XIXAX Film Forum

Film Discussion => News and Theory => Topic started by: wilder on January 16, 2013, 09:30:59 PM

Title: Film Restoration and Preservation
Post by: wilder on January 16, 2013, 09:30:59 PM
Restoring Underground

Thanks to a recent discovery of an alternative print at the Brussels Cinematheque Royale, and advancement in photo-chemical and digital techniques, the BFI were finally able to restore the magnificence of Anthony Asquith's silent romance of 1928. Here the curatorial and technical team responsible for the painstaking restoration of one of Asquith's most celebrated works discuss their roles in the exciting project, as well as the cutting-edge digital wizardry used in the repair of the original print. In its newly-refurbished state the film then had its grand premiere at Queen Elizabeth Hall with a thrilling live score from Neil Brand, in the first archive gala screening as part of the Times BFI 53rd London Film Festival.

BFI's 8 minute video on the restoration of Underground (1928) (https://www.bfi.org.uk/live/video/326)
Title: Re: Film Restoration
Post by: wilder on January 18, 2013, 12:11:56 AM
http://www.youtube.com/watch?v=vGOaQLVZIlY
Title: Re: Film Restoration
Post by: wilder on January 18, 2013, 12:24:08 AM
Think I may have posted these elsewhere before but I'm going to drop them here.

http://www.youtube.com/watch?v=YZhDNTCdeB0

http://www.youtube.com/watch?v=hLWvXaeDzwU

http://www.youtube.com/watch?v=XXnu58AwvME

http://www.youtube.com/watch?v=vktVXgifjlY

http://www.youtube.com/watch?v=xyWfk7blkYc
Title: Re: Film Restoration
Post by: wilder on January 18, 2013, 12:54:43 AM
The Film Preservation Guide (http://www.filmpreservation.org/userfiles/image/PDFs/fpg.pdf) is a free PDF book put out by The National Fim Preservation Foundation (http://www.filmpreservation.org/) that "describes methods for handling, duplicating, making available, and storing film that are practical for research institutions with limited resources. It is organized in chapters tracing the path of film through the preservation process, from acquisition to exhibition, and includes case studies, photo-illustrations prepared by the staff of George Eastman House, and charts".

Film Forever (http://www.filmforever.org/), The Film Foundation (http://www.film-foundation.org/common/11004/default.cfm?clientID=11004&thispage=homepage), The Association of Moving Image Archivists (http://www.amianet.org/index.php), and Video Aids to Film Preservation (http://www.folkstreams.net/vafp/) (<--- incredible) are other good resources.
Title: Re: Film Restoration
Post by: wilder on January 18, 2013, 02:22:47 AM
The Digital Dilemma - PDF (http://www.sendspace.com/file/6ryvgd)

In its landmark report, The Digital Dilemma, the Academy’s Science and Technology Council examined ways in which key players in the movie business and other major industries currently store and access important digital data. The goal was to better understand what problems these industries face today and what, if anything, is being done to avoid full-fledged data access disasters down the road.

Through 18 months of research and writing, the Council discovered that the issues of digital storage reliability and compatibility go far beyond lost snapshots and spreadsheets. The world currently produces the equivalent of many trillions of books a year in digital data. The question of how to dependably and efficiently archive and access this massive amount of information in the long term is already a burning issue for government, industrial and scientific communities.




The Digital Dilemma 2 - PDF (http://www.sendspace.com/file/1gm2j3)

The Digital Dilemma 2 focuses on the more acute challenges faced by independent filmmakers, documentarians and nonprofit audiovisual archives.  While 75 percent of theatrically released motion pictures are independently produced, these communities typically lack the resources, personnel and funding to address sustainability issues that are available to major Hollywood studios and other large, deep-pocketed enterprises.  Independent filmmakers create – and nonprofit film archives collect and store – a sizeable part of moving image and sound heritage.  The Academy partnered with the Library of Congress's National Digital Information Infrastructure and Preservation Program (NDIIPP) to produce this new study with the conviction that these communities shouldn't be allowed to fall through the cracks.

For this report, a cross-section of independent filmmakers, distributors and marketers was interviewed and a broader online survey of independent filmmakers was conducted.  In addition, a representative group of nonprofit audiovisual archives provided details on their digital preservation activities, including information about the content they receive as born digital files, their current practices for digitally reformatting content for preservation, and their overall digital infrastructure, policies and funding strategies.  The report's findings show an urgent need for these diverse and widely dispersed individuals and organizations to address the digital dilemma before the cultural heritage they represent is permanently lost.





The Academy of Motion Picture Arts & Sciences in partnership with The Charles Guggenheim Center for Documentary Film and the Foundation for the National Archives presents 'Preserving Grain, Presenting Pixels: Film Preservation and Restoration in the Digital Age'

http://www.youtube.com/watch?v=9QUWUfB17kY

This thing is pretty dry, none of the speakers are Charlie Chaplin, but it's informative. However, to bypass The Most Boring Man in the World skip to the 4 minute mark.

Edit - A little after the 24 minute mark he mentions that a good studio print of Magnolia no longer exists.
Title: Re: Film Restoration
Post by: wilder on February 16, 2013, 05:40:07 PM
Cohen Media Group Announces Plans for 700-Film Collection
via Home Media Magazine

Charles Cohen, chairman and CEO of the Cohen Media Group, has big plans for a lot of titles. More than 700 of them, in fact.

“We don’t want to just dump these in the marketplace,” he said. “We’re going to meticulously restore them, and they’ll all see a lot of tender loving care.”

Cohen acquired the rights to this collection — then the Rohauer Film Collection — in late 2011, and was put together over the course of three decades by Los Angeles theater owner Raymond Rohauer.

The collection includes dozens of silent movies — many from famed actor Buster Keaton — as well as films from D.W. Griffith, Rudolph Valentino, Vivien Leigh and Harry Langdon. Cohen said that the collection includes the only known materials for some films, garnered from overseas warehouses and The Library of Congress.

“We think we have a real treasure trove of material, and we think fans will respond,” Cohen said.

The first release from the collection is Douglas Fairbanks’ The Thief of Bagdad, out on DVD and Blu-ray Disc Feb. 19. The 1924 fantasy epic has been digitally restored in 2K from two 35mm negatives, incorporating tints and tones of original release prints. The release will include an audio commentary and other extras, and Cohen said it will set the standard for the future films from the collection.

On March 12, Cohen will release Tristana, the 1970 Spanish film from director Luis Buñuel (Los Olvidados).

Other highlights from the collection include:

• Keaton’s Civil War comedy The General, which will feature a 4K transfer from the original nitrate camera negative. Other Keaton films include Sherlock Jr., Our Hospitality, The Navigator and Go West.

• Alfred Hitchcock’s Jamaica Inn (1939).

• Other early Fairbanks films, including 1915’s The Lamb and Double Trouble, The Mark of Zorro, The Three Musketeers, Robin Hood, The Black Pirate and The Taming of the Shrew.

• Musical shorts featuring Duke Ellington, Billie Holiday, Bing Crosby, Louis Armstrong, Cab Calloway, Hoagy Carmichael, Bessie Smith, Rudy Vallee and Ethel Merman.

• The 1916 D.W. Griffith film Intolerance, which is getting a 2K restoration and includes the orchestral score from composer Carl Davis. Other Griffith films include The Birth of a Nation (both the 1915 original and the 1930 cut), Broken Blossoms, Way Down East and Orphans of the Storm.

• Fire Over England (1937), the first screen pairing of Vivien Leigh and Laurence Olivier, one of four Leigh films in the collection.

• Comedy shorts featuring W.C. Fields, George Burns and Gracie Allen, Robert Benchley and Milton Berle.

• Sudden Fear (1952), starring Joan Crawford and Jack Palance.

• L’Etoile de Mer (1928) and other experimental shorts from photographer Man Ray.

• Hangmen Also Die (1943), from Fritz Lang, which will include a never-before-seen sequence.

• Song of Freedom (1936), one of six films starring singer-actor Paul Robeson.

• Son of the Sheik (1926), Valentino’s last film, along with Blood and Sand and The Eagle.

• Forty years of British films spanning from the 1930s to the 1960s.

