Un año más, en el mes de octubre, la Biblioteca Nacional de España celebrará la Jornada Mundial del Día del Patrimonio Audiovisual. Este año la jornada coincide con la exposición Máquinas parlantes: el arte de atrapar el sonido, que estará abierta en la BNE hasta febrero de 2026.

La jornada se estructurará en torno a dos mesas redondas: una primera dedicada a los archivos públicos, en la que se reunirán representantes de diferentes organismos públicos que se ocupan de la conservación, estudio y difusión del patrimonio sonoro. Su trabajo garantiza que las formas de escuchar, grabar y compartir sonido que marcaron distintas épocas no se pierdan y sigan dialogando con el presente.

Una segunda mesa que se centrará en las colecciones particulares, construidas desde la iniciativa personal, reunidas con paciencia, rigor y una fuerte implicación emocional. La mirada personal de cada coleccionista imprime carácter a estos fondos, que muchas veces combinan el rigor documental con una sensibilidad particular hacia ciertos repertorios, géneros o formatos.

Participan
Primera mesa:
Marisa Ruiz, Museu de la Música de Barcelona
Jaione Landaberea, Archivo vasco de la música
Rafael Herrandón, Escuela Técnica Superior de Ingeniería y Sistemas de Telecomunicación
Modera: Áurea Domínguez, co-comisaria de la exposición
Segunda mesa:
Jose Luis Mur, Museo de los Ingenios Musicales de Labuerda (Huesca)
Carlos Martín Ballester, Colección Carlos Martín Ballester
Luis Delgado, Museo de la Música de Urueña
Modera: María Jesús López, co-comisaria de la exposición
Taller de grabación acústica:
Áurea Domínguez, co-comisaria de la exposición
Pedro Martinez Díaz, empresa Pedrofono
Olga María Ramos, cupletista, escritora, compositora, cantante, actriz y locutora.
El acto finalizará con la grabación y reproducción en directo de un cilindro de cera, en un fonógrafo, de la voz de la cupletista Olga María Ramos. La grabación y explicación del proceso estará a cargo de Pedro Martinez Díaz y Aurea Domínguez.

Around 27 October, Swiss institutions are coming together across the country to open the doors to audiovisual heritage and showcase the priceless value and diversity of their collections.

La Cinemateca de Bogotá – Gerencia de Artes Audiovisuales del Idartes, la Fundación Patrimonio Fílmico Colombiano y la Orquesta Filarmónica de Bogotá se unen a la conmemoración del Día Mundial del Patrimonio Audiovisual, proclamado por la UNESCO para sensibilizar sobre la necesidad de proteger, recuperar y compartir los archivos que constituyen nuestra memoria audiovisual.

En este marco celebramos los 100 años de Bajo el cielo antioqueño (1925), una de las obras más emblemáticas del cine silente colombiano. Dirigida por Arturo Acevedo Vallarino y producida por Gonzalo Mejía, la película fue estrenada en Medellín en 1925 como un verdadero acontecimiento cultural y social. A través de un melodrama romántico, reflejó los valores, tensiones y paisajes de la Antioquia de comienzos del siglo XX, convirtiéndose en espejo de un país en transformación y en símbolo de cómo el cine ayudó a forjar identidad regional y nacional. La historia sigue a Lina (Alicia Arango), una joven colegiala que desafía la voluntad de su padre Don Bernardo (interpretado por el propio Mejía) al enamorarse de Álvaro, un bohemio que dilapida su fortuna. El melodrama se entrelaza con escenas que exhiben con orgullo el café, la minería, las fábricas, los almacenes y la Medellín moderna de la época.

Restauración

La película sobrevivió gracias al trabajo de la Fundación Patrimonio Fílmico Colombiano, que en 1997 inició su conservación y preservación a partir de copias incompletas, con apoyo de diversas entidades. Posteriormente en 2019, en el marco del programa Fortalecimiento del Patrimonio Audiovisual Colombiano y con aportes del Fondo para el Desarrollo Cinematográfico, se realizó una restauración digital en 4K a partir de internegativos en acetato generados en la primera restauración fotoquímica en 1997. El proceso incluyó correcciones de luz, contraste y desgaste físico, preservando huellas inevitables de rayaduras y dobleces como parte de su tránsito histórico.

