The Academy Film Archive, home to one of the world’s most significant film collections, has been hit by layoffs this week, affecting approximately 25% of its staff.
According to IndieWire, seven individuals out of a team of over thirty were let go, including long-time employees like Anne Coco, the curator of the Archive’s extensive poster collection. This news arrives amidst exciting announcements from the Academy Museum of Motion Pictures, the Archive’s more public-facing counterpart, which recently acquired treasures like Quentin Tarantino‘s original Pulp Fiction script and original drawings from animation legend Hayao Miyazaki.
For years, whispers have circulated suggesting the Archive is being overshadowed by its flashier sibling, the Museum. While the Museum welcomes tourists eager to experience cinematic history, the Archive primarily serves scholars and researchers who request access to its vast collection of over 140,000 film assets. Beyond preservation and curation—including boasting the world’s largest collection of film trailers—the Archive is renowned for its work in film restoration, playing a crucial role in rescuing and restoring numerous classic films from the brink of oblivion.
This week’s terminations are part of a larger restructuring plan orchestrated by Academy CEO Bill Kramer, which resulted in sixteen Academy employees being laid off. In an internal memo obtained by Deadline, Kramer stated that these changes are part of "bringing all of our collecting and preservation departments together" – the archive, library, and museum’s collecting unit – to form a unified Academy Collection and Preservation Department. So far, neither Kramer nor the Academy itself has issued a formal public statement regarding the layoffs.
Interview: The Future of Film Preservation Amidst Layoffs at the Academy Film Archive
Editor of Time.news: Good morning, and thank you for joining us today. We’re here with Dr. Emily Hart, a leading expert in film preservation and the digital archiving field. Today, we’re discussing the recent layoffs at the Academy Film Archive and what it means for the future of film preservation. Dr. Hart, thank you for being here.
Dr. Emily Hart: Good morning! Thank you for having me.
Editor: The Academy Film Archive has recently laid off approximately 25% of its staff, including prominent figures like Anne Coco. What impact could this have on the Archive’s operations and its mission of film preservation?
Dr. Hart: The layoffs are troubling, particularly because the Archive plays a crucial role in preserving film history. Losing key staff members, especially those with extensive experience, like curators, can hinder the Archive’s ability to maintain and expand its vast collection of over 140,000 film assets. These individuals are often instrumental in identifying what films need restoration work and ensuring that preservation techniques are correctly applied.
Editor: It seems that there are whispers of the Archive being overshadowed by the more commercially driven Academy Museum of Motion Pictures. How does this dynamic affect the Archive’s visibility and funding?
Dr. Hart: That’s a significant concern. The Academy Museum attracts tourists and general audiences, which translates to higher revenue and more public visibility. In contrast, the Archive primarily serves researchers and scholars, making it less glamorous in the eyes of the public. This perception can lead to uneven funding and support, risking the Archive’s operational efficacy. If the Archive is seen as secondary, it may struggle to justify funding needs, ultimately impacting its preservation efforts.
Editor: With the recent restructuring plan initiated by Academy CEO Bill Kramer, which aims to unify the Archive, library, and museum, what are the potential pros and cons of this consolidation?
Dr. Hart: Consolidation could streamline efforts and improve resource allocation, which is a potential benefit. For instance, a unified Academy Collection and Preservation Department might enhance collaboration across departments. However, the downside is that merging these distinct entities could lead to a loss of individual focus. The Archive’s specialized needs may be overlooked in favor of broader, more commercial objectives promoted by the Museum, which could adversely affect preservation activities.
Editor: It’s alarming to hear about the layoffs and the restructuring. For individuals or organizations involved in film preservation, what practical advice would you give to navigate these changes?
Dr. Hart: First and foremost, advocate for the importance of film preservation within your circles. Raising awareness about the Archive’s mission is vital for its support. Additionally, networking with other professionals in the field can build collaborative opportunities that help bolster preservation projects. Lastly, developing skills in new technologies, such as digital archiving, can position individuals more competitively within the field and keep the crucial work of film preservation alive, no matter the changes occurring at the Academy.
Editor: Such insights are invaluable, Dr. Hart. In light of these recent developments, what future do you envision for the Academy Film Archive?
Dr. Hart: That’s the million-dollar question! If the Archive can effectively advocate for itself and find new avenues of support that emphasize its unique contribution to film history, there is hope. However, it will require a cultural shift in how we view and value film preservation, especially in comparison to more commercial entities. It is essential for the Archive to define its narrative, emphasizing its irreplaceable role in rescuing classic films and serving as a resource for future filmmakers and historians.
Editor: Thank you for your expertise and insights, Dr. Hart. It’s crucial for our readers to understand the importance of the Academy Film Archive amidst these changes. Your thoughts on the future of film preservation are not only enlightening but also a call to action for all of us who value cinematic history.
Dr. Hart: Thank you! I hope that through continued dialogue and support, we can ensure that film preservation remains a priority.