Title: Re: Film Restoration
Post by: wilder on March 14, 2013, 05:25:01 PM
Film Restoration In The Digital Domain: A Chat With James White (http://somecamerunning.typepad.com/some_came_running/2013/03/film-restoration-in-the-digital-domain-a-chat-with-james-white.html)
Title: Re: Film Restoration
Post by: wilder on April 23, 2013, 07:28:00 PM
Scorsese on the restoration of Richard III

http://www.youtube.com/watch?v=mN49grFTKxY
Title: Re: Film Restoration
Post by: wilder on February 15, 2014, 03:00:39 PM
Restoration at Criterion (http://vimeo.com/84135659)
Title: Re: Film Restoration
Post by: wilder on March 18, 2014, 03:38:42 PM
Restoring Jack Hill's Pit Stop (1969)

http://www.youtube.com/watch?v=_ZSulX_eT3M
Title: Re: Film Restoration
Post by: wilder on March 30, 2014, 08:27:55 PM
A treasure trove of silent American movies found in Amsterdam
By Susan King
30 March 2014
via The Los Angeles Times

Long-missing comedy shorts such as 1927’s “Mickey’s Circus,” featuring a 6-year-old Mickey Rooney in his first starring role, 1917's "Neptune's Naughty Daughter"; 1925’s “Fifty Million Years Ago,” an animated introduction to the theory of evolution; and a 1924 industrial short, “The Last Word in Chickens,” are among the American silent films recently found at the EYE Filmmusem in Amsterdam.

EYE and the San Francisco-based National Film Preservation Foundation have partnered to repatriate and preserve these films -- the majority either don’t exist in the U.S. or only in inferior prints.

The announcement was to be made Sunday in Amsterdam at EYE Museum with a public screening of the first film saved from the project “Koko’s Queen,” a 1926  “Out of the Inkwell” cartoon, which had been available in the U.S. only in substandard video copies.

Annette Melville, director of the National Film Preservation Foundation, said EYE came to them after learning of NFPF’s partnership four years ago with the New Zealand Film Archive, which repatriated nitrate prints of nearly 200 silent U.S. films, including a missing 1927 John Ford comedy, “Upstream.” The following year, the NFPF and the New Zealand archive also identified the 30-minute portion of the 1923 British film “The White Shadow,” which is considered to be the earliest feature film in which Alfred Hitchcock had a credit.

“We had so much on our plate,” said Melville. “We took responsibility for funding the preservation of a good number of the 176 films. We didn’t want to bite off more than we could chew. There are a lot of resources involved in bringing the films back and preserving them. Most of this work is funded through grants.”

With support from the Andrew W. Mellon Foundation, the NFPF last year sent researcher Leslie Lewis to Amsterdam, where she spent two months examining more than 200,000 feet of highly combustible 35mm nitrate film. A veritable Sherlock Holmes of celluloid, Lewis also was one of two nitrate experts dispatched to identify the films in the New Zealand Archive.

“There’s a good reason these films haven’t been preserved,” said Melville, noting that credit sequences on many of the titles had decayed over the years. “Many of them haven’t been identified because the way films sit on their reels, sometimes the credits are most exposed to the atmosphere.”

Then there was the language problem. In the instances in which credits did survive or the film had intertitles, they were generally in Dutch.

“There was a lot of detective work going on,” said Melville.

Working with research teams at the Library of Congress and the Smithsonian in Washington, D.C., Lewis would take photos of scenes from the films, as well as copies of intertitles and then send  them off to experts for identification.

“We would look up the stuff and send information back the next morning,” said Melville, adding that this is the first large-scale repatriation project involving the translation of intertitles back into English.

Not only does the EYE collection feature shorts, animated films, dramas, serials and westerns, there is also a cache of nonfiction films, including footage from a 1920 Chicago rodeo; 1923’s “The Crystal Ascension,” which chronicles an exploration of Mt. Hood; 1917’s “The Dairy Industry and the Canning of Milk” and 1925’s “Uncommon Clay," a survey of America's art pottery heritage.

“After World War I, many of the film companies in Europe had taken a big hit, and the U.S. government supported the film industry by helping to send over films overseas,” said Melville. They sent short comedies and features, but they solicited big business to send over films about what they do.”

Twenty-six of the short films, thought to be the best surviving source material on these titles reported anywhere, have been shipped for preservation at Colorlab in Rockville, Md., under the guidance of the Academy of Motion Picture Arts and Sciences and the Library of Congress.

The Oregon Historical Society has joined the effort to restore “The Crystal Ascension.” And just last week the NFPF received a $260,000 grant from the National Endowment of the Humanities to fund the preservation and Web presentation of the nonfiction films.

There are more titles that the NFPF wants to repatriate, including two feature films, 1924’s “The Reckless Age,” a comedy with Reginald Denny, and the 1922 melodrama “For the Defense,” with ZaSu Pitts.

When the restoration work is done, the American archives will have custody of new digital scans, 35mm masters, prints and access copies. EYE will receive new prints and digital copies. And the NFPF plans to post copies of the film for streaming on their website.
Title: Re: Film Restoration
Post by: Pubrick on March 30, 2014, 08:45:04 PM
Wilder you should go work for these people who travel the world looking for forgotten films.

Think of it as an extension of your work here, it's random blu ray announcements on a global scale.

You can submit your post history as proof that you're willing to do it for free, that you'd work just for the sheer thrill of the randomness.
Title: Re: Film Restoration
Post by: 03 on March 30, 2014, 09:52:35 PM
its funny you say that p because that was my dream when i was younger, which is why i have a weird knowledge of obscure forgotten stuff.
Title: Re: Film Restoration
Post by: wilder on March 30, 2014, 11:01:00 PM
I actually looked into that about a year ago, but the path to working in restoration is long and tedious, more technical than creative, sort of like discovering you have to draw 24 frames of nearly the exact same thing to produce a single second of animation. It kills the mood. I couldn’t do it, personally. Thankfully there are some who can.

I selfishly use this forum as a kind of tracking board, also in hopes that organizing all this disparate film news might make it easier for someone stumbling along to make sense of the film landscape as it exists right now, and possibly discover movies more than a couple years old that get them excited, too. Unrealistic? Maybe. Insane? Probably so. Given that this place has maybe 30 regular members and a phantom crew of 50 visiting guests on any daily basis. But whatever. If I break from following this stuff for even a week I become totally unaware of what’s happening, which is fine, but I prefer to have some sense of the industry’s pulse, despite the fact it’s now only faintly beating.

The problem right now more than anything is awareness that these kinds of films even exist, older films, not access necessarily — that article mentions that they’re going to throw a bunch of these silent movies online, streaming, for free. But what will that do? Who will know they are there? When a director with clout like PT mentions being inspired by something relatively obscure like the films of Robert Downey Sr., Jonathan Demme’s Something Wild, or the doc Jazz on a Summer’s Day, or in the case of Refn mentioning Kenneth Anger’s Scorpio Rising in reference to Drive…it does more to keep these films alive and generate interest in new restorations I think than any independent efforts working outside that kind of influence could. I doubt, for instance, that the Criterion and Eclipse releases of some of those movies would have ended up happening otherwise. A new licensing fee was paid and a studio that thought it would never make another buck off some random 1986 comedy was able to profit again most likely thanks to those offhand remarks.

On this week’s episode of KCRW’s The Business podcast, it was mentioned that film attendance by 18-24 year olds dropped a full 21% in 2013. That’s gigantic. That’s a landslide. That’s a whole generation out there that has completely checked out of the movie scene, or grew up too young to ever be involved at all. That means that the current audience for indies is generally much older, 25 - 40. The budding filmmakers with a personal vision, the ones whose ambitions aren’t to make the broadest pictures possible that people still seem to be paying for, where does that leave them?

I’m wondering out loud now, but I actively debate whether or not interest in independent movies today has fallen because people don’t know they exist in the first place, or because they suck, or both. I think it’s both. But I think it’s a more complicated answer and that those reasons are intertwined — that the lack of awareness of films is also related, on a basic structural level (in terms of the way information online is disseminated and the methods by which people discover new content) to the reasons why the independent films of the past five or ten years haven’t exactly lit the world on fire.

