Props, costumes and set pieces are the backbone for immersing us in the films we watch but what happens to this artwork after filming ends?

By Luis Ramirez-Liberato

Tucked away on the fourth floor of the Toronto International Film Festival (TIFF) Lightbox is TIFF’s very own film reference library tasked with collecting, preserving and providing access to a wide variety of film history. 

As a way of connecting the public to Canada’s filmmaking heritage, TIFF presents “Archival Jolt!” An open invitation for the public to peer behind the curtain of film preservation and delve into the world of archival experts. Organized to celebrate TIFF’s Canada’s Top Ten programming, this event offers patrons an opportunity to witness firsthand the work of film archivists and explore the impressive collection of heritage items from Canadian moviemaking.

Natania Sherman, Senior Manager at the TIFF Film Reference Library, shared insights into her job as an archivist.  Sherman says  a majority of their collections come from donations by production companies, like with their latest acquisition of props from David Cronenberg’s Crimes of the Future.

“We’re very lucky that TIFF has these relationships with different production companies and filmmakers. They’ve seen the work that we’ve been doing to preserve Canadian Heritage, so they trust us with their materials,” said Sherman.

The process of taking props from donation to display can be difficult. Often, donated film materials arrive in storage in a condition unsuitable for long-term preservation. Therefore, archivists must transfer them to acid-free casings and proper storage to ensure their longevity for future generations. Additionally, props used in films are often not built to stand the test of time.

“They’re really made for the purpose of making the film,” said Sherman. “So you might have these beautiful art pieces that are made to last for maybe three to six months of filming, but they’re made out of materials that aren’t necessarily fine art materials meant to last a long time.”

Preserving Cronenberg’s work can be a difficult task due to the “unstable chemical makeups” and “jello-like texture” of the materials he uses, says Sherman. Many of his pieces are quite large, with some towering over attendees at the “Archival Jolt!” exhibit. Working with Cronenberg’s material involves logistical challenges and requires specialized art handlers to bring them on-site.

Along with preserving film, the work of an archivist is akin to solving a puzzle where each prop used in a film reveals new insights and secrets of its own. When donated, props may not come with labels or instructions, making it challenging for archivists to understand their mechanics and functionality. Therefore, film archivists must put together the pieces of the puzzle and decipher how each prop works. Often, this means analyzing every frame of a film to see where props are used in a scene. From the subtle placement of a vintage lamp to the grandeur of a larger-than-life set piece, every detail is meticulously documented, ensuring a comprehensive understanding of its contribution to Canadian cinema.

Archivists, especially those working at film reference libraries, face the challenge of balancing preserving historical items and making them accessible to the public. Their primary goal is to safeguard these props for future generations. As an archivist, you must ensure that the items are handled with care, stored in climate-controlled environments and kept in storage for as long as possible to ensure their longevity. Still, they also strive to make them available to the public.

“But the problem is, sometimes that sort of puts you in this position. It’s almost like being a gatekeeper,” says Sherman. 

Sherman says that younger archivists emphasize facilitating public engagement with film material and exploring ways to increase access to these archives. The film reference library collaborates with programming colleagues at TIFF to change the displays in the Lightbox building periodically. This initiative aims to establish a connection between audiences and craftsmanship that goes on behind the scenes of the films they have just watched.

Through initiatives like rotating displays and educational programs, they bridge the gap between preservation and engagement, ensuring that the magic of Canadian cinema remains within reach.

“It’s very important that we’re not just hiding things away for some unnamed time, the future, but we’re also making sure that people can access things now,” says Sherman.

In attempting to connect the public with Canada’s film heritage, the Film Reference Library has recently updated its collecting mandate to better reflect Canadian diversity in cinema. With the library’s collection being primarily donation-based, it faces the hurdle of over-representing white auteur male directors. The underrepresentation of marginalized communities is an aspect of the archival process that Sherman and her peers try to be mindful of. The Film Reference Library aims to preserve the “diverse faces in Canadian cinema” through acquisitions from underrepresented communities and reflect a “full spectrum,” says Sherman.

For Sherman, it is connecting people with these moments in Canadian cinema that she finds most rewarding. The special feeling that people get from connecting with a piece of history that matters to them is what brought about the name “Archival Jolt!”

“There’s this a-ha moment that you feel when you get to come across an object or an artifact [that] represents something important to you,” says Sherman. 

“I think whenever I get to show someone a piece from the collection, and they have that moment and I get to share in that, I think that’s really special.”