"The Deutsche Kinemathek officially opened in February 1963. Its founding director was Gerhard Lamprecht who over the decades had meticulously put together an extensive collection of films, documents and equipment. The City State of Berlin acquired this collection and then handed it over to the new institution for its preservation and use..."

The Deutsche Kinemathek officially opened in February 1963. Its founding director was Gerhard Lamprecht who over the decades had meticulously put together an extensive collection of films, documents and equipment. The City State of Berlin acquired this collection and then handed it over to the new institution for its preservation and use.

Since its establishment, the Deutsche Kinemathek has indexed everything related to film history and technology, cinema and, to a certain extent, television: film prints as well as other items indispensable for research on film history, e.g. film programs, posters, drawings for set designs and costumes, photos, scripts, personal estates and other documents. The Deutsche Kinemathek had been a museum without an exhibition for years. Since September 2000 – as Filmmuseum Berlin – it has been able to present a part of its collections in the Permanent Exhibition Film. It invites visitors to make a journey, thematically and chronologically arranged, through German film history. Another main focus of the Permanent Exhibition is the relationship between Berlin and Hollywood. Special exhibitions complete the program.

Today the Deutsche Kinemathek has some 13,000 German and foreign silent and sound films in its archive. Special emphases are avant-garde, experimental and documentary films. The archive has also made a name for itself by reconstructing important films; and its distribution department makes the films in its archive as well as productions from the Deutsche Film- und Fernsehakademie Berlin (dffb) available to non-commercial venues, e.g. to communal movie theaters, film clubs, adult education centers and universities.

The other collections contain: over a million film stills, portraits or production photos, c. 30,000 scripts, 20,000 posters, 60,000 film programs, movie tickets, filmographic and biographic material, personal estates as well as projectors, cameras and other devices from the early years of cinema up until today. Drawings, designs and models testify to the development of set design in Germany from 1919 until the present. A special focus is also the collection on special effects, animation and fantasy films: animation cels, matte paintings, designs, props and miniatures – Mickey Mouse meets Spider-Man. The development from cinematography to digital cinema is particularly well illustrated in this collection.

A further major focus of the collections is its documentation of Germans from the film industry who were exiled in Hollywood. The Deutsche Kinemathek has what is probably the most comprehensive collection on this topic in the world. The collection centers on the correspondence of the famous American agent Paul Kohner.

The Marlene Dietrich Collection Berlin protects and preserves Marlene Dietrich’s huge estate which the Kinemathek acquired from the City State of Berlin in 1993. The collection is open to scientific research and international exhibitions.

The Deutsche Kinemathek documents its work in countless events. It regularly presents special exhibitions, and participates in international exhibitions on film history and other subjects related to the arts and cultural history. Since 1977 the Deutsche Kinemathek supervises the conception and organization of the Retrospective section of the Berlin International Film Festival. It also holds historical tributes and colloquia. What is more, the Deutsche Kinemathek devotes itself to film literature, regularly bringing out publications, many of which have become standard works of film historiography.

As a member of the Fédération Internationale des Archives du Film (FIAF), the Deutsche Kinemathek participates internationally in both exchanging experience and film prints. The Deutsches Filminstitut - DIF (German Film Institute), the Bundesarchiv-Filmarchiv (Federal Archive / Film Archive) and the Kinemathek constitute the Deutscher Kinematheksverbund (Association of German Film Archives) which, for instance, discusses problems related to archiving German films.

Since 2001 the Deutsche Kinemathek is a member of the Netzwerk Mediatheken (Network of Media Archives), an organization for major national archives, libraries, documentation offices, research facilities and museums, whose aim is to develop a central portal for AV media for both science and art.

With the exhibition "Fernsehen macht glücklich" (Television Makes You Happy) – to celebrate the 50th anniversary of German television – the Deutsche Kinemathek took a first in-depth look at the history of television as a medium. This exhibition formed, so to speak, the prelude to the Permanent Exhibition Television of the Deutsche Kinemathek, which opened on June, 1, 2006, and provides an entertaining overview of five decades of television in East and West Germany. It offers visitors an opportunity to reexamine their own personal television experiences and to increase their awareness of Germany's audio-visual heritage. Complementary Special Exhibitions investigate historical-cultural contexts of film and television.

"The Bundesarchiv is the German government's official archive, holding public and private records originating from the German Reich, the German Democratic Republic and the Federal Republic of Germany. The Bundesarchiv is a government agency under the Federal Government Commissioner for Culture and Media within the Federal Chancellery. It constitutes the main executive body to carry out the safeguarding of the national film heritage."

