Austrian Film Museum

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Austrian Film Museum

The Austrian Film Museum is a cinematheque in Vienna founded in 1964 by Peter Konlechner and Peter Kubelka . It is located in the Albertina building complex not far from the Vienna Hofburg . The museum houses a large cinema hall, a specialized library and several collections and it is active in the educational, research and exhibition sectors. The film museum has the legal form of an association. Its activities are financed by the Republic of Austria, the City of Vienna and a third of the total annual budget each, and by their own income.

history

Heart of the museum: the cinema
Located in the Albertina
Museum entrance with heraldic animal

In February 1964 the independent filmmaker Peter Kubelka and the film enthusiast Peter Konlechner founded the Austrian Film Museum. They met in 1962 at the “ International Short Film Week ” that Konlechner organized as part of his student film club Cinestudio at the Vienna University of Technology . Its aim was to establish a center in Austria for the presentation and preservation of international film history. In June 1964, at the 20th Congress of the World Federation of Film Archives (FIAF), the Film Museum was admitted as a provisional member and confirmed as a full member in 1965. After changing venues in the first 18 months of his activity, for example with the “Petit Festival Georges Méliès ” including an exhibition in a gallery near St. Stephen's Cathedral or the retrospective Sergej Eisenstein including an exhibition in the Albertina Graphic Collection, the Filmmuseum took place in 1965 in the building of Albertina its permanent location for the film presentation and the office space. From January 1968, when the film museum was given the management of the cinema, Konlechner and Kubelka were able to achieve the goal of an almost daily performance. The events of the Filmmuseum were attended by great public interest. Above all, the retrospectives that the Filmmuseum has been organizing as part of the Viennale since 1966 took a special place in German-speaking countries and were recognized throughout Europe.

As early as 1967, Der Spiegel described the museum as “one of the most agile cinémathèques in Europe”, and the following year Enno Patalas wrote : “A program like this can really develop awareness of films. A Viennese cinephiler could do without all of the city's cinemas rather than the programs of the Film Museum - these do not represent a historicizing addition to the cinema schedule, but rather its positive counter-model. "

In February 1974 a 24-hour anniversary program was presented: “10 Years of the Filmmuseum. Works from the collection ”. In addition to the ongoing museum commission (to provide a representative overview of the epochs, styles and genres of film), this also reflects several thematic focuses that have been developed since the foundation: international avant-garde film; Soviet revolutionary film; Film comedian from the 1910s to the 1930s (including the rediscovery of the Marx Brothers); Film as a historical document; Film propaganda; the classic American film genres; German-language film exile.

At the end of 2001 Peter Kubelka and Peter Konlechner retired. Her successor was the curator and author Alexander Horwath , who took over the management on January 1, 2002. He retained the basic orientation of the house, expanded the range of contents of the program work and the number of screenings, intensified the collection and restoration activities and strengthened the areas of communication, research and publications. In 2005 the Austrian Film Museum was awarded the Austrian Museum Prize.

In 2014, on the occasion of its 50th anniversary, the Filmmuseum realized a total of 21 different projects that referred to the history, the founders, the collections and positions of the house, but also to questions about the future. In the same year, all programs shown since 1964 were made available online in the program archive of the Filmmuseum.

In November 2016, the Board of Directors of the Austrian Film Museum appointed Michael Loebenstein , previously Managing Director of the National Film and Sound Archive (NFSA) in Australia, as Director of the Film Museum from October 1, 2017.

Directors

Mission of the museum

The institution's activities are oriented towards the basic tasks of a museum: collection and preservation - research and communication - exhibition. According to the medium, the exhibitions of the Film Museum take place on the cinema screen. The relevant exhibition space, the cinema of the Filmmuseum, is located in the Albertina building . The works from the history of film (and other forms of moving images) are shown in the respective original medium and in the original language. The film director Martin Scorsese has been the museum's honorary president since 2005.

