Status of monument -> National monument
Pursuant to Article V para. 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and Article 39 para. 1 of the Rules of Procedure of the Commission to Preserve National Monuments, at a session held from 6 to 9 September 2011 the Commission adopted a
D E C I S I O N
I
The movable property consisting of the Cinematic material of the Bosnia and Herzegovina Film Library in Sarajevo is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument consists of the following collections of films:
a) thirty-nine (39) feature films produced in Bosnia and Herzegovina
1. Stojan Mutikaša, Fedor Handžeković, 1954.
2. Kuća na obali, Boško Kosanović, 1954.
3. Šolaja, Vojislav Nanović, 1955.
4. Hanka, Slavko Vorkapić, 1955.
5. Pod sumnjom, Branko Belan, 1956.
6. Tuđa zemlja, Jože Gale, 1957.
7. Male stvari, Boško Kosanović, 1957.
8. Vratiću se, Jože Gale, 1957.
9. Crni biseri, Toma Janić, 1958.
10. Vrata ostaju otvorena, František Čap,1959.
11. Noći i jutra, Pjer Majhrovski, 1959.
12. Pet minuta raja, Igor Pretnar, 1959.
13. Parče plavog neba, Toma Janić,1961.
14. Velika turneja, Žorž Skrigin, 1961.
15. Srešćemo se večeras, František Čap, 1962.
16. Kozara, Veljko Bulajić, 1962.
17. Krst rakoc, Žika Ristić, 1962.
18. Mačak pod šljemom, Žorž Skrigin, 1962.
19. U sukobu, Jože Babić, 1963.
20. Dobra kob, Milutin Kosovac, 1964.
21. Narodni poslanik, Stole Janković, 1964.
22. Na mesto građanine pokorni, Radivoje Lola Đukić, 1964.
23. Ubica na odsustvu, Boško Bošković, 1965.
24. Glasam za ljubav, Toma Janić, 1965.
25. Konjuh planinom, Fadil Hadžić, 1966.
26. Glineni golub, Toma Janić, 1966.
27. Sretni umiru dvaput, Gojko Šipovac, 1966.
28. Zlatna praćka, Radivoje Lola Đukić, 1967.
29. Mali vojnici, Bato Čengić, 1967.
30. Opatica i komesar, Gojko Šipovac, 1968.
31. Uđi ako hoćeš, Radenko Ostojić, 1968.
32. Ram za sliku moje drage, Mirza Idrizović, 1968.
33. Plamen nad Jadranom, A. Astruc, S.Čikeš, 1969.
34. Horoskop, Bora Drašković, 1969.
35. Život je masovna pojava, Mirza Idrizović, 1970.
36. Ciganska romansa, Oto Deneš, 1963.
37. Sunce tuđeg neba, Milutin Kosovac, 1968.
38. Valter brani Sarajevo, Hajrudin Krvavac,1972.
39. Klisura, Boško Kosanović, 1956.
b) sixteen (16) documentaries and short feature films made in Bosnia and Herzegovina:
1. Križni put u Sarajevu, Vlatko Filipović, 1993.
2. Mizaldo – Kralj teatra, Benjamin Filipović, 1994.
3. Sarajevo 92, Mirza Idrizović, 1992.
4. Pista života, Dino Mustafić, 1993.
5. Čekajući paket, Vuk Janič, 1993.
6. Djeca kao i svaka druga, Pjer Žalica, 1995.
7. Fadila, Nedžad Begović, 1994.
8. Markale, Zlatko Lavanić, 1995.
9. Mojim prijateljima, Zlatko Lavanić, 1993.
10. Prometej, Zlatko Lavantić, 1995.
11. Rano kino u Sarajevu, Srđan Vuletić, 1994.
12. Sarajevski gudači, Vefik Hadžismajlović, 1994.
13. Skitnice i psi, Zlatko Lavanić, 1993.
14. Slike, Pjer Žalica, 1995.
15. Voda i krv, Ibrahim Helja, 1993.
16. War art, Nedžad Begović, 1993.
c) thirty-four (34) monthly periodicals (journals)
The National Monument is housed at no. 4a Nikole Kašikovića Street, Sarajevo, in the storerooms of the Bosnia and Herzegovina Film Library, a public body, the headquarters of which are located at no. 19 Alipašina Street, Sarajevo.
The provisions relating to protection measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of the Federation of BiH nos. 2/02, 27/02, 6/04 and 51/07) shall apply to the National Monument.
II
The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for providing the legal, scientific, technical, administrative and financial measures necessary for the protection, conservation and presentation of the National Monument.