Interpretación musical

Para su proyección en formato de cine concierto, la película contará con música en vivo compuesta por el Semillero de Investigación MotiFilm del Instituto Tecnológico Metropolitano de Medellín (ITM) y será interpretada por la Orquesta Filarmónica de Bogotá (OFB). La plantilla instrumental incluye: 3 violines primeros, 3 violines segundos, 2 violas, 1 violonchelo, 1 contrabajo, 1 oboe, 1 flauta y 1 clavinova. La función se presentará en dos partes con un intermedio de 15 minutos, evocando la experiencia original de los espectadores del cine silente.

The National Archives of Malta is hosting a special retrospective to honour Cecil Satariano (1930–1996), a pioneering Maltese filmmaker, critic, and author. Between 1969 and 1978, Satariano directed five award-winning films and two travelogues, all of which were shot on small-gauge film. His second film, the acclaimed Giuseppi (1971), won 20 international awards. His final film, Katarin (1978), marked a landmark achievement as the first Maltese film to be acquired by a major foreign film distributor. 

In a historic milestone for Malta’s cinematic heritage, Satariano's five films have now been digitised and meticulously restored by the 'The Cecil Satariano Film Restoration Project' led by Veronica Galea. This will allow a new generation to experience his work, now forming part of the National Archives of Malta, as never before. This special event will feature screenings of these newly restored films and, through panel discussions and presentations, offer a detailed insight into Satariano’s enduring influence. 

Day 1  

Join us for two Presentations and two screenings 

Presentation 1

Cecil Satariano, Life and Work delivered by Jean Pierre Borg 

Presentation 2 
The Cecil Satariano Film Restoration Project delivered by Veronica Galea and Tom Bakels 

Film 1 
Giuseppi (1971, Super 8, 22 minutes) 

Film 2 
Let Them Be (1971, Super 8, 11 minutes) 

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Day 2  

Join us for two Panel Discussions and two screenings 

Panel 1 
Cecil Satariano Remembered: Cecil through the eyes of family and those who worked with him 

Panelists: 
Madeleine Vella Satariano, Mario Philip Azzopardi, Marie Benoît, Jo Debono,  

Panel 2  
Cecil Satariano’s Significance in Malta’s Cinematic Heritage 

Panelists: 
Rebecca Anastasi, Charlie Cauchi, Kenneth Scicluna 
 
Film 1 
I’m Furious – Red! (1970, Super 8, 33 minutes)  

Film 2 
A Touch of Dutch (filmed in 1973, Super 8, 7 minutes) 

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Day 3 

Screening of Cecil Satariano’s five restored films 

I’m Furious – Red! 
(1970, Super 8, 33 minutes) 
Giuseppi  
(1971, Super 8, 22 minutes) 
The Beach 
(1973, Super 8, 23 minutes) 
Ilona 
(1974, Super 8, 15 minutes) 
Katarin 
(1978, 16mm, 42 minutes) Suitable for persons twelve years and over. 

This year's Yamagata Creative Cities International Conference is held in conjunction with UNESCO's World Day for Audiovisual Heritage. Our special guests include an expert from Busan, South Korea - a UNESCO Creative City of Film - together with three leading figures from Japan.

How can we preserve valuable film materials in our communities, ensure access to them, and pass them on to the next generation? Join us as we explore creative approaches and share ideas for safeguarding our cinematic heritage.

