Corrigan's musical short La Cucaracha in 1934, and for Becky Sharp (Rouben Mamoulian) in 1935. In those days, Technicolor offered a colour consulting department run by Natalie Kalmus, in view of moderating palettes that were too intense on film sets.

Admittedly, this service already existed in the 1920s, but what was at the time only an optional service became obligatory in 1935 for any production hiring a Technicolor camera.

Gone with the Wind, Victor Fleming, 1939

The festival's programming will allow for discovering gems of Process 2 such as The Toll of the Sea, starring Anna May Wong, and The Black Pirate with Douglas Fairbanks. As for Process 3, it was essential for the birth of the musical comedy, as the works Mammy (Michael Curtiz, 1930), and Thornton Freeland's Whoopee! (1930) would attest. Here one will find burlesque films from Mack Sennett's studio: Love at First Flight (Edward F. Cline, 1928) or Matchmaking Mamma (Harry Edwards, 1929). Finally, essential films such as The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1937), Gone with the Wind (Victor Fleming, Sam Wood, and George Cukor, 1939), and A Star is Born (William A. Wellman, 1937) characterize the moderate beginnings of the three-colour era. The programme of Walt Disney shorts from the 1930s will allow for admiring original 35mm Technicolor prints, as will the projection of John Ford's Drums Along the Mohawk (1939) of which La Cinémathèque française found an extremely rare print by imbibition in its collections.

CÉLINE RUIVO Director of the film collections of La Cinémathèque française

The Birth of Technicolor : 1915-1939

ENCOUNTERS AND LECTURES

DAY OF INTERNATIONAL MEETINGS In partnership with CNC Wednesday 28 January MORNING: 9.30am - 1.15pm LECTURE For a history of film restoration: from the first reconstructions to digital interventions

By Marie Frappat Marie Frappat is a graduate of the École Normale Supérieure in literature and social sciences in Lyon. She is the author of Cinémathèques à l’italienne: conservation et diffusion du patrimoine cinématographique en Italie. She is currently completing a thesis on the history of film restoration, under the direction of François Thomas at the University of Paris.

ROUNDTABLE An overview of the digitization and restoration of films in France. Aids from the CNC, Grand emprunt (large loan for the future), private partnerships and "crowdfunding".

By Laurent Cormier, Ariane Toscan du Plantier, Margaret Menegoz and Amélie Chatellier Laurent Cormier is the director of film heritage at the Centre National de la Cinématographie et de l’Image Animée (CNC).

Ariane Toscan du Plantier is the director of communication and heritage at Gaumont.

Margaret Menegoz is a producer and manager of Les Films du Losange.

Amélie Chatellier is in charge of distribution at the Agence du Court-Métrage.

LECTURE Are we reproducing an original work in a restoration?

By Nicola Mazzanti In partnership with the FIAF Nicola Mazzanti was co-founder of the "Il Cinema Ritrovato" festival in Bologna in 1985 and, in 1992, founded the L’Immagine Ritrovata laboratory. He is currently curator and director of La Cinémathèque Royale of Belgium, president of the executive committee of the Association

encounters and lectures

des Cinémathèques Européennes (ACE) and member of the FIAF Technical Commission.

LECTURE Restoration of old films faced with the advent of new distribution technologies (Ultra HD, High Dynamic Range, Wide color gamut, 4K)

By Christian Lurin Christian Lurin worked for the Eastman Kodak Company from 1985 to 2006. In 2002, he received a Scientific and Engineering Award from the Association of Motion Pictures Arts and Sciences for his contribution to the perfecting of a new film stock for recording film. Since 2013, he is director of the heritage division at Technicolor.

ROUNDTABLE What will we project in cinemas tomorrow: What is the future for the projection of film?

What questions are raised by digital projection?

Hosted by Jean-François Rauger Serge Bozon is an actor and filmmaker (Mods, La France, Tip Top).

Gian Luca Farinelli is the director of the Cineteca di Bologna and the "Il Cinema Ritrovato" festival.

Jean-Marie Dreujou is a director of photography and member of the AFC. He has worked with Patrice Leconte, Alejandro Jodorowsky, Jean-Jacques Annaud…

Torkell Sætervadet is an expert in cinematographic techniques. He is the author of The Advance Projection Manual, published by the FIAF and the Norwegian Film Institute in 2006. He is a member of the SMPTE and associate member of the FIAF's Technical Commission.

Angelo Cosimano is a chief representative of the CST (Commission Supérieure des Techniques).

He previously worked for Eclair and Digimage.

AFTERNOON: 2.15 - 6pm LECTURE From the Rohauer Collection to the Cohen Film Collection

By Tim Lanza Tim Lanza is archivist and vice-president of the

Cohen Film Collection. He has supervised the Rohauer catalogue since 1992. During this time, he has discovered numerous films believed lost and worked in particular with the Library of Congress and the British Film Institute.

LECTURES THE LUMIÈRE PROJECT On the occasion of the upcoming "Lumière!" exhibition at the Grand Palais in Paris and the restoration of the principal Lumière views, a series of talks on this considerable project, accompanied by numerous projections.

Digitization and restoration

By Thierry Frémaux Thierry Frémaux is managing director of the Institut Lumière and curator of the "Lumière!" exhibition.