The Commission to Preserve National Monuments (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and erecting signboards with basic details of the monument and the Decision to proclaim the property a National Monument.
III
The Government of the Federation shall be responsible for providing appropriate physical and technical conditions for the preservation of the films of the Bosnia and Herzegovina Film Library.
- the provision of adequate space (storage) for the safe keeping of the films;
- the procurement of equipment for the storage area where the films are housed;
- the procurement of film storage boxes;
- the installation of a climate control system to maintain optimal humidity and temperature levels, as follows:
- 5°C and 30% RH for original colour films,
- 10-15°C and 40% RH for black and white films,
- 5°C and 30% RH for nitrate films;
- the provision of suitable conditions for the specialist conservation and restoration of the films.
The display and other forms of presentation of the material (in positive copy with sound track) in Bosnia and Herzegovina shall be carried out in line with conditions to be prescribed by the ministry responsible for culture in the Federation of Bosnia and Herzegovina.
IV
The removal of the National Monument or parts thereof (hereinafter: the movable heritage) from Bosnia and Herzegovina is prohibited.
By way of exception to the provisions of paragraph 1 of this Clause, the temporary removal from Bosnia and Herzegovina of the movable heritage for the purposes of display or conservation shall be permitted if it is established that conservation works cannot be carried out in Bosnia and Herzegovina or can be carried out to a higher standard and more quickly and cheaply abroad.
Permission for temporary removal under the conditions stipulated in the preceding paragraph shall be issued by the Commission to Preserve National Monuments, if it is determined beyond doubt that it will not jeopardize the movable heritage in any way.
In granting permission for the temporary removal of the movable heritage, the Commission shall stipulate all the conditions under which the removal from Bosnia and Herzegovina may take place, the date by which the items shall be returned to the country, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of the Federation of Bosnia and Herzegovina, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.
V
Everyone, and in particular the competent authorities of the Federation of Bosnia and Herzegovina, the Canton, and urban and municipal authorities, shall refrain from any action that might damage the National Monument or jeopardize the preservation thereof.
VI
The Government of the Federation, the federal ministry responsible for culture and the heritage protection authority of the Federation of Bosnia and Herzegovina shall be notified of this Decision in order to carry out the measures prescribed in clauses II-V of this Decision.
VII
The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.kons.gov.ba).
VIII
Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.
IX
This Decision shall enter into force on the day following its publication in the Official Gazette of BiH.
This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Martin Cherry, Amra Hadžimuhamedović, Dubravko Lovrenović and Ljiljana Ševo.
No: 04.1-2.3-77/11-22
7 September 2011
Sarajevo
Chair of the Commission
Ljiljana Ševo
E l u c i d a t i o n
I – INTRODUCTION
Pursuant to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, a “National Monument” is an item of public property proclaimed by the Commission to Preserve National Monuments to be a National Monument pursuant to Articles V and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and property entered on the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02) until the Commission reaches a final decision on its status, as to which there is no time limit and regardless of whether a petition for the property in question has been submitted or not.
On 15 March 2011 the acting director of the Bosnia and Herzegovina Film Library, Devleta Filipović of Sarajevo, contacted the Commission with a proposal to designate the movable property of the films held by the Bosnia and Herzegovina Film Library in Sarajevo as a national monument of Bosnia and Herzegovina.
The Commission proceeded to carry out the procedure for reaching a final decision to designate the property as a national monument, pursuant to Article V para. 4 of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.
Statement of Significance
The statutory protection of films in Bosnia and Herzegovina dates back to the 1960s, but institutional protection began only in the late 1970s, when a film section was set up in the Archives of Bosnia and Herzegovina. In 1994, the section became an independent institution, a public body known as the Kinoteka Bosne i Hercegovine (Bosnia and Herzegovina Film Library). Its main activity is the collection, cataloguing, preservation and safe-keeping of films, mainly those made in Bosnia and Herzegovina and films of historical, artistic, cultural, educational or academic significance. The film archive is in two parts, local and foreign, both including full-length feature films, documentaries, short feature films and animated films in black and white and in colour. The holdings of films from Bosnia and Herzegovina include feature films – original material, documentary and short feature films – original material, and a collection of monthly periodicals or journals, also the subject of the protection afforded by this Decision, along with synopses, screen plays, shooting logs, dialogue and title lists and ancillary cinematic material such as catalogues, photographs, posters and festival awards. The holding of foreign films consists of 751 films in the form of the best copies of imported films.
