Ines Aisengart Menezes
• Technology and audiovisual timeline compiled for educational purposes. Research in progress – so far only in Portuguese (using Knight Lab Timeline plarform).
20 years of professional experience in audiovisual preservation and industry – collections management, lab workflow, cataloging, research, book editing, documentation supervisor, among others. Currently co-curator of the audiovisual preservation symposium in CineOP, Brazil.
• 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 .
. Features and Broadcast Series – Rio Film Commission .
• 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 .
° 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]
• Lecture: ‘Audiovisual Preservation and Heritage’ at online event 7ª Mostra de Cinema de Gostoso | 2 hours | 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 | 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.