The Bundesarchiv is the German government's official archive, holding public and private records originating from the German Reich, the German Democratic Republic and the Federal Republic of Germany. The Bundesarchiv is a government agency under the Federal Government Commissioner for Culture and Media within the Federal Chancellery. It constitutes the main executive body to carry out the safeguarding of the national film heritage.

The Bundesarchiv's motion picture department ("Filmarchiv")is staffed by about 100 people. It is associated with other German film archives and film institutions and was assigned to be the central German film archive responsible for collecting, cataloguing, preserving and giving access to the whole range of German or German co-produced films (except TV productions).

Its holdings comprise roughly 120, 000 works on more than one million carriers, thus not only being the biggest German film archives, but one of the global players. The time span of the motion picture collection ranges from 1895 until today covering feature and non-feature films, cinematographic works and cartoons as well as moving-image material made for educational, amateur, industry or advertisement purposes. Every period and each genre is represented, with a focus yet on newsreels from 1914 to 1978, on films dating from 1930-1945, on films originating from the German Democratic Republic, on films produced by government agencies as well as legal deposit films having received public funding.

The film archives also disposes of a remarkable collection of ancillary and publicity material such as posters, stills, scenarios, film programmes and runs a small library specialised on film literature.

"The Friedrich-Wilhelm-Murnau-Foundation, based in Wiesbaden, received her name in memory of the great director Friedrich Wilhelm Murnau (1888 - 1931) who helped the German cinema in the 1920s [...] to be renown world wide. Murnau's works produced in Germany are conserved and taken care of by the Foundation as well as thousands of other films, produced between 1900 and 1960, which form a major part of the German film heritage..."

The Friedrich-Wilhelm-Murnau-Foundation, based in Wiesbaden, received her name in memory of the great director Friedrich Wilhelm Murnau (1888 – 1931) who helped the German cinema in the 1920s, with films like NOSFERATU (1922), DER LETZTE MANN (1924), TARTÜFF (1925) or FAUST (1926), to be renown world wide. Murnau's works produced in Germany are conserved and taken care of by the Foundation as well as thousands of other films, produced between 1900 and 1960, which form a major part of the German film heritage.

One of the constitutional tasks of the Murnau Foundation is the promotion of film and political education. The foundation-owned film archive is available to the general public. Support is provided for students, graduate students studying for a doctorate, post-doctorate students and other professionals from academia and/or cultural fields, who fulfil the purpose of the foundation.

The Murnau Foundation’s competence in restoring and reconstructing old films has transformed it into a coveted national and international partner. Regular co-operation with film festivals, specialist institutions (such as film archives and museums) and television stations all over the world is not only the fruit of decades of work, but also the result of increased commitment by the Murnau Foundation to public presentation of historical film treasures.

Technical and recording tasks (such as re-copying of nitro-film material threatened by decay or creating a short films inventory) take place in close co-operation with the Bundesarchiv-Filmarchiv (Federal Film Archive).

The Murnau Foundation also works in close co-operation with the parent organisation of the German film archive and film museums: the Kinematheksverbund (Film Archive Association). The Murnau Foundation participates in the regular meetings of the co-ordination board as well as in the specialist workgroups.

The Murnau Foundation co-operates with the Institut für Kino und Filmkultur (Institute for Cinema and Film Culture) in film and political education work. The institute, in Cologne, attributes great value particularly to didactic work with the national-socialist film heritage in schools and adult education institutions.

The Murnau Foundation maintains partnerships on an international level with the Italian festival “Le Giornate del Cinema Muto” in Pordenone and “Il Cinema Ritrovata” in Bologna, which are considered worldwide to be the leading forums for silent films.

Furthermore, there is international co-operation with experts, film institutions, archives and copying workshops, specialising in collecting, restoring and presenting historical films.

Transit Film GmbH in Munich is a competent partner for the marketing and sales of the films for which the foundation has the legal rights. This applies to commercial cinema distribution, licence trading with domestic and foreign television stations, as well as with video or DVD distributors.

"Created by the law of 25 October 1946, the Centre national de la cinématographie (CNC) is a public administrative organization, set up as a separate and financially independent entity. The centre comes under the authority of the ministry of culture and communication and Véronique Cayla is its director general..."

