#Artxiboa 🔎 #DocumentOfTheMonth June 2026 In July 1957, the first Film Studies Course was held in San Sebastián, organized by the San Sebastián Film Club, the Institute for Cinematographic Research and Experiments (IIEC) and the International Catholic Office for Cinema and Audiovisuals (OCIC). The course brought together more than one hundred participants and combined theoretical training on film history, directing, editing, and screenwriting with lectures on social cinema, morality, criticism, and amateur filmmaking. The course was specifically aimed at the senior management of the ever-growing number of film clubs, with the aim of providing them with film knowledge and tools for leading film forums. For this course, Carlos María Staehlin—film critic and member of the Censorship Board—developed this outline (pictured) for his lecture “Film Culture Associations”, in which he analyzed the educational and religious function of film clubs and offered a proposed structure for them, including a presentation, screening, and discussion. ✍️ This document of the month is part of the research project “Artxiboa. What is a film festival for?” by @EQZEskola. Read more 👉 artxiboa.sansebastianfestiva…

#Artxiboa 🔎 #DocumentOfTheMonth May 2026 In July 1989, three months before the historic fall of the Berlin Wall, Pilar Olascoaga, Secretary General of the San Sebastián Film Festival, sent a postcard from Moscow, where the San Sebastián delegation was attending the Soviet capital's festival. The Moscow International Film Festival, founded in 1935 at Stalin's initiative and whose second edition wasn't held until 1959, operated biennially from then on, during the Cold War, at the insistence of the FIAPF in order to obtain accreditation and, supposedly, avoid competing with the Karlovy Vary International Film Festival, with which it alternated each year. Paradoxically, the West had four annual festivals accredited at the highest level (Cannes, Venice, Berlin, and San Sebastián). The Moscow festival didn't achieve annual status until 1995, after the collapse of the USSR, although it lost its official accreditation indefinitely in early 2022 due to the war in Ukraine. Read more 👉 artxiboa.sansebastianfestiva…

The March #DocumentOfTheMonth, is a meteorological and natural history diary which provides a unique glimpse of the wildlife around Ryton-on-Dunsmore during the 19th century. Find out more here: archivesunlocked.warwickshir… 📸WCRO, CR350/19/3 #ExploreYourArchive #EYAWildlife

#Artxiboa 🔎 #DocumentOfTheMonth February 2026 On August 28, 1975, the first in a series of courts-martial began in Burgos, condemning 11 ETA and FRAP militants to death, including José Antonio Garmendia and Ángel Otaegui. This sparked a strong international reaction against the Spanish regime through popular and institutional protests in several countries and organizations. In that turbulent climate, the San Sebastián Film Festival was finalizing its opening details, completely oblivious to the social demands. Swedish filmmaker Hans Alfredson was the first to send a letter of protest (pictured), stating that the ruling had outraged the Swedish people and that he was withdrawing his film from competition "in protest against the inhumane treatment of these prisoners". This letter was followed by dozens of telegrams refusing to attend the San Sebastián Film Festival. On September 27, five of the condemned men were executed by firing squad, including "Txiki" and Otaegui. Read more 👉 artxiboa.sansebastianfestiva…

#Artxiboa 🔎 #DocumentOfTheMonth January 2026 In 1990, the Festival introduced new features to its program, including a double retrospective: a tribute to Harry d’Abbadie d’Arrast, the Argentine filmmaker of Basque origin, and the ambitious “Volver a nacer (Rebirth)” series, dedicated to the work of film archives in their restoration. The d’Arrast retrospective included four comedies he directed and two by Charles Chaplin, in which he collaborated, and was accompanied by a monograph published together with @filmotecavasca / the Basque Film Archive and written by José Luis Borau, constituting the first work written about the filmmaker. The 38th edition also stood out for becoming a pioneering meeting place for professionals from European film archives. Along with the screening of 44 titles restored from unique prints, the Festival hosted members of the Union of European Cinematheques, who discussed legislative and economic cooperation strategies in anticipation of the creation of the European Union. The internal documents are evidence of the efforts that consolidated one of the first forums for inter-institutional collaboration between European film archives. Read more 👉 artxiboa.sansebastianfestiva…

January's #DocumentOfTheMonth is this bus schedule from the Kineton Green Bus Service, dated 1935. To find out more, check out the full article on our online catalogue, Warwickshire's Past Unlocked here: archivesunlocked.warwickshir… 📸WCRO, CR3649/3 #ExploreYourArchive

During December we are taking part in the @ARAScot #ArchiveAdventCalendar! The first theme is #Presents and this is the focus of our #DocumentOfTheMonth! Find out more about the Bilton Christmas Comforts Committee minute book here: archivesunlocked.warwickshir… 📸WCRO, DR221/259

#Artxiboa 🔎 #DocumentOfTheMonth November 2025 While the struggles of the 1968 movement shook other international film festivals (the cancellation of Cannes, the riots in Venice and Pesaro…), the Spanish regime, supported by the media and the festival organizers, sold the image of a “calm” San Sebastián Film Festival. This interview with the festival's directors before its 16th edition emphasized its more cosmopolitan aspects, such as its tourist appeal and its connection to the region and its citizens. The interview's responses stripped these cinematic events of any political dimension. However, subsequent studies have repositioned film festivals as significant actors in geopolitics, both in the interwar period and during the Cold War. The 1968 edition was not immune to the climate of international discontent: ‘Ama Lur’ was screened out of competition after two years of restrictions and censorship. There were protests denouncing the invasion of Vietnam, and the New American Cinema retrospective was interrupted by censorship. Read more 👉 artxiboa.sansebastianfestiva…

