Good preservation allows films to survive the test of time decades after their original release. Miguel Gonzalez reports on the challenges of preserving the country’s audiovisual history.
Human lifespan and collective memory are both so short that it’s no surprise many films are condemned to disappear from the face of the Earth, completely forgotten by its audience. But when the work is being archived and preserved properly, there’s always the possibility of a second chance. Take, for example, the work of Giorgio Mangiamele.
‘Giorgio who?’ Many may ask.
Italian-born Mangiamele made his first feature Il Contratto in Melbourne in 1953. A pioneer, he was the first to document the experience of migrants in post-war Australia, and was one of the few art cinema directors working in the industry in the difficult decades of 1950 and 1960. Although his feature Clay was the first Australian film to screen at Cannes to critical acclaim,...
Human lifespan and collective memory are both so short that it’s no surprise many films are condemned to disappear from the face of the Earth, completely forgotten by its audience. But when the work is being archived and preserved properly, there’s always the possibility of a second chance. Take, for example, the work of Giorgio Mangiamele.
‘Giorgio who?’ Many may ask.
Italian-born Mangiamele made his first feature Il Contratto in Melbourne in 1953. A pioneer, he was the first to document the experience of migrants in post-war Australia, and was one of the few art cinema directors working in the industry in the difficult decades of 1950 and 1960. Although his feature Clay was the first Australian film to screen at Cannes to critical acclaim,...
- 8/31/2011
- by Colin Delaney
- Encore Magazine
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