Ines Aisengart Menezes

Essay

Audiovisual Preservation in Brazil and the Cinemateca Brasileira Crisis: The Missing Link in the Audiovisual Industry (EN). Cine Limite. 2020.

Projects

Technology and audiovisual timeline compiled for educational purposes (PT). Research in progress – so far only in Portuguese (using Knight Lab Timeline plarform).
Tests (PT) made as a way of learning and deepening the “open source, flexible and powerful repository platform for creating digital archives” Tainacan.

Curriculum

PROFILE

Audiovisual preservationist with 20 years of professional experience in the audiovisual market and the cultural heritage in Brazil. Bachelor in Film Studies (Fluminense Federal University – UFF, Brazil) and Master in Preservation and Presentation of the Moving Image (Universiteit van Amsterdam – UvA, the Netherlands). After the MA, worked for one year at the EYE Filmmuseum (2015); worked at the Cinemateca Brasileira (2016-2020); and was the co-curator of the audiovisual preservation symposium of the film festival CineOP (2017-2021). Today gives lectures on audiovisual preservation and works with digital repositories using Tainacan.

EDUCATION

MA in Preservation and Presentation of the Moving Image, Heritage Studies | Universiteit van Amsterdam | Amsterdam, NL | 2013 – 2015.
BA in Film Studies | Universidade Federal Fluminense – UFF | Niterói, BR | 1999 – 2009.

PROFESSIONAL EXPERIENCE [highlights]

CineOP – Mostra de Cinema de Ouro Preto | Ouro Preto, BR | 2017 – 2021 editions
Co-curator of the audiovisual preservation symposium in the main heritage film festival in Brazil: roundtables, masterclass, and screenings.
Cinemateca Brasileira | São Paulo, BR | May 2016 – June 2020
Audiovisual preservationist: selection of materials for emergency photochemical duplication; supervision of the documentation of AV Preservation technicians; database analyses for macro management of the AV collection; supervision of AV assets cataloging; documentation of internal procedures; among others.
EYE Filmmuseum | Amsterdam, NL | August 2014 – March 2016
° Digital Access: preparation and delivery of digital files from EYE’s collection (over 9,000 digital assets) for internal and external use, including DCPs and multiple editing and transcoding (FT).
° Film handling and cataloging of 35mm newsreels of Polygoon collection (volunteer, PT).
° Content research on pre-cinema devices for permanent exhibition (PT).
° Internship experience in Film Presentation and Digital Access department (part of the MA program at the University of Amsterdam – 4 months, subsequently hired).
RioFilme | Rio de Janeiro, BR | 2010 – 2013
° Investment manager at film fund agency for Rio de Janeiro’s audiovisual development.
° Coordinator of the preservation plan for the film, video and film-related collection funded or distributed by the agency (comprised of about 250 features).
° Jury at selection committee in four public tenders for audiovisual projects:
. Broadcast Documentary Funding – RioFilme & Canal Brasil [2011 / 2012 / 2013 editions].
. Audiovisual projects – ISS Culture Municipal Law/Rio de Janeiro [2011 / 2012].
. Low Budget Funding – Culture State Secretary/Rio de Janeiro [2012].
. Features and Broadcast Series – Rio Film Commission [2011].
Cineastas e Imagens do Povo (film series) | Rio de Janeiro, São Paulo and Brasília, BR | 2010
Project development, pre-production and catalog co-editor (176 pages, Jurubeba Produções, 2010) of the film series on modern Brazilian documentary after Jean Claude Bernadet’s homonymous book.
Synapse | Rio de Janeiro, BR | 2007 – 2010
° Content research and contractor for broadcast acquisitions in an independent distribution company.
° Partially responsible for the videotape collection cataloging and preservation strategies.
Alain Resnais (film series) | Rio de Janeiro, São Paulo and Brasília, BR | 2008
Co-curator, co-producer, and co-editor of the critical catalog (184 pages, Jurubeba Produções, BR, 2008) of the full retrospective film series of Alain Resnais – 35mm screenins, lectures and debates at CCBB – Bank of Brazil Cultural Center.
Porta Curtas | Rio de Janeiro, BR | 2004 – 2007
Curator, HTML editor and partnership manager at streaming website focused on short films.
Agnès Varda (film series) | Rio de Janeiro, São Paulo and Brasília, BR | 2006
Co-curator, co-producer, and co-editor of the critical catalog (132 pages, Abbas Filmes, BR, 2006) of the full retrospective film series of Agnès Varda – 16mm and 35mm screenings, debates and Cine Tamaris’s original photo exhibition at CCBB and Cinema Odeon. 2006 Best Film Series – Prêmio Jairo Ferreira (Critics’ Choice Awards).
Cinemateca do MAM | Rio de Janeiro, BR | 2001 – 2002 / 2006
° Coordinator of 10 interns in the preparation of film inspection reports and macromanagement of the film collection in new vaults [2006].
° Intern for the Brazilian Cinema Census project: preparation of film inspection reports [2001 – 2002].
2K restoration of the œuvre of Joaquim Pedro de Andrade | São Paulo, BR | 2005
Assistant for the documentation of the restoration project (comprised of 7 features and 7 shorts, from 1959 – 1982) of the Brazilian director Joaquim Pedro de Andrade.
Arquivo Nacional | Rio de Janeiro, BR | 2003 – 2004
° Technician in Audiovisual Preservation department: film collection macro and micromanagement, film inspection, inventorying and collection access strategy.
° Iconography research on the Military Dictatorship Censorship (documents and 35mm cuts) and co-edition of the documentary Cortes da Censura Federal (60’), to the 2003 ReCine – Rio de Janeiro’s International Festival of Archival Cinema.
UFF – Universidade Federal Fluminense | Niterói, BR | 2003 – 2004
° Research, cataloging and basic preservation procedures at the student film collection (16mm/35mm) – volunteer work during BA.
° Research, co-curatorship and production of the film series of UFF’s students movies in the film festival CineArteUFF 35 Years.
Film festivals and film series | 2001 – 2010
Research, production, print research, member of selection committees, budget control, catalog editing of various cinema and culture events.
Short, medium and feature films | 2002 – 2020
Production, budget control, post production of several short and medium-length films.