With Hallowe’en on its way, this spooky autograph book is perfect for #DocumentOfTheMonth. The Ghosts of My Friends, captures ghostly images using the signatures of a local family in 1907-8. Find out more: archivesunlocked.warwickshir… 📸 WCRO, CR4694/40 #ExploreYourArchive

In our September “Document of the Month”, Gabrielle van den Berg of @UniLeiden throws light on a very early Persian narrative poem about Joseph, his brothers & the temptress Zulaykha: bit.ly/JosephandZulaykha #persian #poetry #documents #documentofthemonth #medievalist #firuzkuh

#DocumentOfTheMonth for August is a gardening diary written by Lady Sophia Newdigate (d.1774). This 18th century document contains a memoranda of gardening tasks to be done at Arbury Hall, Nuneaton. Read more here: archivesunlocked.warwickshir… 📸WCRO, CR136/A246 #ExploreYourArchive

#Artxiboa 🔎 #DocumentOfTheMonth – July 2025 In 1981, filmmaker Ricardo Muñoz Suay organized a round table on Literature and Film within the framework of the Festival. He envisioned an ambitious gathering with figures such as Jorge Luis Borges (recipient of the invitation shown in the image), Gabriel García Márquez, Juan Marsé, Octavio Paz, and Juan Rulfo, among many others. Although the meeting didn't attract all the desired guests, it was held for the first time at that edition of the Festival under the name ‘Latin American Literature and the Cinema’. The event continued in 1982, under the name ‘The feuilleton and the serial story’, and featured figures such as Mario Vargas Llosa and Manuel Puig. In 1983, the theme revolved around detective novels and film noir, with notable guests like Patricia Highsmith, Samuel Fuller and Manuel Vázquez Montalbán. The initiative managed to establish itself as a cultural extension of the Festival, seeking to be repeated every year. Read more 👉 artxiboa.sansebastianfestiva…

#DocumentOfTheMonth for July is this lithograph poster dated around 1850, which advertises the business of the Midland Counties Stained Glass and Decorative Works. Read the full article here: archivesunlocked.warwickshir…... 📸WCRO, CR1821/1 #ExploreYourArchive #Archives #History

#DocumentOfTheMonth for June is this abstract of the genealogy of the Greville family. Dating from the late 18th century, it details how the family are related to the Beauchamps. archivesunlocked.warwickshir… 📸 WCRO, CR2605/3 #ExploreYourArchive #Archives #History #WarwickCastle

May’s Document of the Month, is this pocket diary of Rev. G. S. Hewins for 1944. Hewins was the Rector for Oxhill, Warwickshire from 1940-1944. Read the full article here: archivesunlocked.warwickshir… 📸 WCRO, CR4891/1 #DocumentOfTheMonth #ExploreYourArchive

Today is the 80th anniversary of VE Day so our #DocumentOfTheMonth is a copy of a signal from Major General George E. Stratemeyer, USAAF, to allied air forces: “The German Army has surrendered unconditionally...” @explorearchives

In the latest #DocumentoftheMonth Nadia Vidro looks at a 10th-century Jewish commentary on the Book of Isaiah. This is the only #JudeoArabic fragment in our corpus! Find out about the knowledge of #Arabic among Jews in pre-Mongol #Iran and #Afghanistan: bit.ly/DotMApr25

#Artxiboa 🔎 #DocumentOfTheMonth - March 2025 ✍️ Anne Bancroft at the Victoria Eugenia Theatre’s boxes entrance during the presentation of the film “The Miracle Worker” (Arthur Penn) (1962) The role played by film festivals in promoting the films they host, and present is well known, as is the so-called “awards season”. The position occupied in the calendar by the San Sebastian competition, in late summer and early autumn, has led the @sansebastianfes to be chosen for the international coming out of countless movies that have gone on to enter, and win, the race to the Oscars. 🏆 This is the case, among others, of the film 'The Miracle Worker', presented in the 1962 Official Selection by Arthur Penn and Anne Bancroft (who won the San Sebastián Award for Best Female Performance), and which would later win two Oscars: Best Leading Actress (Bancroft) and Best Supporting Actress (Patty Duke). Want to know which other films that participated in the Official Selection went on to win Academy Awards? 👉 artxiboa.sansebastianfestiva…

Even as #designtrends evolved, the #Godrej CH-1 All Steel Folding Chair has remained a timeless icon of modern living. Our #DocumentOfTheMonth reveals its 1958 production resurgence, despite steel shortages. A true #design icon! archives.godrejenterprises.c… #archivaldocuments

For February’s #DocumentOfTheMonth, we have chosen this apprenticeship indenture of James Sweet to the hat making company Vero and Everitt Limited, dated 29th October 1912. Find out more: archivesunlocked.warwickshir… 📸 WCRO, CR1793 #ExploreYourArchive #NationalApprenticeshipWeek