The disruption that’s occurred in distribution over the course of the past decade has affected both new releases and catalog titles, and my theory is that the lack of access to older films has left a bit of a vacuum for a younger generation in terms of being familiar with film language or varied storytelling styles, which has produced a whole slew of handheld, naval-gazing work rooted in no film tradition at all. (Oh fuck I’m getting up my ass here…) Filmmakers who want to tell stories that are different than what is largely being offered now, stories as varied as the industry produced twenty or thirty years ago, they’re most likely film fanatics themselves. Cinema has become polarized, but half the issue is that many of the better indie movies are operating in a completely different register in terms of film language, informed by all those years of following movies in a linear way, learning more sophisticated cinematographic techniques and storytelling methods gradually, than the product most audiences are used to seeing. This stuff isn’t rocket science, it’s not impenetrable, but familiarity with it requires consistent exposure. A lot of the better writing may be happening in television right now, I can admit that, and the cable shows are certainly more cinematic than they were before, but at the end of the day, it’s still resulting in television closer to filmed plays than singular visual experiences.

That’s the other thing. What characterized the independent movies of the 90s was a sense of personality, a feeling that you were seeing the world through the eyes of one person, the filmmaker, and that the story might have even been secondary to the individual tone they were able to strike with their worldview. David Lynch, Tarantino, Todd Solondz —  we associate something specific with their names. A scene between a husband and wife in a kitchen wouldn’t be even close to the same scene if filmed by any of them. That’s missing now. I can scarcely think of any filmmakers who have emerged in the past 15 years who I can attach that degree of specificity to, and furthermore I worry that basic interest in personal vision is becoming passé, that the turn to watching so much by yourself in your house on your home theater or laptop instead of in a communal setting, theatrically, has perversely created an even greater need for common cultural landmarks, which in turn has pushed aside the need to connect with the individual experience of someone else.

Here's a quote by Jonathan Franzen, tangentially related:

Quote
When I first met Don DeLillo, he was making the case that if we ever stop having fiction writers it will mean we’ve given up on the concept of the individual person. We will only be a crowd. And so it seems to me that the writer’s responsibility nowadays is very basic: to continue to try to be a person, not merely a member of a crowd. (Of course, the place where the crowd is forming now is largely electronic.) This is a primary assignment for anyone setting up to be and remain a writer now. So even as I spend half my day on the Internet—doing email, buying plane tickets, ordering stuff online, looking at bird pictures, all of it—I personally need to be careful to restrict my access. I need to make sure I still have a private self. Because the private self is where my writing comes from. The more I’m pulled out of that, the more I simply become another loudspeaker for what already exists. As a writer, I’m trying to pay attention to the stuff the people aren’t paying attention to. I’m trying to monitor my own soul as carefully as I can and find ways to express what I find there.

What I’m getting at is that the audience for the kinds of movies a lot of us on this board like, or used to like when they were still getting made regularly, is excruciatingly small, but it doesn't necessarily have to be. There just needs to be an easy way to get at this stuff, in an accessible organized fashion, and that's partially what I'm attempting to contribute to.

That was a huge, unwieldy, rant. I went fucking way off topic. Will probably delete this in an hour or so.

 
Title: Re: Film Restoration
Post by: jenkins on March 31, 2014, 12:04:29 AM
think i'm right now like the person in the romance movie who meets the crush then freezes on words. i may or may not summon emotional courage later, but i'm positive i don't want you to delete that. i'd quote the whole thing but seems rude. you and i both know what happened and we both know there's a movie reference to make --

(http://i.imgur.com/tY1qUib.jpg)
Title: Re: Film Restoration and Preservation
Post by: wilder on April 24, 2014, 01:23:40 PM
Paul Thomas Anderson, Nicolas Winding Refn Back Crowdfunding Campaign To Digitally Save Endangered 35MM Prints
via Deadline

As celluloid gives way to the digital era, filmmakers Paul Thomas Anderson (The Master) and Nicolas Winding Refn (Drive) are some of the names lending their support to a new crowdfunding campaign (https://www.indiegogo.com/projects/the-american-genre-film-archive#home) to save and restore 35mm film prints. The campaign was launched today by the American Genre Film Archive (http://www.deadline.com/tag/american-genre-film-archive) (AGFA), a non-profit org whose mission it is to undertake high-resolution 2K digital transfers to preserve film prints too fragile for active circulation. Older and rare prints are an increasingly endangered treat on the repertory/art house exhibition scene and unless restored or digitally archived, frequently deteriorate too far to be screened and can be lost forever. AGFA specializes in horror, sleaze, action, independent regional film, and international genre cinema and has over 3,200 film prints in its archive. Organizers are looking to raise $15K by May 30 to fund AGFA’s first digital restoration, of Craig Denney’s 1975 sci-fi pic The Astrologer, which real life psychic Denney self-financed and stars in as a fortune teller who discovers psychic abilities and rises to fame by advising the President of the United States. Refn and Anderson have recently joined the AGFA advisory board which also includes Alamo Drafthouse founders Tim and Karrie League. “By any means necessary, we need to watch movies on film, because that’s why God created cinema,” said Refn. “The American Genre Film Archive has begun a mission to preserve what I consider the greatest art form God has given us.”
Title: Re: Film Restoration
Post by: wilder on May 13, 2014, 12:49:06 PM
And speaking of "The Kingdom" (http://xixax.com/index.php?topic=865.msg333393#new), it's one of a handful of early works by von Trier that are getting digitally restored. Production company Zentropa has released a seven-minute featurette diving into the lengthy process of scanning the original film strips and re-editing the movies from scratch in order to preserve the director's projects (trivia: "The Kingdom" was recorded on DigiBeta, a now defunct format).


http://www.youtube.com/watch?v=x1Gw_eBmzW4
Title: Re: Film Restoration
Post by: tpfkabi on June 24, 2014, 10:59:25 PM
This is more preservation than restoration, but I'm not sure where this would fit.

Maybe one of you has TV station experience or is 'in the know' about such things.

There are lots of films with extra scenes for TV.
Just about any movie will have a thread on their IMDB message board with someone saying their home video release is edited and it turns out these scenes were added for broadcast.
The worst is when they don't even put these on the DVD.
That should be the easy thing to do.

All of this made me think - What happens to these "tapes" that are sent to stations with the TV edits? I assume in the 90's they used tapes. No idea about now.
Is anyone making sure these cuts/scenes aren't being lost to time?
In all the times I've read about TV scenes and watched videos of movie collectors, I've never seen a person say that they bought a TV edit tape that used to be owned by a TV station or movie studio.
Maybe TV stations never owned copies of films, the studio just loaned them out?
I'd like to think that the studios keep backups, but if that's the case, why don't these end up on a lot of DVD releases? It should be in the vaults along with the other materials they need when creating new masters, etc. for Blu-Rays or whatever.
Title: Re: Film Restoration
Post by: Mel on June 25, 2014, 04:10:59 AM
Maybe one of you has TV station experience or is 'in the know' about such things.
There are lots of films with extra scenes for TV.
The worst is when they don't even put these on the DVD.
That should be the easy thing to do.

I could be wrong, but there are multiple issues:
Title: Re: Film Restoration
Post by: tpfkabi on June 26, 2014, 10:21:28 PM
Thanks for the info.

I just happened to watch Quick Change (1990), a film starring and co-directed by Bill Murray.
Like with a lot of movies, you will usually find someone asking if the DVD is edited because the film is missing scenes.
Of course, arthouse films aren't really the type of film you program for your cable television mid day, so most films I read this about are comedies of the 80's/90's.
I know The Jerk has scenes shown on cable that are not on the DVD, even as an extra.
I've read about extra Teen Wolf scenes and scenes from the Problem Child films.
These being lost wouldn't be a huge loss to cinema, but it would be sad to lose them.
Title: Re: Film Restoration
Post by: wilder on July 22, 2014, 08:47:26 PM
http://www.youtube.com/watch?v=IOdn0zMj1nQ
Title: Re: Film Restoration
Post by: wilder on July 30, 2014, 03:59:14 PM
Quentin Tarantino, Christopher Nolan, Judd Apatow & J.J. Abrams Team Up To Save Film Stock
via The Playlist

A couple of years ago, things were looking grim for Kodak. The legendary film company couldn't keep up with the digital age, and were on the brink of bankruptcy, but managed to bounce back last fall. While the company promised to be more contemporary in their approach going forward, they also said that film stock was part of their future as well. And a bunch of filmmakers teamed up to make sure the industry ensures that in an increasingly digital age, there is still room for good, old fashioned physical film stock.