LECTURES, COURSES AND PARTICIPATION IN DEBATE [highlights]

Debate: ‘The Importance of Audiovisual Preservation: From Production to Public Policy’ at the Olhar de Cinema – Curitiba Int’l Film Festival | Online / Curitiba | 2021.
Debate: ‘Electronic games, audiovisual heritage?’ at the 5th Screen Festival | Online / Rio de Janeiro | 2021.
Course: ‘Introduction to Audiovisual Heritage Preservation Course’ | course coordination with twelve speakers | total of 30 hours (of which 6 taught) | Unimontes | Online / Montes Claros, BR | 2021.
Course: ‘Introduction to Audiovisual Heritage Preservation Course’ | course coordination with twelve speakers | total of 30 hours (of which 6 taught) | Unimontes | Online / Montes Claros, BR | 2021.
Lecture: ‘Audiovisual Preservation and Heritage’ at online event 7ª Mostra de Cinema de Gostoso | 2 hours | Online / São Miguel do Gostoso, BR | 2021.
Debate: ‘Programming in a context of crisis (II): Film Heritage Festivals’ at online event 6th FIAF Online Programming Winter School | Fiaf, Cinémathèque française e Fondation Jérôme Seydoux-Pathé | 2021.
Lecture: ‘Digital AV preservation’ at course ‘Black memories in motion: audiovisual preservation’ | 3 hours | IMS – Instituto Moreira Salles | São Paulo, BR | 2019 e 2020 editions.
Lecture: ‘Digital culture, the production chain and audiovisual heritage’ | 2 hours | XVIII Semana da Imagem na Comunicação da Unisinos | Online / Porto Alegre, BR | 2019.
Course: ‘Introduction to digital AV preservation’ | 20 hours | Vila das Artes | Fortaleza, BR | 2020.
Lecture: ‘Preservação de memórias pessoais digitais’ at course ‘Preservação audiovisual digital’ | 3 hours | Sesc Research and Training Center | São Paulo, BR | 2019.
Debate: ‘Preservation and memory today’ at Congress XXIII SOCINE – Brazilian Society for Cinema and Audiovisual Studies | 2 hours | Porto Alegre, BR | 2019.
Lecture: ‘Cinema’ at course ‘50 years Woodstock – The festival, its context and legacy in music, literature and cinema’ | 2 hours | IMS – Instituto Moreira Salles | São Paulo, BR | 2019. [visual presentation]
Short talk: ‘Audiovisual preservation practices at the Cinemateca Brasileira’ at symposium ‘Activating​ ​the​ ​Archive – Audio-Visual Collections and Civic Engagement, Political Dissent and Societal Change’ | 15 minutes – ENG | EYE Filmmuseum | Amsterdam, NL | 2018.
Lecture: ‘Audiovisual preservation’ at course ‘Cinema in the development of Brazil’ | 1 hour | Cinemateca Brasileira | São Paulo, BR | 2016.
Lecture: ‘Digital AV preservation’ at course ‘AV preservation: history, concepts, practices’ | 2 hours | Sesc Research and Training Center | São Paulo, BR | 2016.
Debate: ‘The challenges of preservation in the digital era’ | 2 hours | Minas Gerais Audiovisual Expo – MAX | Belo Horizonte, BR | 2016.