Created by the law of 25 October 1946, the Centre national de la cinématographie (CNC) is a public administrative organization, set up as a separate and financially independent entity. The centre comes under the authority of the ministry of culture and communication and Véronique Cayla is its director general.


The principal missions of the CNC are:

• regulatory
• support for the film, broadcast, video, multimedia and technical industries
• promotion of film and television for distribution to all audiences
• preservation and development of the film heritage

Since 1969, the CNC has been in charge of the film and film-making heritage policy. The Directorate of film and film-making heritage covers all actions involving collection, preservation, safeguard, physical and documentary processing and promotion of this heritage, which concerns both film and ‘non film’ material, i.e. all items relating to the cinema.

Initiating specific schemes to promote the film and film production heritage, the Directorate of film and film production heritage also supervises, finances and coordinates major heritage institutions devoted to the cinema (Cinémathèque française, Bibliothèque du Film, Cinémathèque de Toulouse, Institut Lumière de Lyon). It supports all types of heritage-related schemes (cultural, educational, training, promotional projects).

Finally, it participates in all international initiatives in this field (cooperation with foreign archives, legal thinking and trends, along with the major European and international organizations - UNESCO, European Union, Council of Europe, etc.). Since 1991, this policy has more particularly focused on four areas of intervention.

Since the law of 1992, the CNC is responsible for the official deposit of films in photochemical formats. To that end, the French film archives collect, preserve, catalogue and document this collection. Efforts have been made to enrich collections particularly as regards non film items.

Specific grants have been set up for the purpose of buying objects and documents relating to film and film-making.

It implements the heritage policy for films. Its main mission is carried out by the CNC’s French film archives, which manage the preservation, safeguarding, restoration and cataloguing of films in any format that are deposited with the CNC on a voluntary or legal basis.

As regards managing collections, the Directorate of heritage of films and film-making also works closely with the major private heritage institutions devoted to film, such as the French Cinémathèque, the French Film Library (Bibliothèque du Film), and the Toulouse film library (cinémathèque).

At a national level, it backs numerous heritage-related initiatives:

• inventories
• databases
• managing national treasures
• restoration, purchasing
• preservation

Finally, it participates in all international initiatives in this field (cooperation with foreign archives, legal, archival and documentary appraisal, with the major European and international organisations).

"The Filmarchiv Austria is the central location for film collections and film documentation today in Austria and houses the country’s audiovisual cultural heritage. The diverse collections held within the archive encompass a period of over a hundred years, stretching from the 19th century up to the present..."

The Filmarchiv Austria is the central location for film collections and film documentation today in Austria and houses the country’s audiovisual cultural heritage. The diverse collections held within the archive encompass a period of over a hundred years, stretching from the 19th century up to the present. The Filmarchiv Austria accommodates over 100 000 film prints, 2 000 000 photos and film stills, roughly 25 000 film programmes, more than 10 000 posters, approximately 30 000 books, as well as an extensive collection of film-related paraphernalia and countless further items and documents (machinery, cinema fixtures, scripts, costumes etc.)

An essential objective of the archive is to make its comprehensive collections available to the public using varying forms of presentation. Along the lines of the motto "to preserve and to show", the Filmarchiv Austria sees itself as a modern media archive which not only endeavours to conserve its material in the best way possible, but also to continuously bring it into discussions surrounding the culture of the moving image.

Aside from collecting, preserving and restoring the images and sounds of the past, the Filmarchiv Austria also endeavours to systematically safeguard material from Austria’s present-day film scene.

The work of the Filmarchiv Austria is shared by its three locations according to its main areas of interest:

• Archiving/Restoration
• Accessibility/Application
• Presentation/Education

The admission, cataloguing and restoration of film material is carried out by its central film archive in Laxenburg. The pre-existing depot premises in Laxenburg were enlarged in 2004 to become the most modern film storage site in Austria. It is here where - under optimal conditions - the audiovisual heritage and the largest film collection in Austria is archived.

The archiving and documentation of film-related collections (photos, posters, programmes, scripts, estates etc.) as well as the making accessible of all these items for the public is undertaken by the Audiovisual Centre Vienna, which has resided in the old trade and industry buildings of the Augarten Palace since 1997. Within these new headquarters the Filmarchiv Austria maintains its administrative and technical infrastructure and functions additionally as a modern media library which is open to all in the Department for Studies and Research.

