At the 2025 FIAF Congress in Montreal, we had the privilege of speaking with Peter Bagrov, President of the International Federation of Film Archives (FIAF) and Senior Curator of the Moving Image Department at the George Eastman Museum. With experience spanning Russia’s Gosfilmofond and one of North America’s most respected institutions, Peter offered a clear and compelling perspective on the challenges and opportunities facing film archives today.
The Role of Collections Management in Film Archives
Collections management is the backbone of any archive—but for film archives, it’s especially complex. From original release prints and camera negatives to fine grains, preservation negatives, and digital masters, every format introduces new relationships to track and preserve. “One important thing, for example, for films… is the hierarchy,” Peter explained. “You need to be able to link the negative to the fine grain to the print. Not all catalog systems can do that. If possible, an archive should aim to have a dedicated cataloging system to track these intricate relationships. That is especially helpful in determining the best preservation workflow.” A strong internal catalog doesn’t just help with research and loans; it ensures the archive can respond to inquiries, plan for preservation, and make decisions with confidence.”
Debunking the Myths of Film Digitization
Digital preservation is a hot topic, but Peter cautions that digitization is not a silver bullet. While the Eastman Museum does digitize selectively, massive digitization of the collection isn’t realistic or always desirable. “Digitizing something doesn’t mean it’s ready to screen,” Peter said. “Grading, digital restoration, such as dirt and scratches removal, reconstruction of the original version from multiple elements—those are the steps that make the difference.”
Many archives mistakenly assume that scanning is the same as preserving. But without attention to the material qualities of the original film, much can be lost. Peter also warned against the trend of over-restoration, where films are “improved” to the point of erasing their historical context. “We are custodians of our heritage,” he said. “If you start changing the image because you think the original wasn’t good enough – that’s dangerous.”
We are custodians of our heritage, if you start changing the image because you think the original wasn’t good enough – that’s dangerous.
For Archives Just Getting Started: Don’t Go It Alone
If your archive is just beginning its journey into digital collection management, Peter’s advice is simple: tap into existing resources. He recommends the FIAF Cataloguing Manual, which is available in multiple languages and free to access—even if you’re not a FIAF member. “There’s a global community out there,” Peter said. “Tap into that knowledge.”
FIAF’s Global Vision for Film Preservation
As FIAF President, Peter sees the organization as a unifying force—one that helps archives avoid duplication, share best practices, and commit to ethical preservation across cultures. “We can’t solve global problems,” he noted, “but we can ensure that we don’t cause more damage. That we preserve truthfully. That we respect provenance – that’s an important step to respect history.”
Why This Matters More Than Ever
As technology advances, the need for thoughtful, structured, and ethical film archive management becomes more urgent. Whether you’re managing a national institution or a private collection, your systems must support:
- Hierarchical cataloguing of film elements
- Access to detailed metadata and preservation statuses
- Responsible digitization workflows
- Collaboration with global standards and communities
Axiell Collections is proud to support film archives with software designed for the complexities of moving image collections—nitrate, digital, and everything in between. Explore FIAF for more on preservation.
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