"It has been an especially enriching period that has opened many doors to high-level learning for me"

1. How has your internship experience been, and how has it contributed to your training?

2. What would you highlight about the day-to-day routine in your workplace?

3. What learnings do you draw from this experience for your professional future?

ESMERALDA ESTHER REYNOTT FLORES HERNÁNDEZ

Esmeralda Esther Reynott Flores Hernández 1. My work placement at the Arquivo Nacional das Imagens em Movimento (ANIM) was wonderful. Not only because it is a unique place, but also because it is perhaps one of the few archives that still has such a comprehensive structure, encompassing everything from a museum area to a laboratory. All this in addition to the human and professional quality of the people who make up the institution. My time there was particularly enriching due to the opportunities it presented me and because it opened many doors to high-level learning and specialised training, as well as enabling me to meet people with similar interests and establish meaningful connections.

2. I would highlight many things about the ANIM, but perhaps the first and foremost is the generosity of those who work there, my colleagues, whose experience is truly impressive. Their kindness and willingness to share their knowledge, as well as their ongoing invitation to participate in the archive's various processes and activities, made the experience especially stimulating. At the same time, I had the opportunity to work and train outside the field of identification, gaining experience in review, repair, and laboratory analysis.

3. It is difficult to say what I will take away from this experience, because there are so many things. But to highlight what I think will shape my professional future: the work I did was particularly interesting, since in addition to identifying 35mm and 16mm prints from the Gatenberg collection, I was assigned a list of 135 9.5mm reels by a home movie filmmaker called Braz de Jesus Nogueira. The assignment dealt with a particularly delicate and fascinating collection of previously unseen footage of Portugal filmed between 1926 and 1970, approximately, and required me to conduct extensive research on the country, as well as to figure out how to handle the material and understand its previous state of preservation. It was a challenging experience in every way because it required me to constantly devise creative solutions to identify the items, and it gave me tools that I am sure will continue to serve me well in my future work.

ANA KARINA DE FÁTIMA BARANDIARAN URDAY

1. My work placement at the Basque Film Archive was a very enriching and stimulating experience. It allowed me to learn about different areas of archival work, from the inspection and review of film materials to the documentation and cataloging processes that accompany each title. I believe these work placements are fundamental to our training, as they give us the opportunity to put the knowledge acquired during the Master's course into practice in a real professional context. They provide insight into the workings of institutions dedicated to audiovisual preservation, helping us understand their workflows, management timelines and the priorities involved in conserving film heritage. The experience has also helped me to better understand the importance of the rigorous and coordinated work that underpins each audiovisual collection, as well as the responsibility involved in preserving these materials for future generations.

2. Although the institution's technical equipment and resources are invaluable, what I would highlight most about my day-to-day experience at the Basque Film Archive is the opportunity to interact with and learn alongside the professionals who work there. Being able to observe how the institution's workflow is organised, learn about the various preservation and documentation processes, and understand the challenges the team faces and the solutions they propose was particularly enriching. It was also very interesting to learn about the protocols applied in the management and preservation of audiovisual heritage. The opportunity to work with specialised equipment and become familiar with the technical tools used in the preservation and treatment of film materials was a bonus. The combination of human knowledge and technical resources makes the learning process much more comprehensive.

3. Before starting the Master's degree, I had already worked for five years in an archive in my home country, but both the training I received at the school and my work placement at the Basque Film Archive enabled me to significantly deepen my understanding of film heritage preservation. Today, I have a much better grasp of the protocols required to care for and preserve audiovisual materials, as well as the strategies and options available to institutions for safeguarding this heritage. I also learned about different working methods and management models, which broadened my professional outlook. Working as part of a team alongside colleagues during my work placement was an invaluable experience. Sharing knowledge, solving problems together and learning from different perspectives has enriched both my professional and personal development. The experience reaffirmed my interest in audiovisual preservation and provided me with tools and knowledge that will be of inestimable value in my future professional career.

ALEJANDRA LARREA GALARZA

1. At the Spanish Film Archive, I worked with a home movie collection, inspecting and cataloging small-format films. I also completed a work placement at the ANIM, where I focused on media repair, digitisation and color grading. Overall, the experience helped me solidify the knowledge gained during my time at EQZE and understand how it is applied in a professional setting. It was interesting to see that much of the material covered in class was useful during my work placement, and that I gradually developed the critical thinking and independence I needed to tackle more complex materials and cases.

2. Sharing my work with such experienced archivists proved very useful. I would highlight the team's generosity in sharing their knowledge and supporting me throughout the entire process. I believe this kind of knowledge transfer is essential for those of us in training, especially when working with archives and their activation. People were incredibly open and trusting, which gave me the confidence to propose methods and strategies I had learned at the school, making learning and working together much more collaborative. I think it is important to acknowledge and recognise the work that many of these people have been doing for years. Several of the methodologies that guide film preservation work today are rooted in accumulated experience that has not always been recorded or acknowledged. I believe it is vital to name these contributions and document these ways of working to ensure that this knowledge continues to circulate and can be shared with future generations.

3. I have taken on board new methodologies and criteria that I will continue to use in relation to the archives in my country. Getting to know an institution like the Spanish Film Archive, even from a critical perspective, enabled me to experience other ways of working and prompted me to consider which of these experiences can be adapted or contribute to the different situations in which we work.

The postgraduate in Film Preservation Studies forces students to confront the (theoretical, technical and ethical) dilemmas generated by film as part of our tangible and intangible heritage. In addition to addressing all aspects linked to identifying images and sounds in photochemical, magnetic and digital format, the course also deals with the tools required for managing existing collections and creating new ones.

It introduces students to audiovisual material review, preservation and restoration protocols and procedures, through both mechanical and digital tools, enabling them to gain real practical experience in the lab.

The Film Preservation Studies course is in constant dialogue with the work carried out by the Basque Film Archive, which enables students to experience first-hand what it is like to work in an FIAF-approved film archive.

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