Cinema Ritrovato in retrospect

•July 7, 2019 • Leave a Comment
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My collection

It was embarras de choix again at Cinema Ritrovato in Bologna, and this year even more so than before. Of course, for the silent cinema lovers, there were the programs with films from 100 and 120 years ago, so 1899 and 1919 this year, including the 1899 Biograph films in the Dutch and British collections and home movies of the French aristocracy, and well-known and hardly known titles for 1919, such as Anders als die Anderen, Back to God’s Country, and Sir Arne’s Treasure (Herr Arne’s Pengar).

I missed the Musidora’s and Buster Keaton’s – you have to make choices. Also, I missed the immediate post-war German films (1945-1948), which was a pity as I will co-curate a program on Dutch and German cinema next year myself, at the 2020 Cinefest in Hamburg. Instead, I was glad to have a seen a few of the lesser known films with French tough guy Jean Gabin, such as Litvak’s underworld and prostitution film Coeur de lilas (with songs by Gabin, Fréhel and Fernandel), René Clément’s Au-delà des grilles/Le mura di Malapaga (with the postwar ruins of Genoa as setting, and with Italian actress Isa Miranda as the independent, single mother), and En cas de malheur (with a young Brigitte Bardot, who doesn’t want to choose between wealthy, adulterous lawyer Gabin and poor, hot-headed Franco Interlenghi). I planned to see a few of the Eduardo de Filippo films, but in the end, I only saw Napoli milionaria, with Totò in an important supporting part. From the film noir films by Felix Feist, a director unknown to me, I only saw one, but it was an interesting one: The Man Who Cheated Himself, with a slightly overacting John Dall discovering his elder brother Lee J. Cobb isn’t such a role model at all.

Within the Technicolor program, the scheming and sharp-tongued social climber Miriam Hopkins in Becky Sharp was one of my favorites, though I enjoyed Under Capricorn as well because of its actors and mise-en-scene (such as the eerie manor and the impressive and expressive costumes), and despite the political incorrectness of the film. Margaret Leighton’s evil housekeeper gave the plot the thriller element, but basically, this was a love triangle and class conflict, which critics despised at the time but was no problem to me. The Hitchcock film was a challenge though,  as the Arlecchino cinema was packed to the rim, imitating the Australian heath on the screen. At times, the often packed cinema had hampering airconditioning, so later in the week, little fans were even distributed. With outside temperatures going to 41 Celsius on Thursday and Friday, we were happy to stay inside in the ‘cool’ cinemas.

While I loved Henry King’s silent film The Winning of Barbara Worth, with the excellent actors Ronald Colman, Vilma Banky and a dashing and jealous young Gary Cooper, good sidekicks, and astounding special effects creating a flood in the desert, I later saw a 1950s Henry King movie because we couldn’t get in at the Piazza’s screening of Keaton’s The Cameraman (not even 30 minutes in advance was  enough). But Wait Till The Sun Shines, Nellie, evolving in smalltown life in a village near Chicago, was a provincial, conservative drama with quite an unimpressive actor in the lead. Moreover, the main character, supposedly sympathetic, was such a jerk and cheat you could well understand why his wife left him. Within the Fox program, a masterpiece was John Ford’s Three Bad Men, in which not only the leads were interesting (tough and witty George O’Brien looking very dandy in his chaps and bad guy Lou Tellegen presented as the only man who shaves in the West), but also the three horse thieves and persistent alcoholists (Tom Santschi, J. Farrell McDonald, Frank Campeau) who help the damsel in distress and select possible husbands for Olive Borden were great fun to watch. Of course, as usual, the scenery was tops with Ford.

George O'Brien, Iris, Fox

We had learned our lesson, so we were one hour in advance with Chaplin’s The Circus on the Piazza, and boy, was it a treat: both the incredibly witty film in a splendid restoration by l’Immagine Ritrovata), and the orchestra led by Timothy Brock. Other highlights for me were the two Mauritz Stiller films. Song of the Scarlet FlowerSängen um den eldröda blomman, starred Lars Hanson (aka Large Handsome, thank you Pam), performing breathtaking stunts on logs floating in the river and having a splendidly filmed confrontation with his conscience through a mirror. Also, Stiller’s classic Sir Arne’s Treasure was a feast for the eye, with the setting of snowy Scandinavia of centuries ago and a ship stuck in the ice, Mary Johnson discovers she has fallen in love with the murderers of her family and adopted sister (the ghost of the sister leading her to wisdom). But then, leading bad guy Richard Lund is such a lovable man. Sure, but wait until he uses you as a human shield. While I saw a few lesser films in the 1919 program too (one was a curious Protazanov that looked like a lesser Bauer from 1915), the Stiller was absolutely a highlight.

