Film, the Living Record of Our Memory

Film, the Living Record of Our Memory

Film Preservation (˝Get Involved˝)

What is Film Preservation?

FILM PRESERVATION: For many years, the term preservation was synonymous with duplication. When archivists inquired if a film had been “preserved”, they generally were asking if it had been duplicated onto new and more stable film stock. However, a broader definition of preservation has gained acceptance. Increasingly it is understood as the full continuum of activities necessary to protect the film and share the content with the public. Film preservation now embraces the concepts of film handling, duplication, storage, and access. Film preservation is not a onetime operation but an ongoing process. Even duplication must sometimes be repeated as techniques and standards improve. Like other museum objects and library materials, film needs continuing care to extend its useful life.

CONSERVATION: Conservation is the protection of the original film artifact. Film has value as an object and as a carrier of information. Many organizations guard the original from unnecessary handling by creating surrogate copies to carry the content. The copies are used for exhibition and research. The film original can then be stored under conditions that slow physical decay.

DUPLICATION: Duplication is the making of a surrogate copy. Preservationists consider film fully safeguarded only when it is both viewable in a form that faithfully replicates its visual and aural content and protected for the future by preservation masters from which subsequent viewing copies can be created. When making a preservation copy, preservationists generally try to work from the material that most closely represents the film as it was originally shown.

RESTORATION: Restoration goes beyond the physical copying of the surviving original materials and attempts to reconstruct a specific version of a film. Ideally this involves comparing all known surviving source materials, piecing together footage from these disparate sources into the order suggested by production records and exhibition history, and in some cases, enhancing image and sound to compensate for past damage. Film restoration, unlike art or paper restoration, always involves duplicating the original artifact.

ACCESS: Access is the process through which film content is shared with the public. Depending on the institution, access embraces a range of activities, from support of on-site research to exhibition on the Internet. In museums, libraries, and archives, the most common access media at this time are film and video.
(Source: NFPF The Film Preservation Guide, 2004 -

Film Preservation: Continuum of activities necessary to protect film for the future and share its content with the public.

Film Restoration: Reconstruction of a specific version of a film.
(Source: NFPF The Film Preservation Guide, 2004 -

Film Preservation & Silent Film Festivals

Bonn International Silent Film Festival (Germany)

British Silent Film Festival (Leicester, UK)

Cannes Classics (Festival de Cannes, France)

Capitolfest (Rome, NY - USA)

Catalina Island Museum Silent Film Festival (California, USA)

Cinecon Classic Film Festival (California, USA)

Cinema Reborn (Melbourne, Australia)

Cinema Rediscovered (Bristol-UNESCO City of Film, UK)

Cinema Revival: A Festival of Film Restoration (Wexner Center for the Arts, USA)

CineOP - Ouro Preto Film Festival (Brazil)

Cinevent (Columbus, OH - USA)

Classici Fuori Mostra - Permanent Festival of Restored Films / Venice Classics (La Biennale di Venezia, Italy)

Classics Restored Festival (Belgium)

Copenhagen Silent Film Festival - Danske Filminstitut (Denmark)

Denver Silent Film Festival (USA)

Festival Internacional de Cine Silente México (Puebla, Mexico)

Festival Lumière - Institut Lumière (Lyon, France)

Festival Nitratnog Filma / Nitrate Festival - Jugoslovenska Kinoteka (Belgrade, Serbia)

Film Restored: The Film Heritage Festival - Deutsche Kinemathek (Berlin, Germany)

Forssa Silent Film Festival (Finland)

Il Cinema Ritrovato - Cineteca di Bologna (Bologna, Italy)

International Istanbul Silent Film Days (Turkey)

International Silent Film Festival Manila (Philippines)

Kansas Silent Film Festival (USA)

Karlsruhe Silent Film Festival (Germany)

Loud Silents Festival (Helsinki, Finland)

Memory! International Film Festival (Myanmar)

Mostly Lost - Library of Congress National Audio-Visual Conservation Center, Packard Campus (Culpeper, VA - USA)

Netherlands Silent Film Festival (Eindhoven, Netherlands)

Newhallywood Silent Film Festival (Santa Clarita, California - USA)

Nitrate Picture Show - George Eastman Museum (Rochester, NY - USA)

Oslo Silent Film Festival / 70mm Film Festival (Norway)

Pirmoji Banga / First Wave Film Festival (Vilnius, Lithuania)

Pordenone Silent Film Festival - Le Giornate del Cinema Muto (Pordenone, Italy)

Rencontres du 7ème Art Lausanne - Think Cinema (Switzerland)

Retrospective, Berlinale Classics & Homage (Berlinale / Deutsche Kinemathek – Museum für Film und Fernsehen)

San Francisco Silent Film Festival (USA)

Silent Film Festival in Thailand

Święto Niemego Kina / Silent Film Festival (Warsaw, Poland)

TCM Classic Film Festival (USA)

To Save and Project - The MoMA International Festival of Film Preservation (NYC, USA)

Toronto Silent Film Festival (Canada)

Toute la Mémoire du Monde Festival - La Cinémathèque française (Paris, France)

UCLA Festival of Preservation (Los Angeles, USA)

Vintage Film Festival - Marie Dressler Foundation (Port Hope, Canada)

Yorkshire Silent Film Festival (UK)

The Living Record of Memory
A Spanish/Canadian co-production by El Grifilm Productions and Filmoption International

Canadian Film


Quebec tax credit

Filmoption international

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