PUBLICATIONS [highlights]

Audiovisual Preservation in Brazil and the Cinemateca Brasileira Crisis: The Missing Link in the Audiovisual Industry (ENG). Cine Limite. 2020.
O profissional atuante na preservação audiovisual. In: Museologia & Interdisciplinaridade v. 8 n. 15 (2019): Dossiê: Cinema, museu e patrimônio.
O digital não vai esperar. In Hernani Heffner; Raquel Hallak d’Angelo; Fernanda Hallak d’Angelo. (Org.). Reflexões sobre preservação audiovisual | 10 anos da CineOP. 1ª ed.: Universo. 2015. p. 41-43.

CONGRESS AND SYMPOSIUMS ATTENDED [highlights]

• Yearly meeting of Brazilian Audiovisual Archives | CineOP – Mostra de Cinema de Ouro Preto | Ouro Preto, BR | 2007 / 2008 / 2010 / 2012 / 2013 / 2016 – 2020 editions.
73rd FIAF Congress – Latin America and Hollywood | Academy of Motion Picture Arts and Sciences – AMPAS | Los Angeles, US | 2017.
Transformation Digital Art – International symposium on the preservation of born-digital art | LIMA | Amsterdam, NL | 2016.
SOIMA – Unlocking Sound and Image Heritage | Royal Institute for Cultural Heritage – KIK-IRPA | Brussels, BE | 2015.
Colour Fantastic Chromatic Worlds of Silent Cinema | EYE Filmmuseum | Amsterdam, NL | 2015.
9th Orphan Film Symposium | EYE Filmmuseum | Amsterdam, NL | 2014.
Filmforum 2014 – MAGIS International Film Studies Spring School | Università degli Studi di Udine | Udine and Gorizia, IT | 2014.
62nd FIAF Congress – The Future of Film Archives in a Digital Cinema World: Film Archives in Transition | Cinemateca Brasileira | São Paulo, BR | 2006.

COURSES ATTENDED [highlights]

Race and City | Instituto Pólis | São Paulo, BR | 2020.
FIAF Winter School – Cinematheque Programming | Cinemathequè française | Paris, FR | 2016.
FIAF Summer School – Film Restoration | L’Immagine Ritrovata | Bologna, IT | 2014.
• Academic English Writing | Universiteit van Amsterdam | Amsterdam, NL | 2013.
• Finance for Non-Financials People | IBMEC | Rio de Janeiro, BR | 2011.

LANGUAGE PROFICIENCY

Portuguese: native.
English: full professional proficiency.
Spanish: professional proficiency.
Dutch: limited working proficiency.
French: limited working proficiency.

COMPUTER SKILLS [highlights]

Operating Systems: Mac and Windows (advanced in both) | Linux (intermediate).
Softwares: Microsoft Office (full proficiency in Excel), iWork (Pages, Numbers and Keynote), Adobe (Photoshop and Premiere Pro), EasyDCP, Compressor, Episode, VLC, Final Cut Pro X.
• Deep interest in programming and database.

English curriculum (.pdf) here.

Contact information

i.aisengart.menezes@gmail.com
+5521996851136
LinkedIn