Original Copies: Digital Tools for Preservation in Cinema and the Other Arts
International Conference

Aula magna del Rettorato
Via Po, 17
Torino, Italy
October 13-14, 2025

Monday, October 13

9:00 Opening Remarks

9:15-10:15 

KEYNOTE SPEAKER
Paolo Cherchi Usai (Senior Curator-at-large, George Eastman Museum, Rochester, New York)
The Turing Horse

10:15-11:15
PANEL 1 – THEORY

Chair: Paolo Cherchi Usai (George Eastman Museum)

• Ines Gil (Universidade Lusofona, Lisbon)
  Cinematographic Patina 
• Ross Lipman (Corpus Fluxus, Los Angeles)
  The Archival Impermanence Project 
• David Pierce (Film Preservation Society, Los Angeles)
  Reproducing Color Films for Preservation and Presentation

11:15-11:30 Coffee break

11:30-13:30
PANEL 2 – DOCUMENTATION

Chair: Sabrina Negri (Università degli Studi di Torino)

• Alessandra Butti (Università degli Studi di Roma Tre) 
  The Original is Always… Documented. On the Need for Film Digitization Documentation in Film Archives
• Valentina Rossetto (Centro Sperimentale di Cinematografia – Cineteca Nazionale, Rome) 
  FIAF Guidelines for a Standardized Approach to Documenting Film Preservation and Restoration
• James Layton and Crystal Kui (International Federation of Film Archives – FIAF)
  The Film Atlas Project

Short break

• Serena Bellotti (Università degli Studi di Udine) 
  Reading Between the Frames: Multilayered Digital Witnesses in Edge-to-Edge Film Scanning
• Simone Venturini (Università degli Studi di Udine) 
  Reframing Digital Critical Editions of Film: An Experimental Web-Based Model
• Carole Fodor (Fondation Jérôme Seydoux-Pathé, Paris)
  What Happens in the Lab? Documenting Restoration in Practice, a Case Study.

13:30-14:30 Light lunch

14:30-15:45 
PANEL 3 – AMATEUR FILM

Chair: Maria Ida Bernabei (Università degli Studi di Torino)

• Oliver Carter (Birmingham City University)
  Afterlives of the Illicit: Digital Archives and the Politics of Preservation
• André Habib (Université de Montréal)
  What Can Digital Tools Do to 16mm Scientific Film Collections? The “Cadavre exquis” Project
• Louis Pelletier (Université de Montréal)
  Preserving Proteus: Digital Tools and Amateur Cinema
• Rossella Catanese, Valentina Valente (Università della Tuscia, Viterbo)
  Ecological and Ethical Challenges in Audiovisual Digitization

15:45-16:00 Coffee break

16:00-17:15
PANEL 4 – CULTURAL HERITAGE

Chair: Luca Antoniazzi (Università di Pollenzo)

• Josetxo Cerdán (Universidad Carlos III de Madrid, Instituto Universitario del Cine Español), Iker Velasco (Universidad Carlos III de Madrid)
  Framing the Colonial Gaze in the Hermic Film Production 
• Sourapravo Chatterjee (IIT Hyderabad), Moumita Roy (Independent scholar)
  Archives of Absence: Tracing Early Indian Cinema in a Fragmented Record (ONLINE PRESENTATION)
• Josephine Diecke (Universität Zürich), Sevita Caseres (Université de Genève)
  Time-coded, Hardcoded, Decoded: Excavating Subtitling Variants and Practices in Swiss Cinema
• Hannah Rothfield (Pratt Institute, New York)
  Cinematic Relics and Cultural Conservation: The Case of Citizen Kane’s Rosebud 

17:15-17:30 Short break

17:30-19:00 
ROUNDTABLE “Digital Present, Analog Futures. Envisioning Film Collections of Tomorrow.” 

Moderator: Sabrina Negri (Università degli Studi di Torino)

Participants: Paolo Cherchi Usai (George Eastman Museum), Ambra D’Aleo (Centro Conservazione e Restauro “La Venaria Reale”), Simona Monizza (Eye Filmmuseum, Amsterdam), Elena Nepoti and Kieron Webb (British Film Institute, London), Gabriele Perrone (Museo Nazionale del Cinema di Torino), David Pierce (Film Preservation Society), Maria Assunta Pimpinelli (Centro Sperimentale di Cinematografia – Cineteca Nazionale), Simone Venturini (Università degli Studi di Udine)

20:00 Conference dinner

Tuesday, October 14

9:15-10:15
KEYNOTE SPEAKER
Simona Monizza (EYE Filmmuseum, Amsterdam)
Hands on. Beauty and Complexities of Animated Films

10:15-11:30
PANEL 5 – EXPERIMENTAL
Chair: Simone Venturini (Università degli Studi di Udine)

• Enrico Camporesi (Musée national d’art moderne-Centre Pompidou, Paris) 
  Permanent Projection
• Rinaldo Censi (Accademia di Belle Arti, Bologna) 
  A Couch at the Factory (on Andy Warhol’s Couch)
• Loubna Régragui (Université Sorbonne Nouvelle, Paris 3) 
  Speaking the Language of Filmmaking with Digital Tools as an Original Approach for Preserving the Art of Cinema
• Hugo Ljungbäck (University of Chicago)
  The Attraction of Restoration: Early Cinema and the Aesthetics of Artificial Intelligence

11:30-11:45 Coffee break

11:45-13:00
PANEL 6 – TECHNOLOGY

Chair: David Pierce (Film Preservation Society)

• Ornella Nobili (Universității Transilvania din Brașov and Università degli Studi di Torino), Giorgio Trumpy (Norwegian University of Science and Technology – Colourlab, Gjøvik; Scan2Screen)
  Preliminary Study on Azomures Film Material: Digital Unfading and Historical Clues
• Alice Plutino (NABA-Nuova Accademia di Belle Arti, Milan), Luca Armellin (La Statale – Università di Milano, Imageese)
  Shared Knowledge, Shared Tools: A Cross-Sector Approach
• Francesca Porpora (Università di Firenze and CSGI – Consorzio interuniversitario per lo sviluppo dei Sistemi a Grande Interfase)
  Proposal for a Remediation Method for the “Vinegar Syndrome” in Cellulose Acetate-based Motion Picture Films
• Ulrich Ruedel (HTW-Hochschule für Technik und Wirtschaft Berlin), Franziska Heller (Martin-Luther-Universität Halle-Wittenberg), Sreya Chatterjee (HTW-Hochschule für Technik und Wirtschaft Berlin)
  From Ted Turner to “4K60p in Color:” Challenging Colorization, Re-Framing Restoration

13:00-14:30 Light lunch 

14:30 

Visit to the Conservation Center at “La Venaria Reale”