I saw some more modern stuff too, ranging from the first Bond film Dr. No – a guilty pleasure but a print with some problems, alas – to revisiting A Bigger Splash on David Hockney and his circle – I had just visited the Hockney-Van Gogh-exhibition a few months ago – and to Varda par Agnès, the swan song of the recently died French filmmaker, who proved to be ego-centered but also warm and endearing.  On my last day, I was less impressed than others with La maschera e il volto, an Italia Almirante vehicle about a woman declared dead who returns (rather Feydeau than Pirandello). Instead, I was heavily struck by Jean Epstein fishermen’s drama Finis terrae, with amateur actors – very well – playing themselves on the coast and islands of Brittany, with all the roughness of the climate, the scenery, and the morals, and with images reminding at times of Visconti’s La terra trema, both in subjects (e.g. the women on the rocks) and in – excellent and innovative – cinematography.

Main title designed by Maurice Binder, animation by Trevor Bond.

WSS10/Eye International Conference 2019 – Sisters

•May 17, 2019 • Leave a Comment

 

Coming up soon is the EYE International Conference 2019, “Sisters”. This is the tenth edition of the Women and the Silent Screen conference, focusing on female film pioneers all over the globe. While I am not presenting a paper, I am very curious about this conference. Presently my research goes in a bit different directions, i.e. early Italian cinema and its relationships with either the arts (visual arts in the first place) or popular culture (postcards, tourism, etc.). Still, I am very aware of the importance of women in the early film industry, and not only as film actresses or stars.

Because of our Flickr site, Truus, Bob, and Jan too! (visited nowadays by some 100.000 viewers per day), and our blog European Film Star Postcards (some 1000 viewers per day), we have established biographies of many female actors who also have been directors, producers, and screenwriters. While some biographies may not have been as profoundly researched as the ones on the website of the Women Film Pioneers Project, we always compare existing biographies on Wikipedia with other sources online, such as IMDB, Filmportal, the Early German Film Database (alas, almost obsolete now), the websites of film archives such as those from Denmark and Sweden, or paper sources such as the reference books on Italian silent cinema by Bernardini and Martinelli. We have been able to trace thousands of vintage postcards of actresses who also worked as directors, producers, and screenwriters, expanding our horizons, and learning about the rises and falls of these women in their various professions.

So, for the International Women’s Day of 8 March, we launched a blog post with a selection 20 postcards of American women who both worked in front of and behind the camera, including Leah Baird, Bessie Barriscale, Grace Cunard, Marie Dressler, Gene Gauntier, Lilian Gish, Corinne Griffith, Florence Lawrence, Cleo Madison, Mae Murray, Alla Nazimova, Mabel Normand, Mary Pickford, Anita Stewart, Gloria Swanson, Constance and Norma Talmadge, Alice Terry, Pearl White, and Clara Kimball Young. All with short bio’s, and linked to the research on the Women Pioneer Project website. During the Sisters conference, we will launch on 25 May a new blog post with 20 postcards of 20 European film stars, including Sarah Bernhardt, Francesca Bertini, Carmen Cartellieri, Diana Karenne, Musidora, Aud Egede Nissen, Fabienne Fabrèges, Asta Nielsen, Rosa Porten, Anny Ondra, Rita Sacchetto, Peggy Hyland, Hella Moja, Erna Morena, Wanda Treumann, Zorka Grund, Fern Andra, Olga Tschechowa, Elena Sangro, and Elettra Raggio.

Elettra Raggio in Seduzione

 

Workshop early Italian cinema at EYE Film Museum

•December 22, 2018 • Leave a Comment
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Poster for Vittoria o morte (1913), designed by Pier Luigi Caldanzano.

Yesterday night, we finished our workshop in early Italian cinema within the collection of the Amsterdam EYE Film Museum. On behalf of my university, I was co-organizer of the workshop, with Céline Gailleurd (Université Paris VIII, Paris) and Elif Rongen (EYE Filmmuseum). The workshop is part of a large international research project,  Le cinéma muet italien à la croisée des arts, led by Céline Gailleurd, and in which various French, Italian and Dutch universities and film archives are united.