II – PRELIMINARY PROCEDURE
In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following documentation was inspected:
- documentation of the Bosnia and Herzegovina Film Library on the subject of the procedure;
- the available literature on the subject of the procedure.
The findings based on the review of the above documentation and the condition of the site are as follows:
1. Details of the property
Location
The film holdings of the Bosnia and Herzegovina Film Library are housed at no. 4a Nikole Kašikovića Street, Sarajevo, in the storerooms of the Bosnia and Herzegovina Film Library, a public body, the headquarters of which are located at no. 19 Alipašina Street, Sarajevo.
Historical background
In 1965 the Law on Archives 1962 was amended to include cinematic material for the first time(1). This was followed in 1973 by the enactment of the Law on Cinematography, which governed the preservation of cinematic material of Bosnia and Herzegovina in the film library. This law required film producers to provide the film library with one unused copy of each film in the first year of screening, while film importers were required to provide the best copy of each imported film on expiry of the licence. This law and the 1978 Law on Cinematic Activity governed the preservation of cinematic material in the Film Library set up under the Archives of Bosnia and Herzegovina. These new powers enabled the Archives of Bosnia and Herzegovina to extend its remit to the preservation and cataloguing of cinematic material. At that time the Archives’ Film Library held some 600 titles. A card index was compiled of films for the period 1945 to 1978, and other cinematic material was assembled – about 250 boxes of records, 200 screen plays and shooting logs, about 100 dialogue lists, 150 posters, 7000 photographs and 40 boxes of advertising material. The new Law on Cinematic Activity, enacted in 1990 and still in force in the Federation of Bosnia and Herzegovina, states that “a producer is required to provide the Archives of Bosnia and Herzegovina with negatives of the film produced within three years of completion of the production of a local film(2),” and “a distributor who has imported a foreign film is required, immediately upon expiry of the licence, to provide the Archives of Bosnia and Herzegovina with the least damaged copy of each imported film.(3)” In July1994, the Parliamentary Assembly of the Republic of Bosnia and Herzegovina adopted a law establishing the Bosnia and Herzegovina Film Library, and the entire holdings of cinematic material were transferred from the Archives of Bosnia and Herzegovina to the newly-established library(4).
The Bosnia and Herzegovina Film Library is authorized to research, record, classify and catalogue films, mainly those made in Bosnia and Herzegovina and films of historical, artistic, cultural, educational or academic significance, to safeguard films and cinematic material against damage, destruction and disappearance and to take steps to preserve them, and to screen local and foreign films(5).
The Bosnia and Herzegovina Film Library is a member of the International Federation of Film Archives (FIAF). Research papers dealing with the film arts are published in the Library’s journal, SINEAST.
2. Description of the property
The film archive is in two parts, local and foreign, both of which include full-length feature films, documentaries, short feature films and animated films.
The holding of films from Bosnia and Herzegovina includes original cinematic material – negatives of images and sound tracks, film copies and cinematic material, synopses, screen plays, shooting logs, dialogue and title lists and ancillary cinematic material such as catalogues, photographs, posters and festival awards.
The holding of foreign films consists of 751 films in the form of the best copies of imported films, a total of 1,000,000 metres of footage. This holding also includes 5988 posters.
The Film Library’s press clippings collection consists of about 15000 press clippings attesting to the development of cinematography in Bosnia and Herzegovina.
The holdings of films from Bosnia and Herzegovina include feature films – original material, documentary and short feature films – original material, and a collection of monthly periodicals or journals. All these films were recorded on 35 mm acetate tapes. The Bosnia and Herzegovina Film Library also holds negative images(6) (NI), negative sound tracks (NST), duplicate negatives (DN)(7) and duplicate positives (DP)(8).