In addition to its film collection, the Film Museum also houses a specialist public library, collections of photos, posters and documents, as well as numerous special collections (including on filmmakers such as Dziga Vertov and Michael Haneke ). It is also involved in education and research and runs an exhibition program with around 700 cinema screenings per year. The series “Was ist Film” and “Die Utopie Film” present essential examples of the film medium in the sense of a revolving “permanent exhibition”.

Program

Entrance to the "Invisible Cinema"
Cinema in black and white

The founders of the museum saw film as the most important form of expression of modernism and the most important historical source of the 20th century. They considered the Cinémathèque Française, the National Film Archive in London and the film department of the Museum of Modern Art in New York as role models. The film presentation without nostalgic belittling, in the original language, without musical accompaniment and without distorting screening modalities was set as the standard: “Films are to be collected, preserved and presented with the same care and the same respect as paintings or sculptures. Films deserve the status and treatment of works of art. Films are specific products of historical memory. They have to be preserved and shown like historical source material, like documents. "

For the 25th anniversary of the house, the "Invisible Cinema" was opened in 1989, based on the concept of Peter Kubelka: a black-on-black projection room, a "seeing and hearing machine" that strives for the highest possible concentration on the filmic event itself. Kubelka had already implemented his concept of the “invisible cinema” when the Anthology Film Archives opened in New York in 1970. In 2003 the film hall of the Filmmuseum underwent a thorough renovation and redesign by Erich Steinmayr and Friedrich Mascher and has since been called “Das Invisible Cinema 3”. Since then, the film museum has also been equipped with completely renewed image and sound technology, which allows it to reproduce contemporary sound and video systems in addition to the common image formats used in film history. With the establishment of “digital cinema” in the commercial sector (2009–2012), the Film Museum expanded its range of presentation technology to include this medium.

The Austrian Film Museum advocates the principle that the film itself (as an artefact and as a projection event, in the archive as well as in mediation and exhibition activities) has priority over the derivatives and facsimiles of the film. It therefore basically shows works from the history of film in analog cinema projection and endeavors to obtain copies in the respective original format (35 mm and 16 mm film). Video and digital works as well as television productions are projected in video formats or digitally, special cases are specifically identified.

In addition to the changing retrospectives, two permanent series represent the principle of the Permanent Collection. The cycle “Was ist Film” curated by Peter Kubelka, a fundamental overview of the potential of the medium, was completed in 1995/96 as part of the film's centenary. It has been shown every Tuesday since then and consists of 63 full-length programs. The series “Die Utopie Film” consists of chapters with several films each and has also been presented on Tuesdays since 2005, as a result of monthly changing constellations or questions.

The emblem

Logo of the Austrian Film Museum

Immediately after the founding, Konlechner and Kubelka won over the artist Gertie Fröhlich to design the posters. She did this for over twenty years. Fröhlich also suggested the logo or heraldic animal of the film museum, which still exists today: the fantasy creature Zyphius . She had found it in a 1558 treatise on mythical creatures. Since it can live both on land and underwater due to its special anatomical properties, it has been seen as a fitting symbol of the long-term survival of the film museum.

Collections

The archive of the Filmmuseum has been located in Döbling , Vienna's 19th district, since 1982 . Almost all of the house's collections are housed there. The nitrate film collection is stored together with that of the Filmarchiv Austria in a separate nitrate film bunker in Laxenburg , Lower Austria.

Museum entrance and 1st floor

The museum's film collection includes over 31,000 works. In addition to the classics of film history, the focus is on international and Austrian avant-garde film, Soviet revolutionary cinema and German-language film exile. Special attention is also paid to the film documents on contemporary history and "ephemeral" forms such as the amateur film. The film collection is constantly being expanded and is presented in various ways in the presentations and retrospectives of the Film Museum, for example in the cyclical programs “Was ist Film” and “Die Utopie Film” as well as in DVD and online publications.

