For those who might not know about Národní filmový archiv, how would you describe its purposes and activities?
Národní filmový archiv is a memory institution dedicated to preserving, protecting, and promoting Czech film heritage. Our main activities include collecting and preserving moving image not just on 35mm film but also contemporary digital movie production, home movies on 8/16mm film, video art and we are just starting with preservation on digital games. We also have a large collection of film-related materials like screenplays, photographs, film documentation, correspondence, etc. We often digitise and digitally restore films from our collection to which we provide access to researchers, distributors and the general public, to promote Czech cinema both domestically and internationally. We also operate a public library with a fairly large catalogue of film-related works.
What was your pathway to working at NFA, did you always know you wanted to work in a film-related field or even in film preservation specifically?
I came to film preservation from an IT background through a film school. Since childhood, I’ve been immersed in computers with a particular interest in computer graphics, a feat that later in early adolescence transformed into me taking interest in VJing, a discipline of live video accompaniment of music. Later, I studied Film and TV School of Academy of Performing Arts in Prague (FAMU) with emphasis on preservation of both film and digital. Before that, I’ve worked in IT for almost 10 years as a Linux system administrator and saw large IT projects rise and fall, sometimes rushing myself into the middle of my night shift to a datacenter to revive a failed storage array. That gave me a pretty good understanding of how the storage of digital data works, and after I graduated, I took the opportunity that NFA was looking for a Head of Digital laboratory, a position which allowed me to combine my digital and film preservation expertise.
What does your job as Director of Audiovisual Collections entail?
I oversee the management, preservation, and accessibility of our vast film and video collections. This involves coordinating preservation efforts, making decisions on restoration projects, managing our digital archive, and collaborating with other departments to ensure our collections are properly catalogued and accessible to researchers and the public. I also participate in various projects, such as our current project pixelarchiv.cz which sets itself a task to kickstart digital preservation of Czech digital games.
How does the archive decide what films and materials to prioritise for preservation and/or restoration?
Our prioritisation process for film restoration is guided by a multifaceted approach that weighs several key factors. We carefully consider the historical and cultural significance of each film, recognizing its importance in the context of Czech and global cinema. The physical condition of the material is a critical concern, with priority often given to films at risk of deterioration to prevent permanent loss. We also take into account the rarity or uniqueness of the content, focusing on preserving films that offer irreplaceable historical or artistic value. The potential for public interest or academic research plays a role in our decision-making, as does the availability of resources and technical feasibility for each project. Additionally, we keep an eye on upcoming anniversaries, retrospectives, or other events that might spark renewed interest in particular films, allowing us to align our restoration efforts with these opportunities for increased visibility and appreciation.
What are the current challenges you/the archive faces in caring for films within the archive?
Národní filmový archiv faces several significant challenges in our preservation efforts. A primary concern is maintaining optimal storage conditions for our diverse materials, especially as we confront the realities of climate change, which can affect temperature and humidity control in our facilities. We also grapple with the delicate balance between preserving our collections and making them accessible to researchers and the public, as increased handling can potentially compromise the integrity of fragile items. Additionally, we must continually adapt to rapidly evolving digital preservation technologies, which requires ongoing training, investment in new equipment, and the development of new workflows to ensure our digital archives remain accessible and secure in the long term.
What type of collaborations do you undertake with other European archives?
We actively engage in collaborative efforts with other European archives through various channels. Our involvement is particularly strong in key organisations, with our CEO Michal Bregant currently serving as President of the Association des Cinémathèques Européennes (ACE), and our active participation in various committees of the International Federation of Film Archives (FIAF). We do undertake joint restoration projects, exemplified by our work on Extase, a film with Czech, Austrian, German, and French versions. This challenging restoration required careful selection of source materials, with our team focusing on the Czech version while Filmarchiv Austria handled the Austrian version. A similar collaborative approach is being applied to our ongoing restoration of the 1929 silent film Erotikon. Beyond these specific projects, we regularly exchange expertise and best practices with our European counterparts, participate in international conferences and workshops, and collaborate on exhibitions and screenings. These partnerships not only enhance our capabilities but also contribute to the broader preservation and promotion of European cinema heritage.
What were the reasons for restoring The Murder of Mr Devil / Vrazda ing. Certa, and what were the practical processes to ensure it was presented in its best version?
We chose to restore The Murder of Mr Devil due to its unique place in Czech cinema history and mainly its artistic merits. The restoration process was comprehensive and meticulous, beginning with a careful inspection and repair of the original film elements. We then proceeded with a 6.5K scan of the original camera negative to create a digital foundation for our work. The digital restoration phase addressed various forms of damage and degradation that had occurred over time. Colour grading was a crucial step, ensuring that the restored version matched the original cinematography as closely as possible. Parallel to the image restoration, we undertook sound restoration from an original sound negative to preserve the film’s sound quality. The process culminated in the creation of new 4K preservation masters and digital copies, safeguarding this important work for future generations and enabling its presentation to modern audiences.
The stars of The Murder of Mr Devil also feature in The Cassandra Cat / Až přijde kocour, which has risen to wider cult status since its restoration in 2021 – has the popularity of The Cassandra Cat impacted the types of films NFA looks to restore – can the presence of a cat influence you – or has it opened up audiences to the broader possibilities of Czech cinema?
The success of The Cassandra Cat has certainly highlighted the international appeal of Czech cinema from this era. While we don’t necessarily prioritise films based on the presence of popular actors or even cats, the renewed interest has encouraged us to look at other films from the same period and creative teams. It has also opened up opportunities to introduce international audiences to a broader range of Czech cinema, helping us showcase the depth and diversity of our film heritage.
All archives have passion projects that maybe won’t be top of the list for restoration or are necessarily going to be commercial hits even with the established international cinephiles or fan groups, so what are those titles for you?
While I can’t speak for everyone at the archive, personally, I’m passionate about preserving and restoring some of our lesser-known experimental avant-garde films from the 1920s and 1930s, e.g. by Alexander Hackenschmied and Jiří Lehovec. These works may not have broad commercial appeal, but I believe they represent important artistic movements and provide insight into the infancy of experimentation in Czech cinema. If everything goes as expected, the films will be digitally restored this year. Additionally, I’m keen on restoring some of our postwar documentary films in the future, as this type of cinema has also been overlooked with respect to returning films back to the big screen.
Is there one common misconception about film preservation or archiving that you would like to dispel?
One common misconception is that once a film is digitised and stored in the digital archive, the preservation work is done. In reality, digital preservation comes with its own set of challenges and ongoing responsibilities. Digital files require constant maintenance, migration to open formats, and careful management to ensure long-term accessibility. Additionally, we still need to preserve the original film materials as they often contain information that current digital technology can’t fully capture, and until it can, it appears we are sentenced to redo the restorations every decade or so. Nevertheless, we care for the film materials not just to maintain a source for the digitization process, but mainly to preserve these original cultural objects for posterity, as in preserving the Sumerian clay tablets which also have been already translated, digitised, rewritten, etc. Reformatting media is an infinite process, thus we always need access to the originals, while they last.
Weird Weekend present the UK premiere of Národní filmový archiv’s new restoration of The Murder of Mr Devil on Friday 26th July, 2024, part of our monthly screening series at OFFLINE, Glasgow. Tickets are available here.
Find out more about Národní filmový archiv’s work at their website here. Visit their shop for discs, books and merch here (we particularly recommend their Cassandra Cat tees).