This two-day workshop brought together researchers of different nationalities, in order to explore and comment on the film and non-film collections related to Italian silent cinema, held at the Eye Film Museum. All these topics were introduced and commented upon by a group of international experts, who also acted as moderators for the discussion with the audience. We worked on a corpus of films preselected by the researchers and the organizers, either presented in their entirety or by use of indicative fragments.

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Vittoria Lepanto, in Lucrezia Borgia (Gerolamo Lo Savio, Film d’Arte Italiana 1912).

First, after introductions by Giovanna Fossati (EYE) and Céline Gailleurd, we had two sessions of 35mm screenings of hitherto little-shown prints of early Italian films, not only full films (only one- and two-reelers), but also a fragment of La vita o  la morte, and a weird hodge-podge of nonfiction officially on Rome but in reality, rather showing more of Turin and even the Capitol in Washington. The difference between comic film and comedy became already clear in the difference between the action-driven film Kri-Kri e il tango (which has some weird special effects) and the quite daring situational comedy Acqua miracolosa, starring Gigetta Morano and Eleuterio Rodolfi. The two-reelers were recomposed of multiple original prints. Lucrezia Borgia started as a black-and-white film (due to a part based on an original negative from Paris), and then halfway spurted glorious stencil-coloring (thanks to a nitrate distribution print in EYE’s holdings). Amore bendato combined two incomplete British and Dutch prints in one complete one. We had our share of actors, such as Leda Gys in Amore bendato, and a pre-diva Francesa Bertini in the romantic comedy Panne d’auto.

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Kri Kri senza testa (Cines 1913), poster design by Marchetti.

Our first slots set the tone for the subsequent slots, where discussions were made from the point of view of the close relationship that Italian cinema has with other arts or popular culture, such as visual arts (e.g. with the slot on the Italo-French company Film d’Arte Italiana, moderated by Andrea Meneghelli, Olivier Bohler, and Marion Polirsztok), burlesque (comedy, moderated by Laurent Guido and Emmanuel Dreux), dance (Elisa Uffreduzzi, echoing her fascinating PhD), and theatre (melodrama, moderated by Stella Dagna and Céline Gailleurd). Different acting styles in comedy and drama, and their developments became clear, as well as such topics as recycling in set design, the 1913 tango craze, the role of the family, the monstres sacrés of the stage in film (Ermete Zacconi, Italia Vitaliani), and the discovery of a film like La Madre (Giuseppe Sterni, 1917), considered a counterreaction to Duse’s Cenere, but also a nice pendant to Padre (1912) with Zacconi. A special section was dedicated to Italian non-fiction from the teens, which Luca Mazzei presented with me. Here we had an e.g. fruitful discussion on nationalism and colonialism versus tourism and a craving for beauty, but also on individual cameramen, and on the importance of the Italo-Turkish war for the rise of early Italian non-fiction.

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A scene from La Madre (Giuseppe Sterni, Milano Films 1917). Emmanuele overpaints the portrait of his model, as he needs it to paint his mother’s portrait.

Soeluh van den Berg, finally, gave an overview of the so-called film-related material objects in the EYE Collection, first of all in the Desmet Collection, but also some recently found 1910s posters, discovered under the shelves of a closed down cinema, including e.g. one of Marco Visconti. In a mini-presentation, I highlighted myself the richness, modernity, sensationalism, and originality of the early Italian posters in Desmet’s collection, such as those by designers such as Mauzan, Nicco, Terzi, Caldanzano, Metlicovitz, and others.  Our goal was to rediscover this cinema, through an academic confrontation with several disciplinary fields, but also we widely benefited from the presence of various Italian and Dutch archivists to discuss archival issues as well, and the interconnections between these two fields. In the very end, we had two quick visits to the life of a film within the EYE Collection Centre, which Catherine Cormon kindly showed to us, with all the time constraints we had by then, but a real highlight was Soeluh van den Berg’s showing of the vintage paper objects from the EYE collection, including vintage stills, bills with artistic letterheads, brochures, distribution leaflets, and as coup de theatre, the wonderful posters, such as the burning ship on Vittoria o morte, designed by Pier Luigi Caldanzano.