The Wall Street Journal (http://online.wsj.com/articles/kodak-movie-film-at-deaths-door-gets-a-reprieve-1406674752?tesla=y&mg=reno64-wsj) reveals that behind-the-scenes, Quentin Tarantino, Christopher Nolan, Judd Apatow, and J.J. Abrams went to the heads of studios to make the case for film, and to have them invest in the format. How? The studios have agreed to buy an unspecified amount of film stock each year from Kodak, even if they don't know how many movies will be shot using it. It guarantees Kodak a consistent flow of money, and a reason to keep making celluloid, even though the photo company initially tried to get the studios to invest in a manufacturing plant. And the feedback, as you might expect, is a bit mixed, but mostly supportive.

"It's a financial commitment, no doubt about it. But I don't think we could look some of our filmmakers in the eyes if we didn't do it," said Bob Weinstein, likely referring longtime pal, and film enthusiast, Quentin Tarantino.

Meanwhile, Apatow just wants the option available. "[Digital and film] are valid choices, but it would be a tragedy if suddenly directors didn't have the opportunity to shoot on film," he said. "There's a magic to the grain and the color quality that you get with film."

But as you might expect, there are practical considerations to make too. "I'm a huge fan of film, but it's so much more convenient digitally," "Transformers: Age Of Extinction" producer Ian Bryce stated.

But real test will be how this plays out in the longterm. For younger directors, digital is still a much cheaper way to get movies made on a reasonable budget, so it remains to be see if this solution is merely a minor hold what is the inevitable demise of film stock. That said, if the studios do stay supportive, and make it an option for directors who aren't just marquee names, we could see celluloid survive for years to come.
Title: Re: Film Restoration and Preservation
Post by: Ravi on July 31, 2014, 11:19:25 AM
The beginning of the end for film was digital projection, which killed off the huge volumes of 35mm film prints that used to be made. I'm sure there are plenty of filmmakers who want to shoot on film, but without the revenue from film prints, I'm not sure it makes financial sense to keep producing film stock.
Title: Re: Film Restoration and Preservation
Post by: wilder on August 04, 2014, 01:45:09 PM
Martin Scorsese's Statement Supporting Kodak's Continued Production Of Film Stock
via The Playlist

Martin Scorsese has issued a statement in support of Kodak's decision to continue making film stock.

We have many names for what we do – cinema, movies, motion pictures. And…film. We’re called directors, but more often we’re called filmmakers. Filmmakers. I’m not suggesting that we ignore the obvious: HD isn’t coming, it’s here. The advantages are numerous: the cameras are lighter, it’s much easier to shoot at night, we have many more means at our disposal for altering and perfecting our images. And, the cameras are more affordable: films really can be made now for very little money. Even those of us still shooting on film finish in HD, and our movies are projected in HD. So, we could easily agree that the future is here, that film is cumbersome and imperfect and difficult to transport and prone to wear and decay, and that it’s time to forget the past and say goodbye – really, that could be easily done. Too easily.
 
It seems like we’re always being reminded that film is, after all, a business. But film is also an art form, and young people who are driven to make films should have access to the tools and materials that were the building blocks of that art form. Would anyone dream of telling young artists to throw away their paints and canvases because iPads are so much easier to carry? Of course not. In the history of motion pictures, only a minuscule percentage of the works comprising our art form was not shot on film. Everything we do in HD is an effort to recreate the look of film. Film, even now, offers a richer visual palette than HD. And, we have to remember that film is still the best and only time-proven way to preserve movies. We have no assurance that digital informaton will last, but we know that film will, if properly stored and cared for.
 
Our industry – our filmmakers – rallied behind Kodak because we knew that we couldn’t afford to lose them, the way we’ve lost so many other film stocks. This news is a positive step towards preserving film, the art form we love.
Title: Re: Film Restoration and Preservation
Post by: Fuzzy Dunlop on February 05, 2015, 06:31:18 PM
Film is Here to Stay! Studios and Kodak Strike a Deal
via Indiewire

Apparently, all that pressure from Christopher Nolan, Quentin Tarantino and J.J. Abrams made a difference.

Last summer, Hollywood directors including Martin Scorsese, Quentin Tarantino, Christopher Nolan, J.J. Abrams and Judd Apatow urged Hollywood studios to support Kodak to keep film stock in use. Today, Kodak announced it has finalized new film supply agreements with all six major Hollywood studios.

"Film has long been – and will remain – a vital part of our culture," said Jeff Clarke, Kodak chief executive office, in a statement. "With the support of the studios, we will continue to provide motion picture film, with its unparalleled richness and unique textures, to enable filmmakers to tell their stories and demonstrate their art."

Recently, such high-profile films such as Oscar-nominees "Boyhood," "The Grand Budapest Hotel," "Interstellar," "Foxcatcher" and "Into the Woods" were shot on Kodak film. Some of the biggest films of 2015 are being shot on Kodak film as well, including "Star Wars: Episode VII - The Force Awakens," "Batman v. Superman - Dawn of Justice" and "Ant-Man," among others.

Apatow told The Wall Street Journal last summer that film and digital are "are valid choices, but it would be a tragedy if suddenly directors didn't have the opportunity to shoot on film. Apatow is shooting his latest film, "Trainwreck" on film. "There's a magic to the grain and the color quality that you get with film," he said.

With the rise of digital imaging technologies and theaters converting to digital projection, Kodak's film sales have declined by 96 percent over the last decade.

In addition to continuing to manufacture motion picture film, Kodak said it would also pursue new opportunities to use film production technologies in new areas, such as touchscreens for smartphones and tablet computers.

"With the support of the major studios, the creative community can continue to confidently choose film for their projects," said Andrew Evenski, Kodak’s president of Entertainment & Commercial Films, in a statement. "We’ve been asking filmmakers, 'What makes a project FilmWorthy?' Their responses have varied from the need for its exceptional depth to its distinctive grain, but overwhelmingly, the answer is 'the story.' They need film to tell their stories the way they envision them, and hold a strong desire for it to remain a critical part of their visual language. Enabling artists to use film will help them to create the moments that make cinema history. The agreements announced today are a testament to the power of film and the creative vision of the artists telling them."
Title: Re: Film Restoration and Preservation
Post by: wilder on March 14, 2015, 12:22:20 PM
Restored Polish Classic Films Selected by Martin Scorsese to be Screened Across the UK
via blu-ray.com

KINOTEKA Polish Film Festival, BFI Southbank and Filmhouse Edinburgh have partnered to show 24 newly restored classic Polish films, which have been chosen by acclaimed American director Martin Scorsese. Amongst them are such renowned films as Krzysztof Kieślowski's Blind Man and A Short Film About Killing, Andrzej Munk's Eroica, and Andrzej Wajda's Man of Iron.

Director Scorsese commented: "These are films that have great emotional and visual power – they're 'serious' films that, with their depth, stand up to repeated viewings. There are many revelations in the season and whether you're familiar with some of these films or not, it's an incredible opportunity to discover for yourself the great power of Polish Cinema, on the big screen."

The 13th KINOTEKA Polish Film Festival runs from 8 April - 29 May.

Here's the official press release from the Polish Cultural Institute:

KINOTEKA, the annual celebration of Polish Cinema, returns to the capital for an extended bumper 13th edition. On offer there is an enticing mix of film, music and visual arts with an outstanding selection of screenings; UK premieres, curated retrospectives, exhibitions, concerts, interactive workshops, industry masterclasses and special guests encompassing all aspects of Polish film culture.

KINOTEKA is partnering with Filmhouse Edinburgh and BFI Southbank on an exciting new collaboration for the UK tour of Martin Scorsese Presents: Masterpieces of Polish Cinema. 24 masterpieces, chosen by Scorsese himself, all brilliantly restored and digitally remastered to 2K resolution. The season showcases films made during a particularly fertile and creative time in post-war Poland, by directors such as Andrzej Wajda, Krzysztof Zanussi, Andrzej Munk, Jerzy Kawalerowicz, Wojciech Jerzy Has, Aleksander Ford, Krzysztof Kieślowski, and others. The UK season launches at KINOTEKA's Opening Night Gala, on 8th April at BFI Southbank, with a screening of Camouflage, with director Krzysztof Zanussi in attendance. The event will be repeated at the Filmhouse Edinburgh on April 10th. The full list of venues will be announced soon.