A) Feature films of Bosnia and Herzegovina – original material
1. Stojan Mutikaša
Fedor Handžeković, 1954, standard(9), b/w(10), 2700 m, NI – 12, NST – 12, DP 12
2. Kuća na obali
Boško Kosanović, 1954, standard, b/w, 2359 m, NI – 10, NST – 7, DP – 10
3. Šolaja
Vojislav Nanović, 1955, standard, b/w, 2800 m, NI – 11, NST – 11
4. Hanka
Slavko Vorkapić, 1955, standard, b/w, 3600 m, DN – 10, NST – 10, DP – 10
5. Pod sumnjom
Branko Belan, 1956, standard, b/w, 2650 m, NI – 12, NST – 12, DN – 12
6. Tuđa zemlja
Jože Gale,1957, standard, b/w, 2440 m, NI – 9 (incomplete, missing reel 6), NST – 5 (incomplete, reels 3 and 4 missing), DN – 9 (incomplete, missing reels 2, 4 and 5)
7. Male stvari
Boško Kosanović, 1957, standard, b/w, 2400 m, NI – 10, DN – 10
8. Vratiću se
Jože Gale,1957, standard, b/w, 2600 m, NI – 11, NST – 11, DN – 11
9. Crni biseri
Toma Janić, 1958, standard, b/w, 2706 m, NI – 11, NST – 11, DN – 11, DP – 11
10. Vrata ostaju otvorena
František Čap,1959, standard, b/w, 2747 m, NI – 10, NST – 10, DN – 10 (reels 7, 8 and 9 destroyed), DP – 10 (reel 6 destroyed)
11. Noći i jutra
Pjer Majhrovski, 1959, standard , b/w, 2657 m, NI – 9, NST – 9, DN – 9, DP – 9
12. Pet minuta raja
Igor Pretnar, 1959, standard, b/w, 2560 m, NI – 10, NST – 10, DN – 10, DP – 10 (incomplete, missing reel 5)
13. Parče plavog neba
Toma Janić,1961, standard, b/w, 2581 m, NI – 10, NST – 10, DN – 10, DP – 10
14. Velika turneja
Žorž Skrigin, 1961, wide screen, b/w, 2560 m, NI – 11, NST – 12, DN – 12, DP – 12, DP (duplicate) – 12 (missing reel 6)
15. Srešćemo se večeras
František Čap, 1962, standard, b/w, 2239 m, NI-10, NST – 10 (check reel 2 is duplicated), DN – 10, DN (duplicate) – 10
16. Kozara
Veljko Bulajić, 1962, cinemascope, b/w, 3400 m, DP – 17
17. Krst rakoc
Žika Ristić, 1962, wide screen, b/w, 2630 m, NI – 11, NST – 11, DN – 11, DP – 11
18. Mačak pod šljemom
Žorž Skrigin, 1962, wide screen, b/w, 2717 m, NI – 11, NST – 11(incomplete, missing reels 2, 4, 5, 8 and 9), DN-11(incomplete, missing reels 2, 9 and 10)
19. U sukobu
Jože Babić, 1963, wide screen, b/w, 2550 m, NI – 10 ( missing reels 3 and 6), NST – 10 (incomplete, missing reels 3, 5, 7 and 9), DN – 10 (incomplete, missing reels 1, 3, 6, 7, 8 and 9), DP-10 (incomplete, missing reels 1, 2, 5, 7 and 9)
20. Dobra kob
Milutin Kosovac, 1964, wide screen, b/w, 2698 m, NI – 11 (duplicate reel 8), NST – 10, DN – 10, DP – 10
21. Narodni poslanik
Stole Janković, 1964, wide screen, b/w, 2300 m, NI – 9, NST – 9, DN – 9, DP – 9
22. Na mesto građanine pokorni
Radivoje Lola Đukić, 1964, wide screen, b/w, 2570 m, NI – 10, NST – 5, DN – 10, DP – 10
23. Ubica na odsustvu
Boško Bošković, 1965, wide screen, b/w, 2300 m, NST – 9, DN – 9, DP – 9
24. Glasam za ljubav
Toma Janić, 1965, wide screen, b/w, 2573 m, NI – 9, NST – 5, DN – 9, P – 9
25. Konjuh planinom
Fadil Hadžić, 1966, wide screen, b/w, 2813 m, NI – 11, NST – 11, DN – 11, DP – 11
26. Glineni golub
Toma Janić, 1966, wide screen, b/w, 2445 m, NI – 10, NST – 6, DN – 10, DP – 10
27. Sretni umiru dvaput
Gojko Šipovac, 1966, wide screen, b/w, 2545 m, NI – 10, NST – 5, DN – 10, DP – 10
28. Zlatna praćka
Radivoje Lola Đukić, 1967, wide screen, colour, 2493 m, NI – 10, DP – 10
29. Mali vojnici
Bato Čengić, 1967, wide screen, b/w, 2509 m, NI – 10, NST – 10, DP – 10
30. Opatica i komesar
Gojko Šipovac, 1968, wide screen, b/w, 2400 m, NI – 9, NST – 5
31. Uđi ako hoćeš
Radenko Ostojić, 1968, wide screen, b/w, 2564 m, DN – 10
32. Ram za sliku moje drage