The film restoration and factory security through copying is one of the basic tasks of all film museums and archives. The Filmmuseum has been active in this area since the early 1970s. One of the first major restoration projects was the reconstruction of Dziga Vertov's early sound film Enthusiasmus - The Donbass Symphony (1930) by Peter Kubelka and Edith Schlemmer. In addition to traditional analog copying processes, the museum has also been using digital technologies for film restoration since 2008.

The film museum also houses a photo collection with more than 400,000 motifs as well as collections of documents, posters and technology. The “Special Collections” of the house include a. the Dziga Vertov Collection, the Michael Haneke Collection and the Schlemmer Filmkadersammlung . The holdings are used for scientific and cultural projects. "Barrier-free" access to the collections is intended to ensure transparency and liability towards the users of these collections.

The library of the Filmmuseum, which is located on the premises of the Albertina, is the largest specialist film library in Austria with over 23,000 books and more than 400 magazine titles. The catalog is available online. The private library of the Austrian émigré Amos Vogel (Amos Vogel Library) with approx. 7,000 books is part of the library and is being processed.

Mediation and research

Since 2002 the Film Museum has expanded its mediation activities (lectures, introductions, discussions with filmmakers) to include events that are specifically aimed at educational institutions. This work is based on the curatorial objectives of the house: The aim is to convey a sharpening of the perspective on different forms of the medium, a comprehensive concept of film history, its relationship to the history of the 20th century as well as the peculiarities of analog film in relation to other moving images. Media.

Every semester, 15 to 20 events are offered for students who a. convey various aspects of the film in the form of lectures, discussions about individual films or workshops with filmmakers. In the Focus Film program, one to four classes work intensively on a film-related topic over the duration of a semester. In addition, the Filmmuseum has been offering the Summer School for 10 years, a film education training course for educators and all those interested in filming intensively on a topic that is redefined every year (e.g. film as thinking, childhood and cinema) want to work in educational contexts.

The Film Museum also hosts courses from the University of Vienna, the University of Applied Arts and the Academy of Fine Arts - often in connection with retrospectives and guests of the house. In addition, employees of the house regularly design courses that use the house's collections to bring discourses of film studies into contact with the perspective of a film museum.

The film museum is a partner or initiator of scientific research projects. From 2004 the Dziga Vertov collection was scientifically processed and put online, followed by the research project “Digital Formalism” (2007-2010) with the Institute for Theater, Film and Media Studies at the University of Vienna and the Interactive Media Systems Group at the TU Vienna. The KUR_Program for the conservation and restoration of mobile cultural assets made it possible for the Deutsche Kinemathek and the Austrian Film Museum to save the outtakes of Friedrich Wilhelm Murnau's Tabu (1931) by copying them, to edit them scientifically and to publish them in digital form. “Ephemeral Films: National Socialism in Austria” (in partnership with the United States Holocaust Memorial Museum, Washington; since 2013) is one of the numerous projects that the Filmmuseum is carrying out together with the Ludwig Boltzmann Institute for History and Society in Vienna. Since 2016 the film museum has been involved in the European research and dissemination project "I-Media-Cities", financed by the EU as part of the Horizon 2020 program for research and innovation.

Honorary President and guests of the house

In 2005 the American director Martin Scorsese took over the honorary presidency of the Austrian Film Museum. Scorsese has been committed to safeguarding and restoring the cinematic world heritage for decades. Scorsese got to know the Film Museum personally in November 1995 when he visited the retrospective of his work.