The ICA plays host to KINOTEKA's New Polish Cinema strand from 10th April with a selection of both popular and critically acclaimed contemporary Polish films from the last year. The strand includes the UK premiere of the festival special guest Krzysztof Zanussi's Foreign Body and Jerzy Stuhr's Citizen. The latest film from KINOTEKA's favourite Wojciech Smarzowski (Traffic Department, The Dark House), The Mighty Angel will be presented alongside one of the year's most interesting directorial debuts, Krzysztof Skonieczny's Hardkor Disko.


http://www.youtube.com/watch?v=Uo7i7Rbwp1k


KINOTEKA showcases the breadth of original, innovative documentary that has come out of Poland. In a short career before his premature death at the age of 34, influential documentarian Wojciech Wiszniewski (1946-1981) produced just 12 films in total, yet he is now considered to be one of the most outstanding personalities of his generation. His legacy is explored in Wojciech Wiszniewski Rediscovered, a programme of 6 of his shorts at the ICA on 12th April. Paweł Pawlikowski, will present a special weekend of screenings of his prestigious documentaries at the ICA (18th/19th April), including Dostoevsky's Travels and From Moscow to Pietushki. The documentary strand also celebrates the work of emerging Polish documentary filmmakers, Aneta Kopacz and Tomasz Śliwiński who have both studied at the Wajda Film School and who have been Oscar® nominated for this year's Best Documentary Short Film category.

In conjunction with Martin Scorsese presents: Masterpieces of Polish Cinema, KINOTEKA and BFI Southbank will host an exhibition of original poster artwork celebrating the films of legendary director Andrzej Wajda. Tate Modern will screen The Performer by Łukasz Ronduda, a dynamic story full of punk energy based on the life of one of Oskar Dawicki, one of the most original contemporary Polish artists currently working, who will play himself...

This year, KINOTEKA will draw to a close with a special screening of cult Polish comedy The Cruise (1970) at the ICA (29th May), to mark Second Run's DVD release. Taking inspiration from the film's subject, festivities continue with an authentic boat ride on the Thames, for a 70's-themed interactive performance created by immersive UK theatre group Gideon Reeling, with live jazz by Obara International and DJ set to close the evening.

KINOTEKA is presented by the Polish Cultural Institute in London in partnership with DFDS Seaways and Pola Arts Foundation, co-financed by the Polish Film Institute and supported by Project London Films and Forest and Ray. Venues already confirmed to participate in the 13th KINOTEKA programme include the BFI Southbank, ICA, Tate Modern, Frontline Club and Filmhouse Edinburgh.

Martin Scorsese Presents Masterpieces of Polish Cinema Complete Program:

Eroica (1957) Dir: Andrzej Munk
The Last Day of Summer (1958) Dir. Tadeusz Konwicki
Ashes and Diamonds (1958) Dir. Andrzej Wajda
Knights of the Black Cross (1960) Dir. Aleksander Ford
Night Train (1959) Dir. Jerzy Kawalerowicz
Innocent Sorcerers (1960) Dir. Andrzej Wajda
Knife in the Water (1961) Dir. Roman Polański
Mother Joan of the Angels (1961) Dir. Jerzy Kawalerowicz
The Saragossa Manuscript (1964) Dir. Wojciech J Has
Pharoah (1965) Dir. Jerzy Kawalerowicz
Jump (1965) Dir. Tadeusz Konwicki
Walkover (1965) Dir. Jerzy Skolimowski
The Illumination (1972) Dir. Krzysztof Zanussi
To Kill This Love (1972) Dir. Janusz Morgenstern
The Wedding (1972) Dir. Andrzej Wajda
The Hourglass Sanatorium (1973) Dir. Wojciech J Has
The Promised Land (1974) Dir. Andrzej Wajda
Camouflage (1976) Dir. Krzysztof Zanussi
Provincial Actors (1978) Dir. Agnieszka Holland
The Constant Factor (1980) Dir. Krzysztof Zanussi
Blind Chance (1981) Dir. Krzysztof Kieślowski
Man of Iron (1981) Dir. Andrzej Wajda
Austeria (1982) Dir. Jerzy Kawalerowicz
A Short Film About Killing (1987) Dir. Krzysztof Kieślowski.


(http://i.imgur.com/IG5CI3O.jpg)
Title: Re: Film Restoration and Preservation
Post by: 03 on March 14, 2015, 11:53:05 PM
blind chance*
Title: Re: Film Restoration and Preservation
Post by: wilder on April 23, 2015, 02:31:47 PM
The Apu Trilogy: 2015 Restoration - Official Janus Films U.S. Trailer
via blu-ray.com

Janus Films has released an official trailer for the recent 4K restoration of acclaimed Bengali director Satyajit Ray's The Apu Trilogy.

Initially, the restored Pather Panchali, Aparajito, and Apur Sansar will be screened in select theaters in Los Angeles and New York. Later this summer the films will be screened in other theaters across the country.

The Criterion Collection will also release the new restorations on Blu-ray.

The Apu Trilogy was restored in 4K by Janus Films/the Criterion Collection at L'Immagine Ritrovata, Bologna, with the support of the Academy of Motion Picture Arts and Sciences' Academy Film Archive.

Synopsis: Two decades after its original negatives were burned in a fire, Satyajit Ray's breathtaking milestone of world cinema rises from the ashes in a meticulously reconstructed new 4K restoration. The Apu Trilogy brought India into the golden age of international art-house film, following one indelible character, a free-spirited child in rural Bengal who matures into an adolescent urban student and finally a sensitive man of the world. These delicate masterworks—Pather Panchali (Song of the Little Road), Aparajito (The Unvanquished), and Apur Sansar (The World of Apu)—based on two books by Bibhutibhusan Banerjee—were shot over the course of five years, and each stands on its own as a tender, visually radiant journey. They are among the most achingly beautiful, richly humane movies ever made—essential works for any film lover.


(http://i.imgur.com/rPtWVqr.jpg)


THE RESTORATION:

In 1992, the Academy of Motion Picture Arts and Sciences presented an honorary lifetime achievement Oscar to director Satyajit Ray. When sourcing material from Ray's films for the Academy Awards ceremony, telecast producers were dismayed by the poor condition of the existing prints. The following year, after Ray's death, a project was initiated to restore many of Ray's films, including those in The Apu Trilogy.

In 1993, several of the filmmaker's original negatives were shipped to Henderson's Film Laboratories in London. In July, a massive nitrate fire at the lab spread to the film vaults, destroying more than twenty-five original negatives of important British classics—and burning several Ray films, including the original negatives of The Apu Trilogy. Any ashes, fragments, or film cans that could be identified as belonging to Ray's films were sent to the Academy Film Archive, but the trilogy negatives were deemed unprintable—there were no technologies available at the time that were capable of fully restoring such badly damaged film elements.

When the Criterion Collection began working on this restoration with the Academy Film Archive in 2013, the negatives were in storage and hadn't been seen in twenty years. Many portions were indeed burned to ash, and what remained was startlingly fragile, thanks to deterioration and the heat and contaminants the elements had been exposed to. Head and tail leaders were often missing from reels. Yet significant portions survived, from which high-quality images might be rendered.

No commercial laboratory would handle this material, so it was entrusted to L'Immagine Ritrovata in Bologna, one of the world's premier restoration facilities. There, technicians successfully rehydrated the brittle film using a special solution (one part glycerol, one part acetone, three parts water). Scanning tests determined that pin-registered wet-gate scans yielded the best results. Technicians then set about physically repairing the elements. This meant almost a thousand hours of meticulous hand labor, which even included rebuilding the perforation holes on the sides of the film and removing melted tape and glue. Using fine-grain masters and duplicate negatives preserved by Janus Films, the Academy, the Harvard Film Archive, and the British Film Institute, the technicians found excellent replacements for the unusable or missing sections of the original negatives. In the end, 40 percent of Pather Panchali and over 60 percent of Aparajito were restored directly from the original negatives. The two surviving reels of Apur Sansar were too damaged to be used in the restoration, so all of that film was restored from a fine-grain master and a duplicate negative.

Over the course of nearly six months of steady work, the Criterion Collection restoration lab handled the digital restoration, including eliminating dirt, debris, warps, and cracks. Emphasis was placed on retaining the look and character of the original material, preferring when necessary to leave damage rather than overprocess digital images that might lose the grain and feel of film.

