Es wurde zwar von den Veranstaltern während der „Film:ReStored_01“-Tagung versprochen, dass THE LINDGREN MANIFESTO im Wortlaut auf der Website der Veranstaltung (Link siehe unten im Blog) nachgereicht werden würde; bis jetzt ist allerdings dort nichts passiert.

Daher hier nachgereicht:


by Paolo Cherchi Usai


The Film Curator of the Future

Restoration is not possible and it is not desirable, regardless of its object or purpose. Obedience to this principle is the most responsible approach to film preservation.

Preserve everything is a curse to posterity. Posterity won’t be grateful for sheer accumulation. Posterity wants us to make choices. It is therefore immoral to preserve everything; selecting is a virtue.

If film had been treated properly from the very beginning, there would be less of a need for film preservation today and citizens would have had access to a history of cinema of their choice.

The end of film is a good thing for cinema, both as an art and as an artifact. Stop whining.

If you work for a cultural institution, make knowledge with money. If you work for an industry, make money with knowledge. If you work for yourself, make both, in the order that’s right for you. Decide what you want, and then say it. But don’t lie.

A good curator will never claim to be a curator. Curatorship is not about the curator. It is about the others.

Turning silver grains into pixels is not right or wrong per se; the real problem with digital restoration is its false message that moving images have no history, its delusion of eternity.

Digital is an endangered medium, and migration its terminal disease. Digital needs to be preserved before its demise.

We are constantly making images; we are constantly losing images, like any human body generating and destroying cells in the course of its biological life. We are not conscious of this, which is as good as it is inevitable.

Knowing that a cause is lost is not a good enough reason not to fight for it.

A film curator must look for necessary choices, with the ultimate goal of becoming unnecessary.

Governments want to save, not give, money. Offer them economical solutions; therefore, explain to them why the money they give to massive digitization is wasted. Give them better options. Treating with the utmost care what has survived. Better yet, doing nothing. Let moving images live and die on their own terms.

Honor your visual experience and reject the notion of “content”. Protect your freedom of sight. Exercise civil disobedience.

Be aware that the world is not interested in film preservation. People can and should be able to live without cinema.

Quelle: British Library
URL Veröffentlichungsdatum: 25 AUGUST 2010

Ernest Lindgren wurde 1935 zum Kurator der damals neuen National Film Library in UK berufen, die 1955 in National Film Archive umbenannt wurde. Er gilt als der große Antipode zu Henri Langlois. Ein künftiges Manifest zur spezifischen Lage in Deutschland müsste man daher, um schon in dieser Traditionslinie zu bleiben, nomen est omen, etwa so benennen: „Dem vergangenen Licht des Kinos, der Fackel der Film-Kino-Lampe — ihr Recht auf Existenz zurückgeben: Das Lamprecht Manifest“. Filmgeschichte in Deutschland wuchs auf dem Humus der Liebhaberei.
Ist dem nicht nach wie vor so?

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