Among the film artists who have visited the museum in the course of its history as interlocutors at public events - in some cases several times - include, in addition to Scorsese, Chantal Akerman, John Alton, Olivier Assayas, James Benning, Busby Berkeley, Bernardo Bertolucci, Stan Brakhage, Luigi Comencini, Luc & Jean-Pierre Dardenne, Catherine Deneuve, Claire Denis, Lav Diaz, Jean Eustache, Valie Export, Harun Farocki, Rainer Werner Fassbinder, Federico Fellini, Michael Haneke, Werner Herzog, Philip Seymour Hoffman, Danièle Huillet , Chuck Jones, Elia Kazan, Alexander Kluge, Kurt Kren, Fritz Lang, Claude Lanzmann, Richard Leacock, Sergio Leone, Richard Linklater, Dušan Makavejev, Gregory J. Markopoulos, Groucho Marx, Jonas Mekas, Jeanne Moreau, Marcel Ophüls, Arthur Penn , Christian Petzold, Yvonne Rainer, Eric Rohmer, Jean Rouch, Paul Schrader, Werner Schroeter, Ulrich Seidl, Don Siegel, Michael Snow, Alberto Sordi, Jean-Marie Straub, Tsai Ming-liang, Agnès Varda, Paul Ver hoeven, Luchino Visconti, Viva, Kôji Wakamatsu, Apichatpong Weerasethakul and Frederick Wiseman.

Publications

As early as the 1960s and early 70s, the Filmmuseum published books on film history. A second series of books and brochures on the work of Jean Eustache, Yasujiro Ozu, Humphrey Jennings and Robert Gardner appeared in the 1980s and early 90s. In 2003 a new book series called KINO was opened together with Zsolnay-Verlag, with volumes on popular film genres (including “Singen und Tanzen im Film”, “Western”, “Film und Biographie”, Klaus Kreimeier's “Kulturgeschichte des early Kinos”) and important film artists (Edgar G. Ulmer, Peter Lorre, Orson Welles, Laurel & Hardy, Buster Keaton).

Since 2005, books on key representatives of contemporary cinema have been published together with SYNEMA - Society for Film and Media in the FilmmuseumSynemaPublications series (Claire Denis, Peter Tscherkassky, John Cook, James Benning, Michael Pilz, Apichatpong Weerasethakul, Gustav Deutsch, Romuald Karmakar, Olivier Assayas, Joe Dante, Dominik Graf, Hou Hsiao-hsien, Jean-Marie Straub & Danièle Huillet, Ruth Beckermann), but also volumes on aspects of early film (Dziga Vertov, Jean Epstein's film theory, Josef von Sternberg's last silent film , Film comedians around 1910) as well as publications on current issues and influential positions in film education and film theory (“Film Curatorship”, “What is Film”, “Screen Dynamics”, “Archeology of Amateur Film”, texts by and about Amos Vogel, Alain Bergalas “Cinema Hypothesis”, Siegfried Mattl's writings on film and history). In 2014 a three-part publication was published on the history and collections of the Film Museum. The series, comprising around 30 volumes (as of 2016/17), is partly written in German or English or bilingually.

As a founding member of Edition Filmmuseum, the Austrian Film Museum has been bringing rare films onto the market since 2005 (including works by Erich von Stroheim, Lev Kulešov, Josef von Sternberg, Dziga Vertov, Straub / Huillet, John Cook, Werner Schroeter, Michael Pilz, James Benning , Apichatpong Weerasethakul). Edition Filmmuseum is a joint series of publications by film archives and cultural institutions in the German-speaking area. At the Il Cinema Ritrovato Festival in Bologna, the DVD on Vertov's enthusiasm, produced by the Film Museum, was awarded the main prize for Best DVD 2005/06. The DVD for Michail Kalatozov's The Salt of Svaneti and Nails in the Boot, published jointly with the Munich Film Museum, received the same award in the 2013/14 season.

Since 2009, parts of the “non-film” collections of the Filmmuseum have been gradually made accessible online, and since 2012 also film material. These include, for example (in the form of a searchable database) the holdings of the weekly newsreel “ Austria in Image and Sound ” (1935–1937) and all surviving editions of “Kinonedelja” Dziga Vertov's first weekly newsreel.