The Filmarchiv Austria has benefited from an ideal stage for the presentation of films and archival work since 2002. Located in the centre of Vienna, the Metro Kino is one of the most beautiful cinemas in Austria and is host to retrospectives, archive presentations and symposiums throughout the year. The Filmarchiv Austria additionally organises an annual and ambitious summer film programme which includes film screenings on Augarten premises (open air cinema tents) as well as at the Metro Kino. 2005 also saw the launch of the Prater Film Festival which is held in the Kaiserwiese in front of the Ferris wheel in Vienna’s Prater Park.

The Filmarchiv Austria has been publishing both books and video and DVD series on various themes surrounding Austrian film history for the past nine years. In 2002 the archive launched its own magazine called filmarchiv. All publications have been supervised by the academic department of the archive since 2004 and are bound by the in-house publishers. Alongside the archive’s shops in the Metro Kino and the Audiovisual Centre Augarten, the 100 books, videos and DVDs produced to date by the Filmarchiv Austria have also been sold throughout the country by the accrued publishing programme provided by Mohr Morawa.

With its objective of carrying the films of the past and the present into the future in the form of a living cultural heritage, the Filmarchiv Austria has established itself on an international level in past years as one of the most active specialist institutions in Europe. Within FIAF (Fédération Internationale des Archives du Film), for instance, the Filmarchiv Austria functions as an important partner in international restoration and presentation projects. The archive also frequently participates in EU projects, the most recent of which focussed on the accessibility of films and film-related documents within a digital format. Close cooperation with other significant audiovisual archives in Austria, such as the Historic Archive of the ORF, the Austrian Film Museum and the Austrian Mediathek, has also been carefully fostered.

"The Film Archive in Prague was founded in 1943 by the Czech-Moravian film headquarters and is one of the largest film archives in the world. In 1946 it became a member of the International Federation of Film Archives (Fédération Internationale des Archives du Film, FIAF)..."

The Film Archive in Prague was founded in 1943 by the Czech-Moravian film headquarters and is one of the largest film archives in the world. In 1946 it became a member of the International Federation of Film Archives (Fédération Internationale des Archives du Film, FIAF). The Národní filmový archiv (National Film Archive) fulfills basic tasks in accordance with the Act No 499/2004 on archiving and law No 273/1993 on audiovisual media, i.e. the accumulation, protection, scientific processing and use of audiovisual and written archivalia documenting national production, the beginnings and development of cinematography, the life of the Czech nation and significant world events.

The basis of the collections at the National Film Archive – by law the holder of a legal depot of audiovisual works – is positive and negative material of national production, i.e. feature and non-feature (documentary, animated, popular-scientific, news and others) films from the beginnings of the Czech film 1898 to the end of 1991. The newsreels documenting the life of the Czech nation and its major representatives to the year 1990 form an exceptionally valuable part of the collection. From an international point of view, it is exceptional that two thirds of the silent feature films in national production have survived. This also applies, with isolated exceptions, to the entire production of sound feature films.

Another part of the collections includes a wealth of international films which give a complete picture of the development of film art. Of particular worth is the collection of so-called primitives (i.e. films made before the First World War), the collection of slapstick comedies from the period 1912-1929 and the collection of newsreels about important world events.

The film collections currently contain approximately 28, 000 copies of feature films, 32, 000 copies of non-feature films, 9, 500 negatives of feature films, 16, 000 negatives of non-features; the NFA is expanding this collection by regularly filming current events and leading figures in Czech society onto 35mm film, the whole amounting to over 130 million meters of film.

100 tons of archive films are stored on highly flammable (nitrocellulose) base. Roughly 150, 000 meters of film are copied onto a safe base each year.

The photograph collection of NFA represents another important part of the archive (over 500, 000 photographs taken from the Czech and foreign films, photographs of film personalities and film events), 50, 000 film posters, over 100, 000 promotional and advertising materials, several thousands designs, also scripts and other written archival material from the former Czechoslovak film companies and their predecessors, and from other archives and institutions.

Along with the consistent restoration of films, the NFA is also working to restore these materials. For easy access, the required materials are most frequently digitized in a special laboratory.

The National Film Archive is systematically building up an extensive database of archived films and other materials. It is also endeavouring to preserve the so-called oral history of Czech cinematography – over 400 hours of sound recordings containing recollections and interviews with important Czech film makers (the collection entitled Personalities of Czech Cinematography).

The library, containing more than 61, 750 books, magazines and new information sources (CD-ROMs, etc.) ranks among the best libraries in the Czech Republic.