Admission Free

Yamagata Creative Cities International Conference
October 11, 2025, 14:00–16:00 at YAMAGATA CREATIVE CITY CENTER Q1 2F Event Space

Panelists

Shin Sung-eun
Film Archive Manager, Busan Asia Film Archive - Busan Cinema Center

Chisato Inagaki
Art Coordinator, Kamoe Art Center / Keisuke Kinoshita Memorial Museum

Keiji Matsumoto
Film Archivist, Fukuoka City Public Library Film Archive

Atsuko Morimune
Moving Image Culture Specialist, Hiroshima City Cinematographic and Audio-Visual Library

Commentator
Itaru Kato
Chairperson, Yamagata International Documentary Film Festival

Facilitator
Kae Ishihara
Researcher, Yamagata Documentary Film Library

Email: info@yidff.jp
Tel: 81-(0)23-666-4480

Hosted by Yamagata City, Yamagata Creative City Promotion Council, and Yamagata International Documentary Film Festival
Supported by Yamagata Autumn & Winter Arts Festival Committee

Related Screening
October 10, 2025, 12:30–14:30 at Forum Yamagata 1

"Film, the Living Record of Our Memory"
2021 / 120 min © EI Grifilm Productions
Director: Inés Toharia Terán

Supported by Kobe Planet Film Archive

In collaboration with SCCA Ljubljana we are hosting Arsenal on location with two programs of films by central protagonists of international avant-garde cinema, Ken Jacobs as well as Arthur and Corinne Cantrill, shown primarily in the analog 16mm format. The programs will be presented by Angelika Ramlow from Arsenal Berlin.

Since the 1950s, Ken Jacobs has explored in his films the relationship between surface and depth, often working with found-footage material, which he manipulates in a wide variety of ways to provoke a new perception of images. CAPITALISM: SLAVERY (USA 2007) and CAPITALISM: CHILD LABOR (USA 2006) are based on historical photographs that are animated with various effects and brought to life anew. PERFECT FILM (USA 1986) and THE DOCTOR’S DREAM (USA 1978) demonstrate two diametrically opposed approaches to the use of found footage. ORCHARD STREET (USA 1955/2014) is the first film made by Ken Jacobs, an observation of New York’s Jewish-inflected Orchard Street.

The filmmakers Corinne Cantrill (1928–2025) and Arthur Cantrill (*1938) explore in their films the material properties of film as well as the visual and acoustic nature of the Australian landscape. AT ELTHAM – A METAPHOR ON DEATH (Australia 1974) shows a view of a river in the interplay of day and night, light and dark, accompanied by the sounds of nature. WARRAH (Australia 1980) was shot on a sandstone- and jungle-covered coastline in New South Wales using three-color technique. NOTES ON THE PASSAGE OF TIME (Australia 1979) is also a study in the three-color technique, examining the same scenery on Amethyst Avenue on a winter’s and a summer’s day. Like a lucid dream, WATERFALL (Australia 1984) merges the movements of water into a metaphorical space of constant transformation, pointing beyond the real and making the untamed force of the plunging water stream tangible. The garden serves as the setting for GARDEN OF CHROMATIC DISTURBANCE (Australia 1998), a color study in which arbitrary objects are laid out to be filmed multiple times, then developed with varying light exposure and color balance.

The Cineteca Nacional de Chile invites you to a special screening on the occasion of the World Day for Audiovisual Heritage. The program includes Voto fusil (Helvio Soto, 1971, 90 min, Chile), a copy digitized in 4K by the Bundesarchiv (Federal Archives of Germany) from a 35mm print from the Arsenal Institute of Film and Videoart (Berlin) and mastered by the Cineteca Nacional de Chile.

Date: Tuesday, October 28
Time: 7:00 PM
Venue: Cineteca Nacional de Chile (Level -2, Centro Cultural La Moneda)
 

Projection of the newly restored director’s cut of The Tenant (El inquilino, José Antonio Nieves Conde, Spain, 1957). Better known for Furrows (Surcos, 1951), a good example of Spanish neorealism, Nieves Conde directed this film in a similar fashion, with the renowned actor Fernando Fernán Gomez as its protagonist. The story revolves around a couple trying to secure decent housing in Madrid during the city’s urbanistic expansion in the late 1950s.