All in all, the restoration of The Apu Trilogy has been years in the making. The return of these films to theaters marks a triumph for the archivists and members of the preservation community who had the foresight and faith to protect these vital treasures of world cinema—even when all seemed lost.


http://www.youtube.com/watch?v=mgv68E_o6VM
Title: Re: Film Restoration and Preservation
Post by: wilder on May 29, 2015, 02:40:36 PM
Universal Pictures Expands Restoration Program
via blu-ray.com

Universal Pictures will restore 15 silent films from its catalog. The restoration work will be completed in the next four years.

At the moment the 15 films have not yet been finalized.

Following the announcement, Ron Meyer, Vice Chairman of NBCUniversal, said: "The company understands its responsibility and need to preserve our silent film legacy. This early art of filmmaking is the foundation on which Universal Pictures was built more than 100 years ago, and it's important we honor our rich history."

The upcoming restorations will be completed with the support of the Library of Congress, the Film Foundation, the Academy of Motion Picture Arts and Sciences, George Eastman House, UCLA Film & Television Archives, Association of Moving Image Archivists and Hollywood Heritage.
Title: Re: Film Restoration and Preservation
Post by: wilder on August 06, 2015, 04:53:54 PM
Jerry Lewis' 'The Day The Clown Cried' Added To The Library Of Congress, But With A 10 Year Screening Embargo
via The Playlist

One of the most notorious, unreleased films ever made, Jerry Lewis' Holocaust drama "The Day The Clown Cried" has long been the subject of rumor and speculation. Even Lewis himself, who has long been sitting on the only copy of the movie, has veered in recent interviews from being "embarrassed" to "proud" of the effort in which he plays a German circus clown arrested by the Gestapo after mocking Hitler, and who is eventually forced by the Nazis to perform and help lead Jewish children to concentration camp gas chambers. But he has long held he would never show the movie (which was plagued by production and financial woes) publicly, though he thinks if he had a chance to tweak it, maybe it could work.

"I think about this a lot. If I could pull certain specific elements from the project, and give me these three or four elements that I can do what I want with, if I hired Lincoln Center one night, for a specific audience, and give me one week shooting to let me shoot a beginning to that, a beginning to that, and a beginning to that and let me show that…. Whoooo-weeeee! It would be fucking wonderful to think about," he said in 2013, adding: "What I would shoot would be strictly as a marketing presentation tool for that night and it would all be thrown away after that night."

Well, that's not happening, but Lewis is making the picture available for future generations. The LA Times (http://www.latimes.com/nation/great-reads/la-na-c1-lost-films-20150805-story.html#page=1) reveals that the Library Of Congress has just received a collection of Lewis' work from the man himself, including "The Day The Clown Cried." But there's one caveat: Lewis made the Library agree not to screen the movie for ten years.

So, the wait will continue, but it looks like this little piece of movie history will finally come to light in a decade. Until then, you can check out some footage and behind-the-scenes material right here (http://blogs.indiewire.com/theplaylist/watch-rare-footage-from-jerry-lewis-unreleased-holocaust-movie-the-day-the-clown-cried-20130812).
Title: Re: Film Restoration and Preservation
Post by: wilder on October 19, 2015, 05:14:50 AM
The American Genre Film Archive's Kickstarter campaign (https://www.kickstarter.com/projects/agfa/agfa-and-something-weird) to preserve the Something Weird collection
Title: Re: Film Restoration and Preservation
Post by: wilder on October 24, 2015, 05:30:54 PM
Too many classic films remain buried in studios' vaults
via The Los Angeles Times

Will McKinley (https://willmckinley.wordpress.com/), a New York film writer, is dying to get his hands on a copy of "Alias Nick Beal, (http://www.imdb.com/title/tt0041107/?ref_=fn_al_tt_1)" a 1949 film noir starring Ray Milland as a satanic gangster. For classic film blogger (https://nitratediva.wordpress.com/) Nora Fiore, the Grail might be "The Wild Party" (http://www.imdb.com/title/tt0020590/?ref_=fn_al_tt_2) (1929), the first talkie to star 1920's "It" girl Clara Bow, directed by the pioneering female director Dorothy Arzner. Film critic Leonard Maltin says he'd like to score a viewing of "Hotel Haywire," (http://www.imdb.com/title/tt0029024/?ref_=fn_al_tt_1) a 1937 screwball comedy written by the great comic director Preston Sturges.

Produced by Paramount Studios, these are all among 700 titles assumed to be nestled in the vaults of Universal Pictures, which inherited Paramount's 1930s and 1940s film archive from its forebear MCA, which acquired the collection in 1958. They're frustratingly near at hand but out of reach of film fans and cinephiles.

Like most of the other major studios, Universal is grappling with the challenging economics of making more of this hoard accessible to the public on DVD, video on demand or streaming video. Studios have come to realize that there's not only marketable value in the films, but publicity value in performing as responsible stewards of cultural assets.

No studio recognizes these values better than Warner Bros., whose Warner Archives division is the industry gold standard in the care and marketing of the past. The studio sells some 2,300 titles, including TV series, as made-to-order DVDs and offers its own archival video streaming service (https://instant.warnerarchive.com/) for a subscription fee of up to $9.99 a month.

The manufacturing-on-demand service, launched in March 2009 with 150 titles, has proved "far more successful than we even dreamed," says George Feltenstein, a veteran home video executive who heads the division. "I thought that all the studios would follow in our footsteps, but nobody has been as comprehensive as we've been."

Other major studios have dipped their toes into this market, if gingerly. Paramount last year stocked a free YouTube channel (https://www.youtube.com/channel/UCzMVH2jEyEwXPBvyht8xQNw) with 91 of its own titles, mostly post-1949. This month 20th Century Fox announced that as part of its 100th anniversary this year, it would release 100 remastered classic films, including silents, to buy or rent for high-definition streaming — "enough to make any classic film fan weep with joy," McKinley wrote (https://willmckinley.wordpress.com/2015/10/02/classic-film-fans-get-lucky-on-foxs-100th-birthday/) on his blog. Sony last year introduced a free cable channel, get.tv (http://get.tv/), to screen films from its Columbia Pictures archive, though it's only spottily available and often preempted by cable operators.

Universal offers some manufacture-on-demand titles via Amazon as its Universal Vault Series (http://www.amazon.com/s/ref=nb_sb_noss_2?url=search-alias%3Dmovies-tv&field-keywords=universal+vault+series) and announced in May that it would restore 15 of its silent films as part of its 2012 centennial celebration. Curiously, Universal, owned by the cable giant Comcast, is one of the only majors without a dedicated cable channel or Internet streaming service for its archive. Universal spokesperson Cindy Gardner maintains that the studio is working on ways to improve: "Stay tuned."

Film buffs and historians have easier access to more classic films than ever before. But that only whets their appetite for important — but perhaps forgotten — films.

The 1932 Paramount World War I drama "Broken Lullaby," Fiore says, might provoke a reexamination of the career of its director, the master of graceful comedy Ernst Lubitsch. But a version that crept onto YouTube a few years ago was taken down at the insistence of Universal. "I would have to break the law to see that film," laments Fiore, who blogs on classic films in the guise of the Nitrate Diva (https://nitratediva.wordpress.com/).

"The studios seem to be sitting on a lot of films, but they're limited by budget and by their projected return on investment," says Alan Rode, a director of the Film Noir Foundation (http://www.filmnoirfoundation.org/home.html). "But it's not like you open a valve and films come gushing out. If they can't realize a profit on it, they're not going to do it."

Adding to the challenge is that some of the major studios have become subsidiaries of large corporations, and not consistently huge profit centers. For example, Paramount last year contributed about 26% of the $13.8 billion in revenue of its parent, Viacom, but its $205 million in operating profit paled next to the $2.4 billion net income recorded by the whole corporation.

Converting a film title for digital release can be costly, especially under the watchful eye of cinephiles who demand high quality. Some black-and-white titles can be digitized for $40,000 or less, says Jan-Christopher Horak, director of the UCLA Film & Television Archive — with 350,000 titles, the second-largest in the U.S. after only the Library of Congress.

But the price rises exponentially for color, especially for important restoration. UCLA spent about three years and $1.5 million in donated funds on its heroic restoration and digital transfer (https://www.cinema.ucla.edu/restoration/red-shoes-restoration) of the Technicolor classic "The Red Shoes," a 1948 backstage ballet drama revered for its beauty.