Mirza Idrizović, 1968, wide screen, b/w, 2200 m, DN – 9
33. Plamen nad Jadranom
A. Astruc, S.Čikeš, 1969, wide screen, colour, 2500 m, NST – 6 (missing reel 1), DN – 10, DP – 10
34. Horoskop
Bora Drašković, 1969, wide screen, b/w, 2484 m, NST – 10, DN – 10, DP – 10
35. Život je masovna pojava
Mirza Idrizović, 1970, wide screen, colour, 2100 m, NI – 8, NST – 8, DN – 8, DP – 8
36. Ciganska romansa
Oto Deneš, 1963, standard, b/w, 783 m, NST – 2, DN – 2, DP – 2 (documentary-musical film)
37. Sunce tuđeg neba
Milutin Kosovac, 1968, standard, b/w, 2.505 m, NI – 10 (missing reels 1, 4 and 10) , NST – 7, DN – 10 (missing reels 3, 7, 8 and 9)
38. Valter brani Sarajevo
Hajrudin Krvavac, 1972, wide screen, colour, 3650 m, NI – 10, NST – 10
39. Klisura
Boško Kosanović, 1956, standard, b/w, 2300m, NI – 10, NST – 10
(coproduction)
B) Documentary and short feature films of Bosnia and Herzegovina – original material
1. Križni put u Sarajevu
Vlatko Filipović, 1993, NI – 2 reels, NST – 2 reels
2. Mizaldo – Kralj teatra
Benjamin Filipović, 1994, NI – 4 reels, NST – 4 reels
3. Sarajevo 92
Mirza Idrizović, 1992, NI – 1 reel, NST – 1 reel
4. Pista života
Dino Mustafić, 1993, NI – 1 reel, NST – 1 reel
5. Čekajući paket
Vuk Janič, 1993, NI – 1 reel, NST – 1 reel
6. Djeca kao i svaka druga
Pjer Žalica, 1995, NI – 1 reel, NST – 1 reel
7. Fadila
Nedžad Begović, 1994, NI – 1 reel, NST – 1 reel
8. Markale
Zlatko Lavanić, 1995, NI – 1 reel, NST – 1 reel
9. Mojim prijateljima
Zlatko Lavanić, 1993, NI – 1 reel, NST – 1 reel
10. Prometej
Zlatko Lavantić, 1995, NI – 1 reel, NST – 1 reel
11. Rano kino u Sarajevu
Srđan Vuletić, 1994, NI – 1 reel, NST – 1 reel
12. Sarajevski gudači
Vefik Hadžismajlović, 1994, NI – 2 reels, NST – 2 reels
13. Skitnice i psi
Zlatko Lavanić, 1993, NI – 2 reels, NST – 2 reels
14. Slike
Pjer Žalica, 1995, NI – 1 reel, NST – 1 reel
15. Voda i krv
Ibrahim Helja, 1993, NI – 1 reel, NST – 1 reel
16. War art
Nedžad Begović, 1993, NI – 1 reel, NST – 1 reel
C) Collection of monthly periodicals (journals)
No. Title of film Type Negative images Negative sound track
1. Mjesečnik no. 1 35 mm, b/w, standard DN – 311 m copied DP – 1 reel 312 m
2. Mjesečnik no. 2 35 mm, b/w, standard - -
3. Mjesečnik no. 3 35 mm, b/w, standard DN – 1 reel 347 m DP – 1 reel
4. Mjesečnik no. 4 35 mm, b/w, standard DN – 1 reel 285 m -
5. Mjesečnik no. 5 35 mm, b/w, standard DN – 1 reel 338 m (copied) DP – 33 m
6. Mjesečnik no. 6 35 mm, b/w, standard DN – 2 reels, 1. reel 250 m, 2. reel 103 m DP – 1. reel 248m, 2. reel 101 m
7. Mjesečnik no. 7 35 mm, b/w, standard DN – 2 reels, 1. reel 248 m, 2. reel 158 m DP – 2 reels, 1. reel 248 m, 2. reel, 159 m
8. Mjesečnik no. 8 35 mm, b/w, standard DN – 2 reels, 1. reel 270m, 2. reel 178 m DP – 2 reels, 1. reel 177 m, 1. reel 267 m
9. Mjesečnik no. 9 35 mm, b/w, standard DN – 2 reels DP with sound, 2 reels, 2. reel 242m
10. Mjesečnik no. 10 35 mm, b/w, standard DN – 2 reels, 1. reel 191 m, 2. reel 235 m DP – 2 reels
11. Mjesečnik no. 11 35 mm, b/w, standard DN with sound track – 2 reels, 1. reel 150 m, 2. reel 274 m DP combined(11) 1 reel, DP -2 reels
12. Mjesečnik no. 12 35 mm, b/w, standard DN – 2 reels, 1. reel 250 m, 2. reel 194 m DP – 1 reel, DP – combined 2 reels
13. Mjesečnik no. 13 35 mm, b/w, standard DN – 1 reel, 342 m -
14. Mjesečnik no. 14 35 mm, b/w, standard DN – 1 reel, 298 m DP – 297 m
15. Mjesečnik no. 15 35 mm, b/w, standard DN – 2 reels, 1. reel 81 m, 2. reel 290 m DP – 2 reels, 1. reel 290 m, 2. reel 81 m