Individual evidence

  1. ↑ PDF Art and Culture Report 2015 https://www.parlament.gv.at/PAKT/VHG/XXV/III/III_00295/imfname_565415.pdf , p. 26 and p. 358
  2. ↑ Municipal Council, 4th meeting on January 28, 2016, meeting report, https://www.wien.gv.at/mdb/gr/2016/gr-004-s-2016-01-28-006.htm , last access : November 12, 2016
  3. ↑ Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna: Synema 2014, p. 46ff.
  4. ↑ Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna: Synema 2014, p. 72
  5. ↑ Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna: Synema 2014, p. 79
  6. ↑ Alexander Horwath (Ed.): The visible cinema. Fifty Years of the Film Museum: texts, images, documents, Vienna: Synema 2014, p. 36f
  7. ↑ Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna: Synema 2014, p. 86ff
  8. ↑ Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna: Synema 2014, p. 87ff
  9. ^ Peter Hajek: Vienna: more than 150 film art fans ... In: Kurier from November 4, 1964
  10. ^ Hans Winge: Avant-garde and film musical. In: Die Presse of November 27, 1965
  11. ↑ Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna In: Synema 2014, p. 161
  12. ↑ HW: The festival without cheerfulness. Festival week of cheerful films in Vienna. In: NZZ. dated April 15, 1966
  13. ↑ VALENTIN: Griaß Gott, Herr Hitler . In: Der Spiegel . No. 19 , 1967 ( online - May 1, 1967 ).
  14. ↑ Wolfram Schütte: Small experiences at the Buñuel retrospective during the Viennale. In: Frankfurter Rundschau of April 8, 1969
  15. ↑ FILM / UNDERGROUND: Feast for the eyes . In: Der Spiegel . No. 48 , 1967 ( online - Nov. 20, 1967 ).
  16. ↑ Patalas, Enno, “Diary”, film review, March 1968
  17. ↑ Program February 1974 PDF, last accessed November 12, 2016
  18. ↑ Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna: Synema 2014, p. 15
  19. ↑ Film collection and restoration. In: filmmuseum.at. Retrieved January 8, 2017 .
  20. ↑ Alexander Horwath was appointed the new director of the Austrian Film Museum from 2002. In: ots.at. June 7, 2001. Retrieved January 8, 2017 .
  21. ↑ Positive balance for the film museum. In: pressetext.com. January 17, 2005, accessed January 8, 2017 .
  22. ^ Austrian Museum Prize: Federal Chancellery for Culture and Art. In: kunstkultur.bka.gv.at. Retrieved January 8, 2017 (Spanish).
  23. ↑ Projects 50-year anniversary, last accessed on November 12, 2016
  24. ↑ Program archive from 1964, last accessed on November 12, 2016
  25. ↑ New director ordered last access March 8, 2017
  26. ↑ PDF Annual Report of the Austrian Filmmuseum 2015, http://www.filmmuseum.at/jart/prj3/filmmuseum/data/uploads/Filmmuseum%20 Jahresbericht %202015.pdf , last accessed: November 12, 2016
  27. ^ History: http://www.filmmuseum.at/ueber_uns/geschichte , last accessed November 12, 2016
  28. ↑ "25 Years of the Austrian Film Museum", press release, November 1989, In: Eszter Kondor: Aufbruch. The founding of the Austrian Film Museum, Vienna: Synema 2014, p. 131
  29. ↑ Tomicek, Harry: Das “Invisible Cinema”, reflections on the perceptual space of film, NZZ , November 9, 1989
  30. ↑ For the Old World . In: Der Spiegel . No. 47 , 1970, pp. 206-209 ( Online - Nov. 16, 1970 ).
  31. ↑ The Invisible Cinema http://www.filmmuseum.at/ueber_uns/das_unsichtbare_kino , November 12, 2016
  32. ↑ Technical equipment: http://www.filmmuseum.at/ueber_uns/das_unsichtbare_kino/technische_einrichtungen , last accessed: November 12, 2016
  33. ↑ Mission Statement: http://www.filmmuseum.at/ueber_uns/mission_statement , last accessed: November 12, 2016
  34. ↑ PDF film program cycle “Was ist Film”: http://www.filmmuseum.at/jart/prj3/filmmuseum/data/uploads/Zyklische_Programme/Zyklen_WasIstFilm.pdf , last accessed November 12, 2016
  35. ↑ PDF film program cycle “Die Utopie Film”: http://www.filmmuseum.at/jart/prj3/filmmuseum/data/uploads/Zyklische_Programme/Zyklen_UtopieFilm.pdf , last accessed November 12, 2016
  36. ^ Gertie Fröhlich: Posters for the Austrian Film Museum 1964–1984, Vienna: Galerie Ulysses 2005, p. 9
  37. ↑ Zyphius, http://www.filmmuseum.at/ueber_uns/zyphius , last accessed: November 12, 2016
  38. ↑ Alexander Horwath (Ed.): The visible cinema. Fifty Years of the Film Museum: texts, images, documents, Vienna: Synema 2014, 178f.
