of notable cities in China including Hong Kong, Shanghai, Chongqing and Guangzhou. This compilation was screened at the BFI's Southbank Cinema with a live score by Ruth Chan, in February 2016. Notable international events The Archive has co-sponsored and hosted several international film events. The International Film/Cinema Weeks screening in 1989 was organised by the Archive and the CFARC in collaboration with other film bodies in the United States, France, England. During this festival more than 300 films were shown. Several years later in 1996, the Symposium on Film Collections in Asia – a meeting organised by UNESCO and co-sponsored by the Archive and the Ministry of Broadcasting, TV and Film - was held in Beijing. A collection of papers was shown during this conference. Christie Digital In August 2000, the Canadian-based company Christie Digital was invited to Beijing as part of the Beijing International Radio, TV & Film Equipment Exhibition. They were invited to educate Chinese Government Officials and Film restorers on their new projector - the Christie Digipro Cinema Projector. The viewing also included a walking tour of the projection room for the Chinese officials and restorers. The event was significant as it was the first time a digital projector had been used in mainland China. New York Film Festival (2008) The New York Film Festival in September 2008 was notable as it was the first major screening in the United States of 20 Chinese films from the ‘golden era’ of Chinese cinema – between the 1930s and 1940s – and several from after the Cultural Revolution in 1976. Two notable films that were screened were by Xie Jin – Red Detachment of Women (1960) and Two Stage Sisters (1964). The festival's director, Richard Peña, worked with the Archive in Beijing for a week in preparation, as the Archive contributed by making prints of the films shown, with English subtitles. Film scholarship Prior to the Archive's institution, academic scholarship on Chinese film during the 1940s was difficult as there was no research material to draw upon. Currently, the Archive allows international and Chinese scholars into their digital encyclopedia for research purposes. As every film in the Archive has not been digitalised, they are not all accessible. The China Film Archive has contributed to the accessibility of Taiwan and Hong Kong film scholarship. Prior to the 1980s, there was limited academic discourse on films from these countries, however interest