16. Mjesečnik no. 16 35 mm, b/w, standard DN – 2 reels DP – 2 reels, 1. reel 225 m
17. Mjesečnik no. 17 35 mm, b/w, standard DN – 1 reel DP – 1 reel
18. Mjesečnik no. 18 35 mm, b/w, standard DN – 2 reels DP – 2 reels
19. Mjesečnik no. 19 35 mm, b/w, standard DN – 2 reels DP with sound – 2 reels, 1. reel 150 m, 2. reel 281 m
20. Mjesečnik no. 20 35 mm, b/w, standard - DP with sound – 2 reels, 1. reel 223 m, 2. reel, 160 m
21. Mjesečnik no. 21 35 mm, b/w, standard DN – 2 reels -
22. Mjesečnik no. 22 35 mm, b/w, standard Internegative(12) 2 reels Interpositive – 1 reel Interpositive – 2 reels
23. Mjesečnik no. 23 35 mm, b/w, standard Internegative 1 reel, DN – combined 2 reels DP – 2 reels
24. Mjesečnik no. 24 35 mm, b/w, standard Internegative 2 reels DP – 2 reels
DP - 1 reel
25. Mjesečnik no. 25 35 mm, b/w, standard DN – 2 reels DP 2 reels
26. Mjesečnik no. 26 35 mm, b/w, standard Internegative – 2 reels Interpositive – 1 reel, DP combined 2 reels
27. Mjesečnik no. 27 35 mm, b/w, standard DN – 1 reel, Internegative – 2 reels DP combined – 2 reels DP- 1 reel
28. Mjesečnik no. 28 35 mm, b/w, standard DN – 1 reel DP combined – 1 reel
29. Mjesečnik no. 29 35 mm, b/w, standard DN – about 300m, internegative 1 reel DP – 1 reel
30. Mjesečnik no. 30 35 mm, b/w, standard DN – 1 reel DP – 1 reel
31. Mjesečnik no. 31 35 mm, b/w, standard DN – 2 reels DP – 1 reel
32. Mjesečnik no. 32 35 mm, b/w, standard Internegative – 2 reels DP – 2 reels
33. Mjesečnik no. 33 35 mm, b/w, standard DN – 2 reels DP – 1 reel
34. Mjesečnik no. 34 35 mm, b/w, standard DN – 2 reels DP – 1 reel
Standards for the safe-keeping and restoration of cinematic material
One of the most important issues for the preservation of cinematic material today is how to prevent its further deterioration. No other branch of the arts is at such risk of losing most of its surviving cultural heritage as is the cinematography of the 20th century. About 90% of the films recorded between 1895 and 1910 are believed to have been lost world-wide, with another 50% lost since the invention of sound film in 1927 and yet another 50% since the invention of acetate film tapes(13). For many years, original cinematic material was not subject to its own separate preservation regime or kept in special storage conditions. Cinematic material the world over is housed in unsuitable conditions, in extreme temperatures with no cooling system and high humidity levels. Damaging temperatures, high levels of atmospheric humidity and corrosion of the canisters in which the reels are stored have all caused the films to deteriorate. Deterioration causes the tape to become brittle, destroys image and sound tracks, destroys the perforations, and increases acidity on account of the acetate(14) content – a process that, once begun, cannot be arrested.
A major advance in the technology of film preservation came about with the invention of replacements for original cinematic material(15): duplicate positives and duplicate negatives for black-and-white film, and interpositives and internegatives for colour film. This has made it possible to copy films without having to use, and cause unnecessary damage to, the negative that was in the film camera when a film was being made. In line with present-day film archive standards, original cinematic material should be used only to make replacement cinematic material, which will be used to make copies and re-recordings in digital form(16).