The versatile work of the NFA film historians and its academic staff also includes teaching and editing work.

The National Film Archive publishes key filmographic works in Czech and English (Czech Feature Film I. 1898-1930, Czech Feature Film II. 1930-1945, Czech Feature Film III. 1945-1960, Czech Feature Film IV. 1961-1970, from 1992 periodically the Film Year Book), film anthologies (historical and theoretical works), original and translated literature, the Film Review and Illumination magazine on theory, history and aesthetics.

"The Austrian Film Museum in Vienna was founded as a non-profit organization by Peter Konlechner and film artist Peter Kubelka in 1964, and within a short span of time it established itself as the leading international film centre in Austria. Only a year later, in 1965, the Fédération Internationale des Archives du Film (FIAF) accepted the Film Museum as a new member ..."

The Austrian Film Museum in Vienna was founded as a non-profit organization by Peter Konlechner and film artist Peter Kubelka in 1964, and within a short span of time it established itself as the leading international film centre in Austria. Only a year later, in 1965, the Fédération Internationale des Archives du Film (FIAF) accepted the Film Museum as a new member. Peter Konlechner and Peter Kubelka retired at the end of 2001. The film journalist, curator and former director of the Viennale (Vienna International Film Festival), Alexander Horwath, was unanimously designated by the board of the Film Museum to assume the position as Film Museum Director as of January 1, 2002. On January 1st, 2005 acclaimed filmmaker Martin Scorsese has agreed to serve as Honorary President of the Austrian Film Museum in Vienna.

The Austrian Film Museum has two fundamental missions:

• to preserve, research, enrich and relate to the public the collection of films and objects which the Museum has acquired since its foundation;
• to exhibit the medium of film in all its dimensions and historical forms, working with the collection as well as with loans from other sources.

The original tenets of the Film Museum's work still apply: "Films are to be collected, preserved and presented with the same care and respect which are applied to paintings and the plastic arts. Films deserve to be placed on an equal footing with works of art. Films are specific products of collective memory. They must be preserved and shown in the same fashion as historical source materials and documents: undistorted, unabridged, uncommented and in their original language."

The Film Museum retrospectives and presentations are devoted to important filmmakers as well as various film genres, eras and topics of current debate. Since 1965, these programmes have taken place in Vienna’s Albertina palace. In 2003, the space based on Peter Kubelka’s original cinema concept, was re-designed, creating the elegant „Invisible Cinema 3“.

In regard to documentation, research, publishing activities and educational work, the collections of film-related objects also assume importance - the film stills and technology collections, the writings and posters collection, the collection of facsimile media such as video and DVD, as well as the library, which, as Austria's most comprehensive public library devoted exclusively to film, constitutes one of the core areas of the Austrian Film Museum.

The collection of important films has been continually expanded since the 1960s. From its beginnings, the Film Museum has acquired classics of international cinema, avant-garde films, historical film documents and newsreels, propaganda films and commercials, etc. Contemporary independent cinema with its frequently precarious preservation status is as much an integral part of the collection as is the area of German-language filmmakers in exile (1920-45).

With more than 350,000 items the collection of film stills covers the history of film from its earliest beginnings right up to the present. The earliest vintage stills date from 1910.

The Austrian Film Museum Library is the most comprehensive and most detailed public film library in Austria. It holds more than 18.000 books and over 200 magazine titles covering a broad range of film-related topics. It also includes a study collection of films on video and DVD which can be consulted on appointment.

The Austrian Film Museum has been publishing books since the 1960s. The series FilmmuseumSynemaPublikationen, jointly edited with SYNEMA - Society for Film and Media, offers richly illustrated books on the work of independent filmmakers and on topics of film history and theory.

As a founding member of the Edition Filmmuseum, the Austrian Film Museum has been producing luxuriously appointed DVDs of rare films since 2005.

From its beginnings the Austrian Film Museum has always placed great weight on the educational aspects of its work. Since 2002, the Austrian Film Museum is especially dedicated to working with school children and teachers.

"Filmoteka Narodowa in Warsaw (the National Film Archive) was established in 1955, first under the name of Centralne Archiwum Filmowe (the Central Film Archive - until 1970), and then Filmoteka Polska (the Polish Film Archive - until 1987). Since its inception Filmoteka Narodowa has been a member of the FIAF, the International Federation of Film Archives, an organization that associates the majority of the world’s film archives ..."