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Posters for La tutela (Ambrosio 1913) above the entrance of the Rotterdam Parisien cinema (1913).

This workshop served as a basis to open research tracks on e.g. the Film d’Arte Italiana and Italian comedians, as a prologue for future research and a conference to be held in December 2019. The debates have been recorded, and thanks to a subvention of the Research School CLUE+ (Vrije Universiteit), will be transcribed and published. I say thank you to all the persons involved in this workshop, which I consider to have been a great success: all the moderators and workshop participants, all the people of EYE Film Museum helping to realize the workshop (in particular Soeluh, Catherine, Hadley and Martin), transcriber Lexie Davis, and of course, the two co-organizers Elif Rongen and Céline Gailleurd.

 

Workshop at EYE

•December 5, 2018 • Leave a Comment

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I am co-organizer for this workshop.

More Visconti presentations

•July 5, 2018 • Leave a Comment
Ivo AAIS Sorrento 2018

Courtesy Francesco Pitassio

After presentations of my new book Reframing Luchino Visconti: Film and Art in Rome in March, in Amsterdam in April and in Milan in May, additional presentations followed in June. First I presented the book, together with Francesco Pitassio, at the conference of the American Association for Italian Studies (AAIS) at the Sant’Anna Institute in Sorrento.  Though we were a small group, responses were very good, including by Letizia Bellocchio, whose article on Visconti was a key text to my book, and Francesco Pitassio himself. I also gave away the book to a few people who will write reviews on the book: Giorgio Bertellini, Vito Zagarrio and Giuliana Muscio.

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Courtesy Cineteca di Bologna

Next, the book was sold out at the book fair of Cinema Ritrovato in Bologna, and the organisation kindly added a webpage to their site, announcing my book. Here you will also find a link to a filmed conversation between prof. Gianpiero Brunetta and myself on the book (in Italian).

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Lastly, I presented the Visconti book, together with prof. Agnes Pethö (Sapientia University, Cluj), at the NECS conference Media & Tactics & Engagement, at my own university (Vrije Universiteit/VU, Amsterdam). Again a small but refined audience, with whom I raised the glass afterwards, just before the keynote of Henry Jenkins at the VU Initium Auditorium.

Ul till now, reviews have been promised to appear in e.g. Screen, The Journal for Italian Film & Media Studies, Burlington Magazine, Nineteenth Century Theatre and Film, Leonardo Reviews, Imago, and Medienwissenschaft.

Trailer for my new book, EYE book launch, and upcoming presentation in Milan

•April 22, 2018 • 2 Comments

Here is the trailer for my new book Reframing Luchino Visconti: Film and Art. Editing was done by my colleague Hans Wevers (Vrije Universiteit), selection by myself, the music is Ravel.

Last Friday, 20 April, we had the book launch at EYE Filmmuseum in Amsterdam. Kind words by Managing Director Sandra den Hamer, Curator-in-Chief Giovanna Fossati, and Chair of the Research School CLUE+ Prof. Gertjan Burgers, plus an illustrated lecture by myself. Attached a photo of my speech (photo Ellen van Yperen).

On Monday 7 May I will present the book at the Università Cattolica del Sacro Cuore in Milan, with a round table with art historian Elena di Raddo (art history, Cattolica), film scholar and Visconti specialist Mauro Giori (Università degli Studi, Milano), and myself. Chair will be Mariagrazia Fanchi. I will afterwards donate the book officially to Luchino Visconti’s nephew Luchino Gastel, his godson and assistant director on Visconti’s Ludwig.

Reframing Luchino Visconti: Film and Art presented at EYE (and my history with this institution)

•March 30, 2018 • Leave a Comment

 