The experience of film archivists has led to the adoption of basic standards for the preservation of film. To ensure its effective long-term preservation, it should be stored in premises with constant temperature and humidity levels: 5°C and 30% RH for original colour film and 10-15°C and 40% RH for black-and-white film – or 5°C and 30% RH in the case of nitrate tape. As well as maintaining constant temperature and humidity levels, it is recommended that the canisters used to store both nitrate and acetate tapes be provided with perforated edges to ensure regular air replacement (every 1 ½ hours) to remove air from storage with acid content, and that all cinematic material, original or otherwise, be aired and re-packed every two years, along with the systematic production of back-up copies for added protection. The difficulty of preserving cinematic material is illustrated by the fact that, even in the recommended conditions, film archivists may restore certain films twice, three times or four times during their working life(17).
State-of-the-art film restoration and reconstruction using electronic media takes place at the micro level, using the advantages of the digital system for the reconstruction of individual frames. The digital restoration of film begins with scanning parts of the images or frame and making a digital video recording. This video re-recording is then restored using special computer software, which also enables it to be fixed in various ways, by adding colour, sharpening focus, eliminating flicker, or removing the effects of subsequent damage, scratches, copied impurities and so on. This creates a new recording which is saved to a digital image store and transferred to tape via a film recorder. This film tape used at the end of the process is a negative, black-and-white or colour, and is produced in the traditional way using a photochemical process in a film laboratory(18).
3. Legal status to date
Until 1994, when it ceased to form part of the Archives of Bosnia and Herzegovina and the Bosnia and Herzegovina Film Library was founded, the cinematic material of the Bosnia and Herzegovina Film Library was protected as one of the holdings of the Archives of Bosnia and Herzegovina.
4. Current condition of the property
The cinematic material of the Bosnia and Herzegovina Film Library is housed at no. 4a Nikole Kašikovića Street in Sarajevo. The premises have been restored and are suitable for storing cinematic material.
III – CONCLUSION
Applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument as they pertain to the movable heritage of Bosnia and Herzegovina (Official Gazette of BiH nos. 33/02 and 15/03), the Commission has enacted the Decision cited above designating the films of the Bosnia and Herzegovina Film Library in Sarajevo as a national monument.
The Decision was based on the following criteria:
A. Time frame
B. Historical value
C. Artistic and aesthetic value
C.i. quality of workmanship
C.ii. quality of materials
C.v. value of details
D. Clarity (documentary, scientific or educational value)
D.i. material evidence of a lesser known historical era
D.ii. evidence of historical change
D.iii. work of a major artist or builder
D.iv. evidence of a particular type, style or regional manner
D.v. evidence of a typical way of life at a specific period
E. Symbolic value
E.i. ontological value
E.v. significance for the identity of a group of people
G. Authenticity
G.i. form and design
G.ii. material and content
G.iii. use and function
G.iv. traditions and techniques
H. Rarity and representativity
H.i. unique or rare example of a certain type or style
H.ii. outstanding work of art or architecture
H.iii. work of a prominent artist, architect or craftsman
The following documents form an integral part of this Decision:
- Documentation of the Bosnia and Herzegovina Film Library
- Documentation of the Archives of Bosnia and Herzegovina – registers of requests for cinematic material from Bosnia and Herzegovina currently located in cities of the former Yugoslavia, Zagreb and Belgrade(19)
- The documentation annexed to the Decision is public and available for view by interested persons on written request to the Commission to Preserve National Monuments of Bosnia and Herzegovina.
Bibliography
During the procedure to designate the films of the Bosnia and Herzegovina Film Library in Sarajevo as a national monument the following works were consulted:
2001. Kukuljica Mato. “Nove elektronske tehnologije – pomoć u restauriranju filmskog gradiva” (New electronic technology – helping to restore cinematic material). Hrvatski filmski ljetopis, 26. Zagreb: 2001, 132-151
2001. Kukuljica Mato. “Zaštita filmskog i drugog audiovizuelnog gradiva (analiza, mjere, predlozi)” (The preservation of film and other audiovisual material [analysis, measures, proposals]). Informatica Museologica, no 32, 3-4. Zagreb: 2001, 127-138
2002. Kukuljica Mato. “Identifikacija filmskog gradiva” (The identification of cinematic material). Arhivski vjesnik, 45. Zagreb: 2002, 115-135
2002. Vefik Hadžismajlović. “Žive slike o filmskoj umjetnosti” (Live images of the cinematic art). Sarajevo: Kamerni teatar 55, 2002.