An original trailer, a brief video about its restoration and an interview with the director, in which he explains all the details behind the making of the feature and the censorship he had to endure, will be screened with the film. Film historian José Luis Castro de Paz, a true connoisseur of Nieves Conde’s filmography and a long-standing champion of his work, will introduce the screening.

Copy from Filmoteca Española, courtesy of Juan Miguel Nieves Mascuñán.
Restored in 4K in 2025 by Filmoteca Española in collaboration with the Nieves Conde family, from the 35mm acetate negatives and a 35mm acetate print.

A few words about the film
from Valeria Camporesi, director of Filmoteca Española, and Patricia Uceda, restorer
written for the premiere of this print at Il Cinema Ritrovato

El inquilino was produced at the beginning of the second decade of the Franco dictatorship and from its origins was conceived as a project connected to the current events of many people’s lives, yet well removed from any form of radicalism or political criticism. The idea was to portray, with relatively mild humour, but without renouncing a strong realistic tone, the impact of real estate speculation that was going on in Madrid at the time. Despite moments of sarcasm and a certain crudeness with which it portrays the difficulties of a petty-bourgeois family struggling to secure safe housing, it initially passed the filters of the Censorship Board. They imposed cuts and adaptations, but, according to its director and co-writer, José Antonio Nieves Conde, without distorting its meaning and essence. However, when the film was finally distributed, the toughest obstacle it encountered was the angry intervention of the Ministry of Housing, which, finding it offensive, did everything possible to hinder its distribution and managed to impose several substantial modifications, as well as a different ending. This inevitably meant that its circulation and visibility were not only very limited, but its value and message were distorted. As Nieves Conde wrote, the film was “crushed, it was beaten, it was cut, it was altered… that was not the film we had shot.” In 1993, almost 20 years after Franco’s death, and 35 years after the film’s premiere, José Antonio Nieves Conde was able to obtain an uncensored release print and recut his film, adding extra material to show the variations it underwent. The restored version that will be screened at the festival is from this reassembled and recovered print, complete with its original trailer and final explanation. It aims to give back the film to the public, and to historical memory, as its creator originally intended.

On October 30th, Cinemateca Júnior, Cinemateca Portuguesa’s education department in collaboration with the Portuguese National Cinema Plan, organizes an in-person visit to Cinemateca’ s archive with 30 elementary, middle and high school teachers to promote and publicize this conservation space to the education community.

Le 30 octobre, Cinemateca Júnior, le département éducatif de Cinemateca Portuguesa, en collaboration avec le Plan National du Cinéma Portugais, organise une visite en personne aux archives de Cinemateca pour 30 enseignants du primaire, du collège et du lycée pour promouvoir et faire connaître cet espace de conservation à la communauté éducative.

El 30 de octubre, Cinemateca Júnior, departamento de educación de la Cinemateca Portuguesa en colaboración con el Plan Nacional de Cine Portugués, organiza una visita presencial al archivo de la Cinemateca con 30 profesores de primaria, secundaria y bachillerato para promover y dar a conocer este espacio de conservación a la comunidad educativa.

The Jane Mercer Memorial Lecture: In Conversation with Sonia Khan and Emma Alldis: Collaboration at the Heart of Storytelling – The Archive Producer and the Production Team

To celebrate World Day for Audiovisual Heritage this year, we continue with our successful series of the Jane Mercer Memorial Lecture. We are pleased to have Jane Mercer Researcher of the Year 2025 winner Sonia Khan, and Production Manager Emma Alldis discuss their work on the FOCAL Award-winning documentary ‘Atomic People’. The partnership between an Archive Producer and the wider production team is crucial in crafting powerful, historically grounded storytelling. 

In this webinar, we’ll explore how Sonia and Emma collaborated closely to bring to life the harrowing and deeply human story of the atomic bombings of Hiroshima and Nagasaki in August 1945. Nearly 80 years later, their film weaves together rare archival footage with intimate testimony from some of the last surviving Hibakusha, the victims and survivors of the bombings, ensuring their voices are preserved before they are lost to time.