Filmoteka Narodowa in Warsaw (the National Film Archive) was established in 1955, first under the name of Centralne Archiwum Filmowe (the Central Film Archive - until 1970), and then Filmoteka Polska (the Polish Film Archive - until 1987). Since its inception Filmoteka Narodowa has been a member of the FIAF, the International Federation of Film Archives, an organization that associates the majority of the world’s film archives. Since March 2009, it has been a member of Association des Cinémathèques Européennes, ACE, a European organization of film archives, which takes steps with a view to protecting the European cinematography and securing the European film collections.

The films and archive records stored by Filmoteka Narodowa are among Europe’s largest. They were collected over decades, also by way of international exchanges. Filmoteka Narodowa managed to bring 75% of Polish films made in 1930 – 1939 back into the Polish culture, mainly owing to its foreign contacts, and it has the most valuable collection of Polish film tapes that requires special attention.

The statutory responsibilities of Filmoteka Narodowa comprise:    

• the preservation of the cultural heritage of of the Polish cinematography and selected works of world cinematography
• the collection of historical and film documents in all forms, the performance of regular conservation works and the description of those resources. The above tasks are discharged by a team of forty specialists with a long-term archiving experience.

The catalogue of the film collection includes ca 15 thousand titles. Its update and historical analysis is the responsibility of Zespół Zbiorów Filmowych (the Film Resources Section) which also takes care about the acquisition of new film artefacts, prepares the publications of Filmoteka Narodowa, reconstructs of the oldest cinematographic relics and looks for Polish films in the world’s archives.

Information about the films, their creators, history of the cinema and individual national cinematographies is compiled by Zespół Dokumentacji Filmowej (the Historic and Film Documentation Section) along with Zespół Biblioteki i Czytelni (the Library Section). Its collection includes:

• books (ca 25 thousand volumes)
• posters (ca 21 thousand)
• magazines (more than 1000 titles)
• film programmes (ca 25 thousand)
• scripts, shooting scripts (more than 28 thousand titles)
• photographs (more than 37 thousand)
• musical scores, press clippings, archival materials, etc.

Zespół Rozpowszechniania (the Distribution Section) discharges a very important task of promoting film culture and knowledge about the history of motion pictures which is important to the condition of the Polish cinema and its prospective public. The collection of film classics is used by universities, art schools, film discussion clubs and other cultural institutions in Poland and abroad.

The technical condition of films is the responsibility of Zespół Konserwacji (the Conservation Section). It carries their periodic reviews, remedies any damages, prepares the resources to copying and assesses the technical condition of the materials upon their initial inclusion in the collection. There is also Zespół Restauracji Taśmy Filmowej (the Film Tape Restoration Section) whose main focus is the oldest collection of Polish film archive resources and any film materials on the „nitrate” inflammable film.  The Section is in charge of the digital picture and sound reconstruction.

Kino „Iluzjon” (the Iluzjon Cinema), or the museum of film art which is displayed on the screen, is the showpiece of Filmoteka Narodowa. Each year it screens about one thousand films representing the entire history of the cinema arranged in theme and monographic cycles; it also stages many special film reviews together with foreign partners. Zespół d/s Iluzjonu – Muzeum Sztuki Filmowej (the Iluzjon/Film Art Museum Section) prepares the cinema’s monthly programme and special reviews featuring the achievements of the world and Polish film art.

Filmoteka Narodowa has its local branch in Łódź which is involved in the preservation of some of the negatives of the Polish films made in 1945 - 1989.

As the State Cultural Institution Filmoteka Narodowa is accountable to Minister Kultury (Minister of Culture) and is in ca 50% financed by the Ministry.

"The Hungarian Institute of Film Science was founded in 1957 and it is based on the plan drafted by Béla Balázs in 1948. Its name has been changed to Hungarian Film Institute in 1985. Since June 2000 it is called Hungarian National Film Archive, the status is a 'national public collection' since 1991 ..."

The Hungarian Institute of Film Science was founded in 1957 and it is based on the plan drafted by Béla Balázs in 1948. Its name has been changed to Hungarian Film Institute in 1985. Since June 2000 it is called Hungarian National Film Archive, the status is a 'national public collection' since 1991.