2003. Kukuljica Mato. “Projekat zaštite, restauracije i rekonstrukcije Nacionalne filmske zbirke (1995-2002)” (Project for the preservation, restoration and reconstruction of the National Film Collection [1995-2002]). Hrvatski filmski ljetopis, 33. Zagreb: 2003, 132-151
Official Gazette of SR BiH 20/90, Zakon o filmskoj djelatnosti (Law on Cinematic Activity)
Official Gazette of R BiH13/94, Zakon o izmjenama i dopunama zakona o filmskoj djelatnosti (Law on Amendments to the Law on Cinematic Activity)
Official Gazette of R BiH 13/94, Zakon o kinoteci Bosne i Hercegovine (Law on the Film Library of Bosnia and Herzegovina)
(1) Under the terms of Art. 3 of the Law on Cinematic Activity (Official Gazette of SR BiH 20/90), cinematic material is defined as film negatives and original recordings using other appropriate techniques, screen plays, dialogue lists, shooting logs, film posters, photographs and cinematic documents arising during film production.
(2) Under the terms of Art. 8 of the Law on Cinematic Activity (Official Gazette of SR BiH 20/90) and the amendments to the Law (Official Gazette of R BiH 13/94), local films are films produced by one or more local producers and films produced in association with a foreign producer in a language in official use in the Republic, in which the local producer’s contribution to total production costs is no less than one third.
(3) Art. 23 of the Law on Cinematic Activity (Official Gazette of SR BiH 20/90),
(4) Law on the Film Library of Bosnia and Herzegovina (Official Gazette of R BiH 13/94)
(5) Art. 4 of the Law on the Film Library of Bosnia and Herzegovina (Official Gazette of R BiH 13/94)
(6) A negative which had been in the camera. Used only to make working copies of positive material (inter or duplicate) and security copies – fine grain copies housed in film archives) to preserve them from further damage. See: Kukuljica M. “Identifikacija filmskog gradiva” (Zagreb: Arhivski vijesnik no. 45, 2002), 125
(7) In this country’s laboratory and film practice this designates a negative on a b/w film tape made from a duplicate positive and used to produce b/w copies. Op.cit, 2002, 127
(8) In this country’s laboratory and film practice this designates a positive made from an original negative film on b/w film tape. Op.cit, 2002, 127
(9) format
(10) black and white
(11) Combined designates an image and sound track. Op.cit. 2002, 129
(12) Internegative means a film negative produced from an intermediate or interpositive film tape, used to produce a colour copy. Op.cit,2002, 127
(13) Kukuljica M. “Zaštita filmskog i drugog audiovizuelnog gradiva (analiza, mjere, predlozi)” (Zagreb: Informatica Museologica, no. 32, 3-4, 2001), 128
(14) Acetate film tape was used in the former Yugoslavia from 1951 on. It tended to degrade rapidly, and in the 1990s polyester film tapes began to be used much more extensively for the preservation, restoration and long-term storage of cinematic material; as a result, acetate film tapes were no longer in common use. Kukuljica M. op.cit., 2001, no. 32, 127, 130-131; Kukuljica M. op.cit., 2003, 173
(15) The creation of replacements for original cinematic material, together with the preservation of the originals, is the basic purpose of every film archive.
(16) Kukuljica M. “Nove elektronske tehnologije – pomoć u restauriranju filmskog gradiva” (Zagreb: Hrvatski filmski ljetopis no. 26, 2001), 133
(17) Kukuljica M. op.cit., 2001, 132
(18) Kukuljica M. op.cit., 2001, 133-134
(19) The Socialist Republic of Bosnia and Herzegovina owned a number of production studios mainly making films financed by the Republic budget. These production studios own the original film negatives, but under the terms of the Law on Cinematic Activity (Official Gazette of SR BiH 20/90, Art. 23) they are required to hand them over to the protection authority – currently the Archives of Bosnia and Herzegovina and its cinema department. Since Bosnia and Herzegovina had no film processing laboratory, the films were usually process in other republic and film studios in the former Yugoslavia, and as the Archives of Bosnia and Herzegovina did not at the time have suitable conditions for storing original cinematic material, the producers usually left the originals in Zagreb or Belgrade, where the films were usually processed, for safe keeping, though some were also housed elsewhere in Europe. When Yugoslavia broke up, the original films became one of the subjects of claims by Bosnia and Herzegovina. The case of the succession of this material is being handled by the Archives of Bosnia and Herzegovina. Since, under the terms of the Law on Cinematic Activity, original films should be housed in the Bosnia and Herzegovina Film Library, details of original films subject to the succession of Bosnia and Herzegovina were assembled while documentation was being gathered to draft the decision on the films housed in the Bosnia and Herzegovina Film Library.
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