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Purpose: Film heritage is a visual mirror of the past. It represents cultural history and national identity. The access has been facilitated by digitalisation over the last two decades. The purpose of this paper is to present the ways of access to digitized films, held by the European film heritage institutions, and to determine whether national libraries in the Member States of the European Union (EU) are involved in providing access to digitized films. Methodology: The European film heritage institutions and the National Libraries of the EU Member States were included in the survey. The data obtained from the official websites of the film heritage institutions and international umbrella organization from the field of film heritage were compared with the existing data from the reports of the EU Member States on the implementation of the recommendations in the field of preservation, digitization and access to film heritage. Results: The results showed that in recent years the most current way of accessing digitized films is through streaming channels (YouTube, Vimeo), websites of film institutions and other distribution platforms. Cooperation between the European film heritage institutions and the European national libraries in providing access to digitized films has been established in the following countries: Sweden, Finland, Latvia and the United Kingdom. As an example of good practice we highlight Sweden. In Slovenia, such cooperation is in preparation within a new role of the National and University Library. Research limitation: In this article, we have limited ourselves geographically to the EU Memeber States. There is a possibility that, in addition to the described ways of cooperation, there are also others that have not been included in the research. Originality/practical implications: Comparative analysis of ways of access to digitized films, and forms of interinstitutional cooperation in the field of digitized film heritage, enables encouragement, consideration and planning of possible ways of interinstitutional cooperation in providing access to digitized film heritage, where it hasnot yet been established, and contributes to a more comprehensive understanding of current access methods to film heritage. The research of the importance of cooperation between institutions, based on the legal institute of collecting a mandatory copy of audiovisual material, has until now not been carried out. [ABSTRACT FROM AUTHOR]

Special collections of the National and University Library (NUK) hide a lot of items of precious value. The Slovenian cultural heritage is stored on paper or on other media as a part of the library's Manuscripts, Incunabula and Rare Books Collection, Old Prints Collection, Maps and Pictorial Collection, Music Collection, Ephemera Collection, Serials Collection, and Slovenian Diaspora Publications Collection. Only a small part of the treasures is temporary revealed to the public on special exhibitions. The idea of virtual exhibitions of library treasures was born in 2005. The library aimed to exhibit precious items of special collections of high historical or artistic value. In 2008 the first two virtual exhibitions were created in-house offering access to the rich collections of old postcards of Ljubljana at the beginning of 20th century kept in the Maps and Pictorial Collection of NUK. They were soon followed by other virtual exhibitions. At the beginning they were organised in the same way as physical exhibitions, afterwards different programs were used for creation of special effects (for ex. 3D wall). About two years ago it was decided that the creation of virtual exhibitions will be simplified. Files of digitised and born-digital library materials in JPG format are imported to MS PowerPoint2010. Each JPG file is now formatted by adding a frame, a description...to the slides which are saved as JPG files. The last step is the import of JPG files into Cooliris application used for NUK web exhibitions. In the paper the virtual exhibition design and creation, the technical point of view and criteria for the selection of exhibition content are explained following the example of the virtual exhibitions the Old Postcards of Ljubljana, Photo Ateliers in Slovenia, a collection of photographs Four Seasons by Fran Krašovec and photos of Post-Earthquake Ljubljana in 1895. [ABSTRACT FROM AUTHOR]

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