Panel 6 – Filmmakers’ archives
Chair: Patrick Geeraerts
Patrick Geeraerts studied Cinematography-Sound-Editing at the HRITCS in Brussels and graduated in 1985. In 2010 he obtained a Masters in Audiovisual Arts at the RITS in Brussels in the specialisation Directing Documentary. When VTM started up in 1989, he helped to shape the editing of the fledgling news service. Soon Flanders became too small and he wandered – now completely freelance - halfway around the world looking for the burning news for the British TV channels ITV and Channel4News. He experienced the fall of the Wall in Berlin - Crises in Syria, Bosnia, Palermo, Brazzaville, Vilnius, Tbilisi and Tokyo, as a news agent on the spot. Afterwards, he focused on camera work and editing for regional channels, such as TV Brussels. He did some social-societal reportages for the King Baudouin Foundation, Oxfam, Scouts and Guides Flanders, the Cera-Holding, and others,but his real breakthrough as an editor came through his work with production house Woestijnvis. Programmes such as De Mol, De Laatste Show, In de Gloria and Man bijt Hond made use of his talents. Since 2002, he - together with many other dedicated colleagues - has been fully dedicated to the renewal of the BGM and Audiovisual Support training as head of training and head of editing at the RITCS, and since 2016 Head of the Bachelor and Master of Audiovisual Arts programmes. There too, he and his colleagues are working on the renewal of the curriculum. He became member of the GEECT board in June 2021.14:00 - The Archives of Tomorrow Barbara Turquier and Julie Tingaud (La Femis, France)
Barbara Turquier is currently Head of Research at La Femis. Her PhD focused on the history of the New York film avant garde from 1960 to 1975. She is currently partaking of a research project focussing on the history of film teaching. She also teaches film at Universite de Paris and Ecole des arts de la Sorbonne. Julie Tingaud graduated from ESSEC Business School and holds a media master’s degree from ESCP. Before joining La Femis she worked in many different cinema fields. She is deputy head of professional training and international affairs.La Femis’s archive spans 35 years of the school’s student, teaching and administrative life, and it is also heir to the history of the former IDHEC (1944-1986). Most of its archive, which gathers student films, filming exercises and filmmakers’ conferences, has been inventorised, and their study helps to reconsider the current pedagogical training. Some filmmakers’ masterclasses have been digitised and edited for pedagogical and research purposes. Moreover, La Femis pursues its pedagogical mission by creating the archives of tomorrow, by collecting oral testimonies of famous film makers, DoPs, sound engineers etc, who transmit, at the edge of their life, their knowledge to students who film them. All this material led to several research projects with film historians which aim at highlighting the interest of film school archives for the history of cinema in general – with regards to the history of techniques, of film trades or for cultural history more generally. We wish to present the different past actions and current collaborations with film historians to shed light on our archives, and propose GEECT schools to join us in a European project to collect the memories and the knowledge of technicians, directors that have contributed to the evolution of filmmaking.
14:20 - The Kubrick Archive: an online tour Sarah Mahurther and Georgina Orgill (LCC, University of the Arts, UK)
Georgina Orgill is the Stanley Kubrick Archivist at University of the Arts London, where she is responsible for managing the Stanley Kubrick Archive. She is a qualified archivist with an MA in Archives and Records Management. She co-organised the 2018 conference A Clockwork Symposium and the 2019 conference Behind Eyes Wide Shut and has contributed to radio and television documentaries on Stanley Kubrick and the Stanley Kubrick Archive. She is particularly interested in archival access and acts as a tutor on several courses at UAL, teaching on Stanley Kubrick, archives and public engagement. She has contributed to the forthcoming Bloomsbury Companion to Stanley Kubrick (Bloomsbury, 2021), is currently co-editing two volumes on Kubrick and has also written on archival cataloguing and access for the teaching and learning journal SPARK. Sarah Mahurter manages the Archives and Special Collections Centre at UAL. She commissioned the Centre and opened it in 2007, when the Stanley Kubrick Archive was donated, and has developed the range of collections and services offered by the Centre since that time. The Stanley Kubrick Archive at University of the Arts London is one of the largest publicly- accessible filmmaker’s archives in the world. Held at UAL since 2008, it extends to nearly a kilometre of material and covers the entirety of Kubrick’s career, from his time as a photographer for Look magazine in the 1940s to material created during the making of his final film Eyes Wide Shut. It includes material created and used during all aspects of production: scripts, concept art, location and costume research, props, continuity and camera reports, draft advertising designs, as well as a plethora of correspondence between Kubrick and those he worked with. The completeness of the archive allows researchers from around the world a unique opportunity to examine Kubrick’s creative processes and items are frequently loaned to international exhibitions, as well as being used in teaching and research at the university. This online tour will offer the chance to see a small selection of digitised material from the archive, as well as hearing from archivists about its history, the work involved in its cataloguing and preservation and its impact on academic research into Kubrick’s films.