Journal of Film Preservation - FIAF

More documents

Recommendations

Info

worlds. He was a writer whose work knew no boundaries between professional and amateur, between the commercial world and the art world, between fiction and non-fiction, between the experienced and the emerging. Erik’s humor and wit still ring in many of our ears. His editorial vision was flawless, spontaneous, and always, always lasersharp. But above all, Erik’s legacy resonates to insist that optimism, generosity, and unbridled enthusiasm and inquiry for all human effort - whether in media or life - are the only media that really matters. All of us in the fields of film, television, video, communications and new media will miss him. But I suspect his inspiring spirit wafts through all of our classrooms, our archives, our productions, our writing. Like a clear, cool wind, it clears out the pollen, pushes us to engage a clearer vision, and reminds us that communication is truly about connecting with people across any divide. Memorial services in Vermont and New York will be arranged and will be posted soon. In Memoriam Hammy Sotto (1950-2001) Clodualdo del Mundo Agustin Sotto, Hammy to his friends and associates, passed away on the 24th of April 2001, at the age of 51. Film was Hammy’s passion, equalled only, perhaps by his love for the opera. But, undoubtedly, his obsession was film research. It must be this obsession that moved him to organize a group that would be devoted to film archiving. How else can film research develop without the support of a solid film archiving program? Film archiving was virtually non-existent in the Philippines, then, but the group decided to call itself the Society of Film Archivists (SOFIA). In 1993, as a result of the 1993 ASEAN Conference of Film and Video Archiving to which Hammy headed the Philippine delegation, the organization was formed with Hammy as its founding president. Their goal was to save significant Filipino films that were deteriorating into oblivion. Hammy was one of those instrumental in making film archiving a key program of the ASEAN Committee on Culture and Information. With the Comprehensive Program for audiovisual archiving in the region drawn, the stage was set for the confederation of audio-visual archivists in Southeast Asia. In 1996, the Southeast Asia Pacific Audiovisual Archive Association (SEAPAVAA) was formed and Hammy was elected to represent the associate members in its first Executive Council. Hammy was a teacher, he taught at De La Salle University and at the University of the Philippines. He was a critic and the chair of the 78 Journal of Film Preservation / 63 / 2001
Manunuri ng Pelikulang Pilipino (Critics of Filipino Film) at the time of his death. He was a documentary film and video maker; one of his later works was on organ donation for the Philippine Kidney Institute (ironically, Hammy suffered from kidney failure as a complication of his diabetes). Of course, he was a film researcher; Hammy left a voluminous manuscript – an index to Filipino movies, from the early years to the late 1930s. Time will tell what his contribution to film archiving in the Philippines and the ASEAN region really means. And when the magnum opus of his research is published, then the film world would get a better understanding of Hammy’s obsession with the medium he loved most. 79 Journal of Film Preservation / 63 / 2001
Page 1 and 2:
Journal of Film Preservation Revue
Page 3 and 4:
October / octobre / octobre 2001 55
Page 5 and 6:
Courier du sud, Pierre Billon. Sour
Page 7 and 8:
cinématographique coloniale à tra
Page 9 and 10:
cette mission s’appuyait sur et s
Page 11 and 12:
de tous les continents pour rendre
Page 13 and 14:
opposition avec l’option dominant
Page 15 and 16:
L’Autre, réduit en image, sera t
Page 17 and 18:
exploits nous sont montrés en imag
Page 19 and 20:
Hygienic Reform in the French Colon
Page 21 and 22:
magnified view detects the telltale
Page 23 and 24:
to instituting and promoting a broa
Page 25 and 26:
Epstein. Itto’s diphtheria vaccin
Page 27 and 28:
tentative de représentation de cha
Page 29 and 30: la compagnie minière cherche un Ab
Page 31 and 32: Spanish Colonial Cinema: Contours a
Page 33 and 34: the case of Spanish Cinema this cha
Page 35 and 36: Muchachas de Bagdad, Los Amantes de
Page 37 and 38: conceived for its spectators in the
Page 39 and 40: y the companies. (…) The reasons
Page 41 and 42: with a foreign power, when an inter
Page 43 and 44: Léon Poirier’s L’Appel du sile
Page 45 and 46: Julien Duvivier’s Pépé-le-Moko.
Page 47 and 48: idealism. But if Poirier portrayed
Page 49 and 50: Les images de deux guerres, colonia
Page 51 and 52: Demy ou Cléo de 5 à 7 d’Agnès
Page 53 and 54: Blue Angel, has remained one of the
Page 55 and 56: during his extended sojourn in the
Page 57 and 58: Le fonds cinématographique colonia
Page 59 and 60: L’Afrique noire (AEF et AOF) appa
Page 61 and 62: part majeure pour les films isolés
Page 63 and 64: tout le monde avait compris qu’il
Page 65 and 66: camionneurs, et que Chabrol ne nous
Page 67 and 68: ainsi Ray Charles a conduit un cabr
Page 69 and 70: eprésentation. Les libérer est un
Page 71 and 72: Le cinéma colonial portugais et la
Page 73 and 74: ALLOUACHE, M. L’Homme qui regarda
Page 75 and 76: LEFEVRE, R. Le Cinéma colonial , p
Page 77 and 78: collection and... witnessing the da
Page 79: carved out the field of media histo
Page 83 and 84: Filmová Rocenka, Film Yearbook 199
Page 85 and 86: Name / Nom e-mail Tel Fax Address /
Page 87: International Directory of Film and
Page 91 and 92: Journal of Film Preservation For mo
Page 93: International FilmArchive Database
show all

Journal of Film Preservation - FIAF

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?