The Archive's duties: collection, acquisition, preservation, restoration, screening and professional storage of the Hungarian features, documentaries, newsreels, animations, popular science films and classics of world cinema. Purposes of the work and activites are contained by the Deed of Foundation (May 16, 2000). The maintainer and superviser is the Ministry of Education and Culture. Archive has the most extensive film collection in Hungary, approximately 64,000 inventory items. Some prints are lent for training, clubs and festivals. Hungarian films are permanently restored. Library is the largest and the single one in Hungary specialized on film with over 20,000 books, 4,000 volumes of periodicals, 3,500 scripts and 30 current foreign technical journals. The poster department preserves 53,000 posters and 200,000 photographs. The art cinema, Örökmozgó has an unique and highly exciting programme with a widely appreciated venue for exhibitions, meetings and debates. The perio dicals are Filmkultúra published since 1960 and now available online, Filmspirál, Muszter, MovEast (English). Moving Picture Gallery (MozgóKépTár) is an unique bilingual (English-Hungarian) multiplatform publication offering information from an integrated system of 11 databases on over 10,000 films.

"The German Federal Cultural Foundation promotes art and culture within the scope of federal competence. One of its main priorities is to support innovative programmes and projects on an international level..."

The German Federal Cultural Foundation promotes art and culture within the scope of federal competence. One of its main priorities is to support innovative programmes and projects on an international level. To achieve this, the Foundation invests in projects which develop new methods of fostering cultural heritage and tap into the cultural and artistic potential of knowledge required for addressing social issues. The Federal Cultural Foundation also focuses on cultural exchange and cross-border cooperation by initiating projects of its own and funding project proposals in all areas of the arts with no stipulations as to theme or subject.

In addition, the Foundation supports the German Cultural Promotion Funds which include the Arts Fund Foundation, the Performing Arts Fund, the German Literature Fund, the German Translator Fund and the Socio-Cultural Fund.

The Foundation was established on 21 March 2002 by the German Federal Government represented by the Federal Government Commissioner for Culture and the Media. It is a civil-law foundation and has its headquarters in Halle an der Saale, Germany.

The Federal Ministry for Culture currently allocates 35 million euros of its budget to the Foundation each year.

"The CollectiveAccess project is a collaboration between Whirl-i-Gig, a company specializing in applications development for museums, archives and scientific research projects, and a number of partner institutions in the United States and Europe..."

The CollectiveAccess project is a collaboration between Whirl-i-Gig, a company specializing in applications development for museums, archives and scientific research projects, and a number of partner institutions in the United States and Europe. Whirl-i-Gig's evaluations of commercially available collections management and media archive software for clients had consistently found a lack of affordable, open and extensible systems. Available products were invariably expensive and encumbered with restrictive licensing. As proprietary, closed source software all but the most superficial customization was impossible, and many packages were designed in ways that made migration and sharing of collections data difficult.

It became clear that an alternative was needed. In 2003 Whirl-i-Gig began planning and development of general-purpose cataloguing and collections management software for its own use, taking into account lessons learned during the development of earlier systems for the American Museum of Natural History Library and the Cooper Union for the Advancement of Science and Art, and based upon a foundation of code successfully employed in previous projects.

Starting in 2004 several institutions began pilot cataloguing using the tool and provided useful feedback on the datamodel and user interface. In August 2006, CollectiveAccess was publicly announced as an open source project and a workplan was devised to ready it for public release under the name OpenCollection. In response to requests from various institutions, the web-based high-resolution image viewer created for CollectiveAccess was released as a separate package under the GNU Public License. Although typically employed as an integral part of the larger CollectiveAccess package the viewer was easily integrated into other systems and therefore a candidate for early release.

In the Fall of 2006, the Coney Island History Project (CIHP) adopted CollectiveAccess as their collections management and online presention platform, funding various extensions to the software to better accommodate the requirements of their project, which relies heavily upon geo-referenced images and audio recordings created for their oral history program. These features are now part of the publicly available CollectiveAccess release.

In late 2006, the Parrish Art Museum in Southampton, New York, became involved in the CollectiveAccess project, viewing it as a viable platform upon which to base its IMLS-funded Artists of the East End project. As with the CIHP, the Parrish supported development of generally useful features essential for their project.

Since the first public release of CollectiveAccess, version 0.50, in March 2007 under the name OpenCollection, a variety of museums, archives, libraries and historical societies have adopted CollectiveAccess as a collections management system, or to support research projects, online exhibitions or cost-effective public access to existing proprietary collections management systems.

In late 2008 the name of both the project and software was changed from OpenCollection to CollectiveAccess. The software, development team and projet objectives remain the same; only the name has changed.