Join us to discover how this unique documentary was shaped through archive, narrative, and trust.

In 2025 Cinemateca Portuguesa celebrates the World Day for Audiovisual Heritage with the public screenings of SANSHO DAYU (Sansho the Bailiff, Kenji Mizoguchi, 1954), projected in a new 35mm print produced by Cinemateca Portuguesa’s lab, and THE SCARLET DROP, the lost film of John Ford found last year in Chile, to be presented in the digitized restored version made by Cineteca Nacional de Chile.

En 2025, la Cinemateca Portuguesa célèbre la Journée mondiale du patrimoine audiovisuel avec la projection publique de SANSHO DAYU (L'Intendant Sansho, Kenji Mizoguchi, 1954), projeté sur une nouvelle copie 35 mm produite par le laboratoire de la Cinemateca Portuguesa, et THE SCARLET DROP, le film perdu de John Ford retrouvé l'année dernière au Chili, qui sera présenté dans la version numérisée restaurée réalisée par la Cineteca Nacional de Chile.

En 2025 la Cinemateca Portuguesa celebra el Día Mundial del Patrimonio Audiovisual con la proyección pública de dos películas: SANSHO DAYU (El intendente Sansho, Kenji Mizoguchi, 1954), proyectada en una nueva copia de 35mm producida por el laboratorio de la Cinemateca Portuguesa, y THE SCARLET DROP, la película perdida de John Ford encontrada el año pasado en Chile, que se presentará en la versión restaurada digitalizada realizada por la Cineteca Nacional de Chile.

Sun and Shadow, 1962, 68 min., black and white

Director: Rangel Vulchanov

Scriptwriter: Valery Petrov

Cinematographer: Dimo Kolarov

Composer: Simeon Pironkov

Cast: Ana Prucnal, Georgi Naumov

Short synopsis: THE HORROR OF NUCLEAR WAR THREATENS THE PEACEFUL LIFE OF PEOPLE. A boy and a girl meet on the beach. She comes from the West and is the daughter of a nuclear physicist diagnosed with cancer. He is a Bulgarian, the son of the architect who has designed the hotels in the resort. An ancient amphora, found in the sea, prompts them to talk about eternal human problems. She lives in constant fear of an unavoidable nuclear war. The boy believes in common sense.    

Restoration credits:

Digital restoration by Bulgarian National Film Archive in 2024, made possible in the framework of A Season of Classic Films, an initiative of ACE - Association des Cinemateques Europeenes and supported by the EU Creative MEDIA Program.

Antonia Kovacheva – Project manager

Rosen Spasov – Project coordinator

Angel Radev – Technical consultant

Galina Gencheva – Consultant

Krastina Ilieva – Film Prints

Toni Todorov – Additional grading and DCP

The film was Digitally restored in Jugoslovenska Kinoteka, 2024.

Aleksandar Erdeljanovic - Project coordinator

Dubravko Badalic – Mastering

Aleksandar Stojsin - Sound restoration

Restoration artists:

Stevan Stanic

Masa Badalic

Milan Miljusevic

Bojan Perkovic

Nikola Sobic

The film had its official premiere in Sofia in December 2024 as part of the A Season of Classic Films 2024. 

In this panel, 5 members of PAAG will discuss about the possibilities of reuse of audiovisual content, considering that audiovisual is essential for highlighting our visual culture and is crucial for the identity of individuals and communities. However, the interest in and attraction to this heritage vary across generations and are not experienced equally across different cultures. For this reason, in this panel, PAAG aim to provide the broadest possible perspective on the diverse content being created to break down existing barriers. The goal is to emphasize the value of this heritage by leveraging the possibilities offered by technology and to open a discussion among panellists.

This panel will take place in the framwork of ICA Congress in Barcelona.

