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Conservation and management of the audio-visual heritage

Artistic director: Paolo Tosini

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Centro Sperimentale di Cinematografia
Centro Sperimentale di Cinematografia
Centro Sperimentale di Cinematografia

The course in Conservation and Management of the Audio-Visual Heritage is focused on the entire range of activities revolving around film preservation in terms of both its history (film stock) and recent developments (digital image).

The three-year course’s scope goes beyond the technical aspects of archiving work; in fact, its mission involves a wide range of skills relative to the knowledge, management, and opportunities of dissemination of the audio-visual heritage. A distinctive feature of the curriculum is the attention for the administration, management, and intellectual control of archive holdings: besides chemistry and digital technology, classes include more crucial disciplines like object cataloguing; conservation of non-film items (posters, photographs, paper documents, period equipment); analogue and digital projection; holdings management (administration, budgeting, workflows, funding research and management, copyright law); historiographic research on the audio-visual heritage; public presentations of restored works in collective contexts (festivals, retrospectives, and conferences) and via individual screenings (access in streaming); last, learning technical literature in English.

Second-year classes will delve into each technical, administrative, and curatorial aspects through the detailed analysis of case studies selected by the faculty and through exercises in disciplines like print inspection, identification, and mending; cataloguing; copyright law comparative analysis; climate-controlled warehouse design and management; in-depth study of all analogue, electronic, and digital supports; simulations of restoration budget, funding strategy, and fundraising; non-film objects conservation; construction of a structure for the conservation of photochemical and digital materials; projection on film and on digital supports; creation of a public exhibition programme of restored films and internet access to film collections.

In the third year, the students embark on a project on one of the activities of conservation of the audio-visual heritage, designing all the phases from the beginning to the end: determining the goals; financial and managerial aspects of the work; analysis of the project’s legal implications (copyright laws); preparation of the materials to be restored; carrying out the actual restoration, using the equipment provided by the School; presentation of the work, both in the form of a public exhibition and of a written report (in Italian and English). These and other activities are conducted by each student – as an individual or as a team – with the aim of achieving full decision-making autonomy, monitored by the teaching staff to ensure the best quality of the final product. In this way, students acquire all the knowledge necessary to maximize their chances of employment in any public or private institution devoted to the conservation and dissemination of the audio-visual cultural heritage. The importance of an all-round preparation in this discipline should be emphasised in this sense: ideally, at the end of the three-year course, each student should be in a position to successfully compete for employment in any sector related to the preservation of films.

The faculty of recent years include Luca Bandirali (Film history), Massimo Benvegnú (Law), Paolo Caneppele (Cataloguing, Search for sources), Paolo Cherchi UsaiSimone Corelli (Conservation of acoustic materials), Alessandro Marotto (Photochemical restoration), Silvia Moras (Non-film materials), Gabriele Perrone (Print inspection and identification, Digital Restoration), Clément Lafite (Print inspection and identification), Alice Plutino (Colour restoration), Alessandro Rizzi (Conservation of supports), Mirco Santi (Small-gauge supports), Gianandrea Sasso (Videographic materials), Marcello Seregni (Programming and Access; Film archive sociology), Franco Bosco (Acoustic materials photochemical restoration).


Paolo Tosini
Direttore artistico

Paolo Tosini studied Film restoration at the Udine University and the Berlin Bundesarchiv. He worked as manager and technical director in several international festivals, including the Pordenone Silent Film Festival, FILUX, and Distrital. In 2009, he moved to Mexico, where he created and directed the Digital Restoration Laboratory of the Mexican Cineteca Nacional for five years. He curated many restoration projects, and namely “El Automovil gris,” “Documento Z 3”. He is a preservation and film restoration consultant for various archives, including the Dominican Archivo General de la Nación and the Colombian Archivo Districtal. He taught classes in film and digital restoration and in archive projection in several Latin American countries, in the United States, and in Italy; he is professor of film history in the Salento University. He is head teacher of the Course in Conservation and Management of the Audio-Visual Heritage, where he teaches Theory and methodology of film restoration, Theory and technique of film projection, Theory and practice of digitization, and Conservation of film supports.

Alice Plutino

PhD in computer science in 2021, Alice Plutino won the Marie Skłodowska-Curie Postdoctoral Fellowship in 2023, which led her to move from the Department of Computer Science of the University of Milan, to the Department of Media Studies of the Universiteit van Amsterdam, with a research project called DREAM-Film (Democratising REsearch and restoration of Audiovisual Media and Film). Her main research interests are colorimetry, digitization of cultural heritage, color management and quality assessment. In addition to her role as a researcher, she holds the position of Adjunct Professor at the Centro Sperimentale di Cinematografia of Rome and at the University of Milan, where she teaches digital restoration of cinematographic films and conservation of digital media. Alice Plutino is the author of the book “Tecniche di Restauro Cinematografico” and numerous scientific articles of national and international importance. She holds the role of reviewer for several international journals, she is Deputy Editor of the Color Culture and Science Journal and a member of several national and international scientific associations.

Paolo Caneppele
Paolo Caneppele è dottore in Storia moderna (Università di Bolog...

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Paolo Cherchi Usai
Senior Curator del Moving Image Department al George Eastman Museum di Rochester, New York, è cofon...

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Simone Corelli
Nasce alla fine del 1969 a Milano, dove si laurea nel 1995 in Scienze dell'Informazione con una tes...

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Clément Lafite
Ottiene nel 2014 un M.A. in Film Studies presso l’Università di Montreal (Canada) e si laurea nel...

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Alessandro Marotto
Inizia il suo percorso professionale nel 2004 all’interno del laboratorio di restauro L’Immagine...

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Francesca Romana Melodia
Inizia la sua formazione nel 1980 nella bottega del prof. Carlo Guido ad Arezzo. In quella stessa ci...

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Silvia Moras
Silvia Moras (Maniago, 1980) da quasi vent'anni lavora nell'ambito della promozione...

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Gabriele Perrone
Messina (1984). Durante gli studi per la laurea specialistica in Rappresentazione audiovisiva e mult...

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Alice Plutino
PhD in computer science in 2021, Alice Plutino won the Marie Skłodowska-Curie Postdoctoral Fellowsh...

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Alessandro Rizzi
Professore Ordinario presso il Dipartimento di Informatica dell’Università degli Studi di Milano ...

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Mirco Santi
Mirco Santi vive e lavora a Bologna. E' co-fondatore di Home Movies (Leggi di più
Gianandrea Sasso
Gianandrea Sasso nasce il 15 novembre 1967 a Codroipo e cresce a Valvasone, un picc...

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Marcello Seregni
Archivista e storico dell’audiovisivo. Ha lavorato, tra gli altri, presso Museo Nazionale del Cine...

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