WORKING WITH THE CINEMATHEQUE

It was an honor to be invited to become a member of the Cinematheque Quebecoise some time ago. I remember when it was a film screening society called the Cinematheque Canadienne and would have rare films screened at McGill University in the early 1960s. Silent films were largely on the bill as I recall and I trace my continuing love of silent cinema back to those showings.

 

In 1967 the World's Fair, Expo '67, hosted a major exhibition on animation, and rare artwork from around the world and from animation's beginnings on, were on view. Here was not only original drawings from Winsor McCary's GERTIE THE DINOSAUR but the original poster and newspaper coverage from 1914, for example. I have seen animation exhibitions since then in many venues, and even curated some myself, but nothing has ever compared to the scope and quality of this show. The volunteers at the Cinematheque did themselves proud after years of hard work.

 

Afterwards, they asked the lenders of the artwork and artifacts to donate them to the Cinematheque and many did, forming the basis of their collection and also beginning its specializing in animation. Now the Cinematheque has not only animation resources, but films, posters, publicity, publications and much more on the whole subject of international film. It has done scholarly work and published articles and works on animation over the years, as well as public themed screenings.

 

Disada has lent films from its collection to the Cinematheque for screenings. At times some films Disada has made have also been screened.  We have also lent original animation artwork for display in their building for screenings. If there was an evening of Tex Avery cartoons there for example, artwork from his films from our collection would be exhibited.

 

In 1978 Mickey Mouse had a 50^th anniversary and the Cinematheque and Disada combined resources to put on a special exhibition in the National Library. Under the direction of Louise Beaudet, who did so much for animation scholarship over the years, the animation section of the Cinematheque got new 35mm prints from Disney and we organized an exhibition of original artwork and artifacvts from our own collection. We lent some artwork for another major animation exhibition the Cinematheque curated in 1982.

 

 Everyone in animation around the world knew and respected Louise`s dedication to and, knowledge of animation. Working with her over the years both in the Cinematheque and ASIFA Canada, The International Ammated Film Association, which she started and where I was a member, a board member and a Vice President, was always a genuine pleasure.

 

I eventually donated to the Cinematheque our collection of 35mm film prints of Disney, Warners and other animation classics and printed materials. Sometimes we would discover or be brought a rare or unknown film, usually an animated one, and we would donate it to the Cinematheque. They would best preserve it, reprint it and exchange it with other such institutions around the world so it would be seen again. I remember one very rare silent era independent cartoon on Christopher Columbus done by an early woman animator. Similarly, the work of one silent animator. Herbert Dawley, was known through reputation but not for any surviving films, but we found one. A feature silent live-action film with known stars was thought to be lost, but one day we found a copy, even color-tinted.

 

Attending the annual members' meeting was always interesting, not only for the discussions on film matters, but to meet and mingle with the filmmakers of Quebec who had come together for their common interests. I remember one such annual meeting where I found myself sitting beside an actress I always admired, Marie Tifo.