That means that when deciding which titles to prepare for digital release, archive managers must walk a tightrope between serving their audience and protecting the bottom line. Some classics are easy calls. "There always will be a place on the retail shelf for 'Casablanca,' 'King Kong' or 'Citizen Kane,'" says Warner's Feltenstein. But finer judgments are required for what Feltenstein calls "the deeper part of the library."

"My job is to monetize that content, make it available to the largest number of people possible and do so profitably," Feltenstein told me. To gauge demand, Feltenstein's staff keeps lines open with film enthusiasts and historians via Facebook, Twitter, a free weekly podcast and other outreach. "They literally ask us, 'What do you want to see?'" Fiore says.

That gives them a window into values that others might miss. Take B-movie westerns made in the 1940s and 1950s that landed in the Warners vault. To Allied Artists and Lorimar, their producers, "these films were worthless and they said it's OK to let them rot," Feltenstein says. Instead, Warner Archives packaged them into DVD collections, "and they've all been nicely profitable."

Feltenstein says Warners is releasing 30 more titles to its manufacturing-on-demand library every month. "It's growing precipitously and there's no end in sight." Universal's Gardner says there's "real momentum" at her studio behind "making our titles more available than ever before."

But there's always more beckoning over the horizon. "The good news is that every studio is actively engaged in taking care of its library," Maltin says. "That's a big improvement over 20 or 25 years ago. But access is the final frontier."
Title: Re: Film Restoration and Preservation
Post by: wilder on October 28, 2015, 05:55:11 PM
Lobster Films and Kino Lorber to Present New Restorations of 32 Buster Keaton Films   
via blu-ray.com

Lobster Films (France) and Kino Lobster have teamed up to restore and present 32 of Buster Keaton's short films. The new restorations are expected to be completed in 2016.

Lobster has devoted a massive amount of resources to The Buster Keaton Project, which encompasses not only the 19 Keaton solo comedies, but the 13 short films Buster made with Roscoe "Fatty" Arbuckle and Al St. John. But they need everyone's support in order to finish the year-long job.Here is a special message from Lobster Films founder (and one of the foremost "rescuers" of silent cinema) Serge Bromberg, about the campaign:


http://www.youtube.com/watch?v=YxpbfP2XElE


You can contribute to the Kickstarter campaign here (https://www.kickstarter.com/projects/1154182684/buster-keaton-project-restauration-films).
Title: Re: Film Restoration and Preservation
Post by: OpO1832 on October 28, 2015, 06:37:04 PM
this is so damn cool
Title: Re: Film Restoration and Preservation
Post by: wilder on December 23, 2015, 05:15:13 PM
http://www.youtube.com/watch?v=OAs2bL4Sasw
Title: Re: Film Restoration and Preservation
Post by: wilder on December 24, 2015, 11:14:05 PM
http://www.youtube.com/watch?v=hEqp1HVj5Ac
Title: Re: Film Restoration and Preservation
Post by: wilder on December 29, 2015, 03:38:34 AM
The best part of seeing The Hateful Eight earlier tonight for me was listening to a few guys in line geek out about something called Star Wars: The Legacy Edition (https://vimeo.com/channels/starwarslegacy/videos), where a dude named Mike Verta has taken it upon himself to scan several prints (including a technicolor print) of the original unaltered Star Wars films in 4K, and painstakingly color-correct them frame by frame to be as close as possible to the original colors committed to film, which according to him have been incorrectly altered in all of the home video releases.

I can't vouch for the accuracy of his project, but if you scan through his videos on Vimeo and look at the clips from the home video releases compared to his version, it does, admittedly, look better. Check out the colors from his Legacy version in this shot (https://vimeo.com/122877129) at 2:33 compared to the blu-ray release screengrab at 2:23.
Title: Re: Film Restoration and Preservation
Post by: Just Withnail on December 29, 2015, 05:39:31 AM
Holy shit. (https://vimeo.com/124147988)
Title: Re: Film Restoration and Preservation
Post by: wilder on June 17, 2016, 04:16:17 PM
A 30 minute condensed version of Jerry Lewis' The Day the Clown Cried (1972) has been uploaded to vimeo (https://vimeo.com/160821734)


Quote from: The Playlist
The story around Jerry Lewis‘s allegedly terrible and near-unwatchable Holocaust drama “The Day The Clown Cried” is the stuff of legend. The movie, filmed but never fully completed or released, has been described by the very few who been able to view it, as an artistic folly that widely misses the mark. Telling the story of a German circus clown (played by Lewis) arrested by the Gestapo after mocking Hitler, who is eventually forced by the Nazis to perform and help lead Jewish children to concentration camp gas chambers, Lewis’ effort was apparently misguided at best and a total failure at worst. But the question remains: is it really that bad?

While it’s not the whole film, a 31-minute condensed cut of “The Day The Clown Cried” has landed online, and offers the most extensive look yet at Lewis’s movie, which until now, has only seen portions of footage surfacing. This version uses material from “Der Clown,” a recently aired German documentary about the movie, re-enactments of the script and more to provide a broad overview of the movie. And while it doesn’t look good, it’s not quite the car crash that has been part of the movie’s aura for decades.
Title: Re: Film Restoration and Preservation
Post by: wilder on June 29, 2016, 05:19:03 AM
The Campaign to Revive Early Films from Christine Vachon and Todd Haynes
via Filmmaker Magazine

(http://i.imgur.com/IIzmGF8.jpg)
He Was Once, one of the early Apparatus film produced by Christine Vachon & Todd Haynes

Led by IFP founder Sandra Schulberg, who serves as its president, the nonprofit IndieCollect is working to conserve independent cinema. In just two years, the company has rescued and archived more than 3,500 film negatives, according to Schulberg, the president of IndieCollect (http://indiecollect.org/).

IndieCollect recently located the master picture and sound elements for eight of the shorts Vachon and Haynes produced in the ’80s and ’90s with Barry Ellsworth under their non-profit Apparatus banner. Apparatus backed a number of other directors, including Suzan-Lori Parks, Mary Hestand, Susan Delson, Brooke Dammkoehler, Larry Carty, and Evan Dunsky.

Now the company has launched a Kickstarter (https://www.kickstarter.com/projects/indiecollect/revive-early-films-from-christine-vachon-and-todd?token=005fe3c2) campaign with hopes of raising $40,000 to properly capture and preserve the original film materials and provide the filmmakers with high-resolution files. They’re also hoping to locate the elements for two more Apparatus productions, including Haynes’ first film, Assassins: A Film Concerning Rimbaud (1985), in which he depicts the poet as a homosexual outlaw.

IndieCollect hopes to digitize and make this rare collection of films available to Kickstarter backers in a Blu-ray edition and 4K digital copies for streaming.

Vachon recently told Filmmaker that she was surprised to learn that IndieCollect was able to find the master picture and sound elements for these Apparatus shorts.

“With [Haynes’] Superstar, we’ve been careful to preserve the elements, but a lot of the older Apparatus films, when DuArt closed, we just assumed they got lost. So having IndieCollect make it their business to make sure these films are preserved is fantastic,” said Vachon.

For her part, Schulberg said that it was her mission to scan the early films Vachon and Haynes made as part of Apparatus so they could create new hi-res digital versions.

“It is fun for cinephiles and important for film scholars for their entire body of work to be made available — now and in the future,” said Schulberg. “You get a snapshot of this hotbed of creativity, and we hope it will inspire young filmmakers today to take similar artistic risks.”

Speaking of risks, Schulberg is aware that scanning archival film elements can be challenging. But, she said, “the physical condition of the works that we are planning to scan has been assessed, and we are optimistic about our success.”

Vachon emphasized that the films in the collection represent a diverse group of filmmakers. “The filmmakers are not just me and Todd,” Vachon said. “We produced them and played various roles on them, but the majority of them were not conceived of by Todd Haynes or myself or Barry Ellsworth.”

Find out more about the films and the crowdfunding campaign here (http://Find out more about the films and the crowdfunding campaign here.).
Title: Re: Film Restoration and Preservation
Post by: wilder on July 27, 2016, 05:04:31 PM
Hollywood’s Historic Egyptian Theatre Undergoes Retrofit For “Rare” 35mm Nitrate Film Projection
via Deadline

Hollywood’s Egyptian Theatre will soon have the capability to screen “rare and fragile” 35mm nitrate film prints thanks to a film preservation project undertaken by The Film Foundation, the Hollywood Foreign Press Association, and Turner Classic Movies, in conjunction with the American Cinematheque.