  39. ↑ Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna: Synema 2014, p. 125
  40. ↑ Film collection and restoration: http://www.filmmuseum.at/sammlungen/filmsammlung_und_restaurierung , last accessed: November 12, 2016
  41. ↑ Amateurfilm: http://www.filmmuseum.at/sammlungen/filmsammlung_und_restaurierung/_amateurfilm , last accessed on November 12, 2016
  42. ↑ Cyclical programs: http://www.filmmuseum.at/forschung__vermittlung/vermittlung/zyklische_programme , last accessed: November 12, 2016
  43. ↑ a b Film restoration: http://www.filmmuseum.at/sammlungen/filmsammlung_und_restaurierung/filmrestaurierung , last accessed: November 12, 2016
  44. ↑ DVD Peter Kubelka: Restoring Ėntuziazm 2005, realization: Joerg Burger, Michael Loebenstein, http://www.filmmuseum.at/shop/shop_detail?shop_produkte_id=1215680370589 , last accessed: November 12, 2016
  45. ↑ Photo collection: http://www.filmmuseum.at/sammlungen/fotosammlung , last accessed on November 12, 2016
  46. ↑ Special Collections: http://www.filmmuseum.at/sammlungen/special_collections , last accessed: November 12, 2016
  47. ↑ Collections Online: http://www.filmmuseum.at/sammlungen/sammlungen_online , last accessed: November 12, 2016
  48. ↑ Online catalog: http://www.filmmuseum.at/sammlungen/bibliothek/online-recherche , last accessed: November 12, 2016
  49. ↑ Mediation: http://www.filmmuseum.at/forschung__vermittlung/vermittlung , last accessed: November 12, 2016
  50. ↑ School in the cinema: http://www.filmmuseum.at/forschung__vermittlung/vermittlung/schule_%7C_kinder_%7C_jugendliche/schule_im_kino , last accessed: November 12, 2016
  51. ↑ Focus on film: http://www.filmmuseum.at/forschung__vermittlung/vermittlung/schule_%7C_kinder_%7C_jugendliche/fokus_film , last accessed: November 12, 2016
  52. ↑ Summer School: http://www.filmmuseum.at/forschung__vermittlung/vermittlung/schule_%7C_kinder_%7C_jugendliche/summer_school_fuer_lehrerinnen , last accessed: November 12, 2016
  53. ↑ Courses: http://www.filmmuseum.at/forschung__vermittlung/vermittlung/lehrveranstaltungen , last accessed on November 12, 2016
  54. ^ Dziga Vertov Collection ( Memento from November 12, 2016 in the Internet Archive ), last accessed: November 12, 2016
  55. ↑ Digital Formalism: http://www.filmmuseum.at/forschung__vermittlung/forschung/digital_formalism , last accessed: November 12, 2016
  56. ↑ Murnau's taboo: https://www.deutsche-kinemathek.de/en/publications/online/murnau , last accessed: November 12, 2016
  57. ↑ Project database http://efilms.ushmm.org/ , last accessed: November 12, 2016
  58. ^ I-Media-Cities ( Memento of November 13, 2016 in the Internet Archive ), last accessed: November 12, 2016
  59. ↑ Honorary President http://www.filmmuseum.at/ueber_uns/ehrenpraesident , last accessed November 12, 2016
  60. ↑ Alexander Horwath (Ed.): The visible cinema. Fifty Years of the Film Museum: Texts, Images, Documents, Vienna: Synema 2014, p. 252
  61. ↑ a b Alexander Horwath (Ed.): The visible cinema. Fifty Years of the Film Museum: Texts, Images, Documents, Vienna: Synema 2014
  62. ↑ a b books: http://www.filmmuseum.at/jart/prj3/filmmuseum/main.jart?rel=de&reserve-mode=active&content-id=1466089137266&shop_produkt_typ_id=1215680370519 , last accessed: November 12, 2016
  63. ↑ DVDs: http://www.filmmuseum.at/jart/prj3/filmmuseum/main.jart?rel=de&reserve-mode=active&content-id=1466089137266&shop_produkt_typ_id=1215680370260 , last accessed: November 12, 2016
  64. ↑ Edition Filmmuseum: https://www.edition-filmmuseum.com/ , last accessed: November 12, 2016
  65. ^ Filmmuseum in Italien honored, Der Standard, November 14, 2006; http://derstandard.at/2508816/Filmmuseum-in-Italien-geehre , last accessed: November 12, 2016
  66. ↑ Filmmuseum awarded for Kalatozov DVD, Der Standard, July 9, 2014: http://derstandard.at/2000002855978/Filmmuseum-fuer-Kalatozov-DVD-ausgezeichen , last accessed: November 12, 2016
  67. ↑ Film online: http://www.filmmuseum.at/sammlungen/film_online , last accessed: November 12, 2016
  68. ↑ ÖBUT: http://www.filmmuseum.at/sammlungen/filmsammlung_und_restaurierung/film_online/oesterreich_in_bild_und_ton_1935-1937 , last accessed: November 12, 2016