On 20 March we had the Italian book launch of my book Reframing Luchino Visconti: Film and Art (Sidestone 2018), at the Dutch Royal Institute in Rome. We started with a trailer Hans Wevers (AVC, Vrije Universiteit) and I had created. Hosted by staff member Arnold Witte, we had an inspiring round table with Veronica Pravadelli (Roma3), Stefania Parigi (Roma3), Matteo Lafranconi (Scuderie del Quirinale), and Francesco Bono (Università di Perugia), talking about spectacle and melodrama, the duality of identification & Brechtian distancing, the recognition of 19th century Italian painting and the recognition of Italian sound cinema under Mussolini. Afterwards I illustrated with images the production of the book and my sources of inspiration, after which I presented the book in homage to Caterina D’Amico, keeper of Visconti’s film heritage, Head of the Roman Scuola del Cinema (Centro Sperimentale), and daughter of Visconti’s regular screenwriter Suso Cecchi D’Amico. The following day I personally gave the book to Piero Tosi (91), while unfortunately Giuseppe Rotunno (95) was too ill to receive me. I was very happy Daniela Garbuglia, daughter of Visconti’s art director was present at the book launch, as well as Nicoletta Manino, Visconti’s niece, Antonella Montesi, editor of the biblioVisconti book series, and prof. Giovanni Spagnoletti from the Tor Vergata university. Bad weather surely scared many people away, but we had a merry night. At dinner ‘en petit comité’, Caterina D’Amico told us many tales around Visconti.

On 20 April we will have the intimate (closed) book launch at the ‘Room with a View’ of the Amsterdam EYE Filmmuseum, where I will give a lecture, instead of a round table. Giovanni Fossati, Head Curator, will host the event, while prof. Gertjan Burgers, Head of the Research School CLUE+ and its book series CLUES will give a short speech. After my lecture, EYE’s Managing Director Sandra Den Hamer will receive the book from me. It will also be an occasion to thank all the Dutch people who helped in my research, the production of this book and the organization of the event, first of all CLUE+, the publisher Sidestone Press, and the research school Huizinga Institute.

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Die Nibelungen (Fritz Lang 1924)

Just as with the Royal Dutch Institute in Rome, I have a long history with the EYE Filmmuseum. I already visited this institution under its first director Jan de Vaal, when following a film history course with Nico Brederoo (University of Leiden). Every two weeks we had four films in a row, shown on 35mm at the small auditorium of the old Filmmuseum in the 19th century pavilion at the Vondelpark, in squeaking, not too comfortable chairs. Filmmuseum then followed the invention of tradition to show silent films without any live accompaniment – a tradition set up by film archives after the silent era, I found out in recent times. You didn’t dare to move in your chair, as every little sound could spoil the spell of films like The Cabinet of Dr. Caligari, Die Nibelungen or Dreyer’s Joan of Arc. In half a year’s time I saw much more than any of my today’s students see within their program – as vexing as that may be to me.  In sharp contrast to the heavy silence in the screening room stood the Filmmuseum’s library, as the local librarian talked and talked, and quite loud too. We later became friends, so sans rancune.

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Coach house, Koningshof, Overveen

After my thesis on Visconti I drifted towards silent cinema with my film manifestation Il primo cinema italiano 1905-1945. It was then that I met Arja Grandia and realized how important it was to respect people in institutions that are not the directors, as she sternly safeguarded the patrimony of  the Filmmuseum, and only allowed to negotiate within the rules. We too became friends afterwards. In the 1980s scholars and festival programmers started to discover the Desmet Collection, one of the richest silent film collections in the world. I had realized its value during my manifestation Il primo cinema italiano, during which I also discovered Italian silent film and its scholars. In 1988 Paolo Cherchi Usai, film historian but then also director of the Giornate del Cinema Muto in Pordenone, the leading silent film festival, visited the Filmmuseum’s film archive at Overveen, near Haarlem, located in the villa and a coach house on a vast estate, Koningshof. I was permitted to accompany him and thus watch countless nitrate prints of Italian silent films within the Desmet collection. Soon after I was admitted as civil servant employee at the film archive, where I worked at the coach house for five years in 1989-1994 and had various bosses: Peter Westervoorde, Peter Delpeut, Mark-Paul Meyer and Paul Kusters, while of course the ‘big boss’ was managing director Hoos Blotkamp, plus in my first years Eric de Kuyper as her artistic director. I closely collaborated with my fellow catalogers and film viewers Lisette Hilhorst, Ine van Dooren, Robert Muis, and (Jean-)Paul Kusters. But local Head of Overveen was clearly Herman Greven, who came from film lab Cineco and thus could be most critical in technical quality of the new film restorations. The lab that won the tender to henceforth restore the Filmmuseum’s prints, was ‘re-educated’ by Herman. In 1991 in Pordenone, Filmmuseum and Haghefilm won the Jean Mitry Award for their work. We were mighty proud.