Lumière, Sadoul and Langlois: historiographical questions

By Laurent Mannoni Laurent Mannoni is scientific director of heritage at La Cinémathèque française.

Films outside of Lumière production

By Béatrice de Pastre and Laurent Mannoni Béatrice de Pastre is director of collections and assistant director of film heritage at the CNC. The "Lumière!" exhibition at the Grand Palais

By Thierry Frémaux ROUNDTABLE Overview of heritage dissemination in France Hosted by Jean-François Rauger Marc Lacan is assistant general manager of Pathé.

Olivier Père is a film critic and director of Arte France Cinéma.

Philippe Chevassu is co-president of the Association des Distributeurs de Films du Patrimoine and manager of Tamasa Distribution.

Bruno Deloye is the director of the Ciné + channels.

Jean-Michel Gévaudan is chief representative of the Agence pour le Développement Régional du Cinéma (ADRC).

Alain Rocca is the president of Universciné, producer and treasurer of the Académie des Arts et Techniques du Cinéma.

Francis F. Coppola

ENCOUNTERS WITH FRANCIS FORD COPPOLA MASTER CLASS + FILM Francis Ford Coppola in the 1980s, the man and his dream Hosted by Serge Toubiana and Frank Scheffer F. F. Coppola will go back over his career in the 1980s, a swing period, one of continual reinvention. With his production company, American Zoetrope, Coppola decided to carry out a revision of shooting methods (electronical cinema), announcing the digital revolution...

The encounter will be followed by the screening of One From the Heart.

Saturday 31 January, 1.30pm LECTURE AND DIALOGUE Restoring Abel Gance's Napoléon: necessity, ambition and method of a vast project

By Georges Mourier By 1971, Napoléon had gone through numerous reassemblies and different versions directed by Abel Gance. Recent work by Georges Mourier at La Cinémathèque française has revealed the existence of two distinct negatives corresponding to two versions in 1927.

Projection of numerous documents and a reconstructed excerpt.

Georges Mourier is a filmmaker and researcher who made a documentary on Abel Gance: À l’ombre des grands chênes (2005).

La Cinémathèque française gave him the responsibility of reconstructing the restoration of Gance's Napoléon.

Followed by Dialogue between Francis Ford Coppola and Costa-Gavras Hosted by Joël Daire

Fleur de Lotus, Chester M. Franklin, (1922)

Having acquired the American rights and the negative of Napoléon, The Film Preserve embarked upon restoration work in 1979 with the British Film Institute, Photoplay and Kevin Brownlow.

In 1980, Carmine Coppola, Francis Ford's father, met Abel Gance during a test projection and agreed on the creation of a musical score.

The Film Preserve and American Zoetrope became partners.

Costa-Gavras is president of La Cinémathèque française.

Joël Daire is deputy director of heritage at La Cinémathèque française.

Thursday 29 January, 10.30am

CONSERVATOIRE DES TECHNIQUES CINéMATOGRAPHIQUES « BIRTH OF TECHNICOLOR »

By Céline Ruivo and Jean-Pierre Verscheure In the framework of the Conservatoire des Techniques Cinématographiques, an afternoon of studies will be led by Céline Ruivo and JeanPierre Verscheure to celebrate the anniversary of the first Technicolor trials (1915).

Céline Ruivo has been director of the film collections of La Cinémathèque française since 2011 and worked in the restoration department of the Éclair laboratories. She is working on a thesis devoted to three-colour Technicolor at the University of Paris.

Jean-Pierre Verscheure is a professor at the Institut National Supérieur des Arts du Spectacle (INSAS) in Brussels, and a member of the scientific council of the Conservatoire des Techniques.

Friday 30 January, 2.30pm

projections/lectures JEAN-PIERRE BEAUVIALA, INVENTIONS AND COMMITMENTS Session presented by Jean-Pierre Beauviala, with the participation of Suzanne Rosenberg, Opérations fermes ouvertes, Larzac, Pâques 72 co-director, and Marianne Bauer and Nicolas Caïssa, archivists at the film collections department of La Cinémathèque française.

The preservation of unique elements of JeanPierre Beauviala’s deposit at La Cinémathèque française demonstrates technical investigations in the areas of image and sound in the service of filmmaking creation.

Presentation of tests: sound (single system), and camera (Aaton: essais 8-35) Thursday 29 January, 6p.m (about 120') TRIBUTE TO ROBERT FLAHERTY, POET AND ETHNOGRAPHER Introduction by Bernard Eisenschitz, film historian.

Screening of a Flaherty’s long considered lost film: Oidhche Sheanchais (Night of the Storyteller).

Bruce Posner, restorer and independent programmer, presents Moana with Sound (Robert J. Flaherty et Frances H. Flaherty, 1926 / Monica Flaherty, 1980).

Martin Koerber, director of the Deutsche Kinemathek’s film collections, presents and comments on the rushes of Tabu and the difficult relationship between Murnau and Flaherty on the set. Martin Koerber oversaw the internet page of the site "The Making of FW Murnau's Tabu: The Outtakes Edition".

Sunday 1 February, 2p.m (180')

All lectures will be in English and French

Les débuts du son « Youencounters ain’t heard nothing and lectures yet ! »