literature

  • Alejandro Bachmann: "Driving by train - film education in the context of the film museum", in: www.nachdemfilm.de No. 13: Film education (online at: http://www.nachdemfilm.de/content/zug-fahren )
  • Paolo Caneppele / Alexander Horwath (eds.): Collection. Fifty objects: film stories from the collection of the Austrian Film Museum, Vienna: Synema 2014 [FilmmuseumSynemaPublikationen Volume 22]
  • Gertie Fröhlich: Posters for the Austrian Film Museum 1964–1984, Vienna: Galerie Ulysses 2005
  • Stefan Grissemann / Alexander Horwath / Regina Schlagnitweit (eds.): What is film - Peter Kubelka's cyclical program at the Austrian Film Museum, Vienna: Synema 2010 [FilmmuseumSynemaPublikationen 14]
  • Alexander Horwath (ed.): The visible cinema. Fifty Years of the Filmmuseum: Texts, Images, Documents, Vienna: Synema 2014 [FilmmuseumSynemaPublications Volume 21]
  • Eszter Condor: Break up. The founding of the Austrian Film Museum, Vienna: Synema 2014 [FilmmuseumSynemaPublications Volume 20]
  • Michael Loebenstein: “'Living exhibition', cabinet of curiosities, notation. About the Filmmuseum as a place of film mediation ", in: Bettina Henzler, Winfried Pauleit (eds.), Seeing films, understanding cinema: Methods of film mediation, Marburg: Schüren Verlag, 2009 (online at: http://www.filmmuseum.at /jart/prj3/filmmuseum/data/uploads/Vermittlung_Forschung/Textverbindungen/Lebende%20Ausstellung.pdf )
  • Heidrun Unterweger: The black cinema in the Austrian film museum. With an empirical study on film life in black cinema. Thesis. Institute for Media and Communication Studies at the University of Vienna, 1993.

Web links

Commons : Austrian Film Museum  - collection of images, videos and audio files

Coordinates: 48 ° 12 ′ 17 ″  N , 16 ° 22 ′ 6 ″  E