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Cissy van Bennekom and Eva Waldschmidt (1932)

The awarding coincided with the 1991 opening of the newly restored auditorium in the Vondelpark, sponsored by VSB and thus named VSB room, but unofficially named the Parisien room, as it hosted the interior of Jean Desmet’s former cinema (now installed at the Filmhallen complex). Together with the paper archives, the library moved out to a former school next-doors, so the space became a second auditorium, sponsored by Grolsch. As the Amsterdam brewer Heineken ruled the Amsterdam bars then, it was a clever streak to attract a competitor in the lion’s den. In occasion of all this, a temporary exhibition was installed on Parisien and Desmet, while day after day parties were organised for various groups, e.g. one for the archives. Memorable was the Dutch cinema night, where forgotten star of the thirties Lily Bouwmeester gloriously entered and where I accompanied Cissy van Bennekom, “as you are accustomed to divas” I was told.

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Le dirigeable fantastique (Georges Méliès 1906).

Especially in my first years, I had many Ali Baba moments in the archive, opening tins and finding treasures, such as the lost Méliès film Le dirigeable fantastique even used in Scorsese’s Hugo), a short with Lyda Borelli as Saint Barbara, and various up till then missing reels from features plus some onereelers in the Desmet collection. Later on, I also could see the original, sometimes tinted nitrate prints from the Filmliga collection (I recall e.g. Berthold Viertel’s film Die Perrücke), as well as the silent Joris Ivens prints (the nitrate of his The Bridge was starting to decay). I even went to Joris Ivens’s sister with Hans Schoots to show her some home movies from the twenties. Bert Hogenkamp would afterwards be involved in a large restoration project of the Ivens films, while Ansje van Beusekom did extensive research for a publication on the Filmliga, the Dutch film society of the late twenties.

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Lucky Star (Frank Borzage 1929)

I was also the detective in the archive. Even if my superiors didn’t like it too much – making ‘kilometers’ of celluloid was the motto then – once a month I spent a Friday in the library researching, while I also had close contacts with many foreign specialists and created myself a network. Thus I was able to identify many titles, and occasionally I still do, in particular for Italian silent cinema. I was also always eager to accompany foreign visitors screening the nitrate prints, and thus was able to see many of the Desmet films myself on a viewing table, before they were restored or even after restoration. I could see the restored prints not only in our private screening in Overveen, where I organised lunch screenings of freshly restored films, occasionally accompanied on an electric piano (I was a lousy player, I admit) or with 78 shellac records. Apart from the screenings in the Vondelpark, in the early 1990s the Filmmuseum prints were the toast of the town at international festivals in Pordenone, Bologna (Cinema Ritrovato) and Paris (Cinémémoire). One of my favorites was Borzage’s Lucky Star, with Charles Farrell and Janet Gaynor. Musical accompaniment to silent film came to the foreground then, the Filmmuseum musicians even gave workshops, and international first class musicians made new scores for the Filmmuseum films.

Jan Bons at the opening of our exhibition Blikvangers (2005)

But by 1993 the fat years were over and money ran out. Even if I left the archive in 1994 when I got my PhD position – and just in time before a massive firing of my colleagues in Overveen – I always kept contact with the Filmmuseum/ Nederlands Filmmuseum/ NFM/ EYE (the name changed quite a few times). I had my PhD party there in 2000, I married at the EYE premises in 2002, and presented my Desmet book there in 2003. Many of my students of the Vrije Universiteit did internships at EYE, some of them work there now. I have often collaborated with projects of EYE, in particular with Rommy Albers, Head of Dutch Film and a good friend from my student years, and Elif Rongen, Head of Silent Film.  My past course on film posters meant close collaborations with Soeluh van den Berg and Rob Lambers and even a joint exhibition at my university, while a course on research practice involved EYE collaborators Maureen Mens (p.r.) and René Wolff (programming). I also collaborated quite a few times with the exhibition team of Jaap Guldemond, including Sanne Baar and Claartje Opdam, and with the communication and marketing team of Marnix van Wijk and Inge Scheijde, as the inspiring and innovative cross-medial exhibitions match so perfectly the Master course I teach: Crossmedial Exhibitions. So, yes, presenting my new book at EYE seems the most ‘natural’ place to do this.

Jaap Guldemond talks to my students (Crossmedial Exhibitions 2013)