From the creation of the amateur cinema section of the Grup Excursionista i Esportiu Gironí (GEiEG) in 1936, to the celebration of the last Antoni Varés Amateur Cinema Trophy in 1976, non-professional cinematographic production in Girona was linked to associations and cinema clubs as spaces for the screening of the works of amateur filmmakers.

Some cultural associations gave a great boost to amateur cinema by creating cinema sections and disseminating their activities through bulletins that were published with more or less regularity. Thanks to these publications, today we can have a fairly exhaustive knowledge of the cinema that was produced in the city outside the commercial cinemas. We refer to the bulletin of the Grup Excursionista i Esportiu Gironí (GEiEG), which has been published since 1920, the Bulletin of the Agrupació Fotogràfica i Cinematogràfica de Girona (AFIC), which was published between 1954 and 1976, and the Bulletin of the Cine-Club Ademar, of which three issues published between 1967 and 1968 are preserved.

This event aims to publicize the amateur cinema that was made in Girona over four decades, through information extracted from the bulletins and the screening of some fragments of films that will help illustrate the information presented.

The Tomijiro Komiya (1897-1975) Collection held by the National Film Archive of Japan is a valuable film heritage, primarily consisting of European silent films, including some films that are the only known surviving copies in the world.
We are pleased to present newly discovered filmsfrom the Collection, based on the research conducted at "In a Maze of Images. The Tomijiro Komiya Collection," which was co-hosted with Il Cinema Ritrovato Festival in 2021.
We hope you will come and discover the fascinating world of silent films, and learn about the activities of film archiving, which preserves the historical and cultural heritage.

In Celebration of UNESCO World Day for Audiovisual Heritage
Cinema: Lost and Found
From the Collection of Komiya Tomijiro Part 2

Date： Oct 4(Sat), 2025
Venue: Nagase Memorial Theatre OZU (2nd floor)
Capacity: 299 seats 
＊For more detailed information, please see the webpage of the event (in Japanese)

【Program A】 1:00 PM – 3:00 PM
La louve（The She-Wolf）Michel Carré, 11min. 18fps・35ｍｍ
Le songe de Nick Winter（Nick Winter’s Dream）Gérard Bourgeois, 7min. 18fps・35ｍｍ
Il bivio della morte（Between Life and Death）unkown, 23min. 18fps・35ｍｍ
La Leçon du gouffre（The Intriguers）Ferdinand Zecca, René Leprince, 22min. 16fps・35ｍｍ
L’anniversario（The Anniversary）Riccardo Tolentino, 21min. 18fps・35ｍｍ
Das Teufelsauge（The Devil’s Eye）Harry Piel, 11min. 18fps・35ｍｍ
The Biter Bit　unkown, 9min. 18fps・35ｍｍ
Kamisama no Nakadachi　unkown, 9min. 18fps・35ｍｍ

【Program B】 4:30 PM – 6:30 PM
Robinet innamorato di una chanteuse（Tweedledum in Love with a Singer）Marcel Fabre, 7min. 18fps・35ｍｍ
L’ultimo dei Frontignac（The Last of the Frontignacs）Mario Caserini, 10min. 18fps・35ｍｍ
Schatten der Nacht（Shadows of the Night）Harry Piel, 23min. 16fps・35ｍｍ
（The Two Consciences）unkown, 29min. 18fps・35ｍｍ
La fuga dei diamanti（The Queen of Diamonds）Augusto Genina, 13min. 18fps・35ｍｍ
Atlas. Episodio 2: accusa D’ oltre Tomba（Atlas）Mario Guaita, 15min. 18fps・35ｍｍ
Caccia all’orso, unkown, 7min. 18fps・35ｍｍ
Se fossi Re!（Dream of Shepherd/The Shepherd’s Dream/If I Were King）Edoardo Bencivenga, 9min. 18fps・35ｍｍ

* Piano accompaniment: Mie Yanashita

↓Click to view the leaflet (in Japanese).
https://www.nfaj.go.jp/wp-content/uploads/unesco2025.pdf