“When I was told that one of the most beautiful movie theaters in the country could be retrofitted for nitrate projection, I was overjoyed, moved, and excited by the potential,” said Martin Scorsese, founder and chair of The Film Foundation. “I hope that this is the beginning of a trend.”

Cellulose nitrate was the standard film stock in commercial use prior to 1951. Though beloved by buffs for its vivid image quality, cellulose nitrate is flammable and was replaced by cellulose acetate safety film. Though old nitrate prints survive in controlled vault environments, few theaters are equipped to screen them.

Scorsese praised the stock for its “luminosity and a richness that was never quite matched by the safer stocks that followed or their digital reproductions.”

Rick Nicita, chairman of American Cinematheque, which owns the 1922 Egyptian, said the project will enable the theater “to show every film format possible. A state-of-the-art digital projector will sit side-by-side with our 35mm/70mm machines – representing the rich history of cinema, as well as the future of the art form.” The new nitrate-safe projection booth at the Egyptian, designed by BAR Architects, has begun construction, with the retrofit scheduled for completion in fall of 2016.

“Needless to say,” said Scorsese, “I’m eager for the completion of the necessary work so that I can see those glorious images projected in that one-of-a-kind theater.”
Title: Re: Film Restoration and Preservation
Post by: wilder on August 08, 2016, 05:56:59 PM
http://www.youtube.com/watch?v=2AMSHs2adWk
Title: Re: Film Restoration and Preservation
Post by: wilder on August 29, 2016, 03:27:28 PM
Kino launches Kino Repertory: New Label Specializing in Restorations of Classic and Cult Titles
via blu-ray.com

Kino Lorber has announced the creation of a theatrical repertory label dedicated to releasing restored classics and sought-after cult films, as well as acquiring new catalog titles and tapping onto the company's long-curated library of over 1,500 titles.

Kino Lorber Repertory starts with a mandate to re-release 10 to 12 titles a year in select theaters nationwide, allowing these important works of cinema to connect with audiences in the theatrical space. All titles will eventually become available on home media and digital outlets, via Kino Lorber's already existing relationships with all key digital and physical media partners.

The label will be curated by Jonathan Hertzberg, the company's Director of Repertory Sales and Acquisitions. Hertzberg will also spearhead the label's sales and marketing efforts, under CEO Richard Lorber and Senior VP Wendy Lidell. "Kino Lorber Repertory will give us a dedicated spotlight for our ever-growing list of classics and cult films, and also remind exhibitors and audiences of the many wonderful, historically-significant titles already in our catalog," Hertzberg says.

The label's first release, slated for September, 2016, is the "Canuxploitation" favorite The Pit, a 1981 horror film that has built up a sizable cult audience over the years. It will play in Alamo Drafthouse cinemas, as well as other venues, nationwide in October, leading up to its Blu-ray premiere on the Kino Lorber Studio Classics label.

Following this release is Philip Kaufman's The Wanderers, the beloved 1979 gang drama based upon Richard Price's debut novel. The Wanderers will premiere in Kaufman's home town of San Francisco in November, followed by dates in New York and around the country, with several of these screenings featuring the direct involvement of Kaufman, Price, Karen Allen and other key members of the production.

Both re-releases are based on new 2K restorations sourced from archival materials.

Future titles on the Kino Lorber Repertory slate will be a Lina Wertmuller retrospective with seven titles, including new restorations of Seven Beauties and Swept Away, Jean-Luc Godard's La Chinoise and Le Gai Savoir, Andrey Zvyagintsev's The Return (https://www.youtube.com/watch?v=kZ0nv2MVoYk) and The Banishment (https://www.youtube.com/watch?v=1MC84Ox34EA), several new Lobster Films restorations of Buster Keaton favorites, and Josef von Sternberg's long unavailable final film, Anatahan.
Title: Re: Film Restoration and Preservation
Post by: wilder on December 14, 2016, 05:09:02 PM
‘Rushmore,’ ‘The Breakfast Club,’ ‘Thelma & Louise,’ ‘The Princess Bride’ & More Enter The National Film Registry
via The Playlist

2016 National Film Registry

The Atomic Cafe (1982)
Produced and directed by Kevin Rafferty, Jayne Loader and Pierce Rafferty, the influential film compilation “The Atomic Cafe” provocatively documents the post-World War II threat of nuclear war as depicted in a wide assortment of archival footage from the period (newsreels, statements from politicians, advertisements, training, civil defense and military films).  This vast, yet entertaining, collage of clips serves as a unique document of the 1940s-1960s era and illustrates how these films—some of which today seem propagandistic or even patently absurd (“The House in the Middle”)—were used to inform the public on how to cope in the nuclear age.

Ball of Fire (1941)
In this Howard Hawks-directed screwball comedy, showgirl and gangster’s moll Sugarpuss O’Shea (Barbara Stanwyck) hides from the law among a group of scholars compiling an encyclopedia. Cooling her heels until the heat lets up, Sugarpuss charms the elderly academics and bewitches the young professor in charge (Gary Cooper). Hawks deftly shapes an effervescent, innuendo-packed Billy Wilder-Charles Brackett script into a swing-era version of Snow White and the Seven Dwarfs or “squirrely cherubs,” as Sugarpuss christens them. Filled with colorful period slang and boogie-woogie tunes and highlighted by an energetic performance from legendary drummer Gene Krupa, the film captures a pre-World War II lightheartedness.

The Beau Brummels (1928)
Al Shaw and Sam Lee were an eccentrically popular vaudeville act of the 1920s.  In 1928, they made this eight-minute Vitaphone short for Warner Bros. The duo later appeared in more than a dozen other films, though none possessed the wacky charm of “The Beau Brummels.” As critic Jim Knipfel has observed: “If Samuel Beckett had written a vaudeville routine, he would have created Shaw and Lee.” Often considered one of the quintessential vaudeville comedy shorts, the film has a simple set-up—Shaw and Lee stand side by side with deadpan expressions in non-tailored suits and bowler hats as they deliver their comic routine of corny nonsense songs and gags with a bit of soft shoe and their renowned hat-swapping routine. Shaw and Lee’s reputation has enjoyed a recent renaissance and their brand of dry, offbeat humor is seen by some as well ahead of its time. The film has been preserved by the UCLA Film and Television Archive.

The Birds (1963)
Alfred Hitchcock’s four sequential masterpieces—“Vertigo,” “North by Northwest,” “Psycho” and “The Birds”—revealed a director who had reached the pinnacle of his craft.  In “The Birds,” Hitchcock transfixed both critics and mass audiences by deftly moving from anxiety-inducing horror to glossy entertainment and suspense, with bold forays into psychological terrain.  Marked by a foreboding sense of an unending terror no one can escape, the film concludes with its famous final scene, which only adds to the emotional impact of “The Birds.”

Blackboard Jungle (1955)
In a 1983 interview, writer-director Richard Brooks claimed that hearing Bill Haley and the Comets’ “Rock Around the Clock” in 1954 inspired him to make a rock & roll-themed picture. The result was “Blackboard Jungle,” an adaptation of the controversial novel by Evan Hunter about an inner-city schoolteacher (played in the film by Glenn Ford) tackling juvenile delinquency and the lamentable state of public education— common bugaboos of the Eisenhower era. Retaining much of the novel’s gritty realism, the film effectively dramatizes the social issues at hand and features outstanding early performances by Sidney Poitier and Vic Morrow. The film, however, packs its biggest wallop even before a word of dialogue is spoken. As the opening credits roll, Brooks’ original inspiration for the film – the pulsating strains of “Rock Around the Clock” – blasts across theater speakers, bringing the devil’s music to Main Street and epitomizing American culture worldwide.

The Breakfast Club (1985)
John Hughes, who had previously given gravitas to the angst of adolescence in his 1984 film, “Sixteen Candles,” further explored the social politics of high school in this comedy/character study produced one year later.  Set in a daylong Saturday detention hall, the film offers an assortment of American teenage archetypes such as the “nerd,” “jock” and “weirdo.”  Over the course of the day, labels and default personas slip away as members of this motley group actually talk to each other and learn about each other and themselves.  “The Breakfast Club” is a comedy that delivers a message with laughs.  Thirty years later, the movie’s message is still vivid.  Written and directed by Hughes, the film’s cast includes Molly Ringwald, Anthony Michael Hall, Judd Nelson, Emilio Estevez and Ally Sheedy.

The Decline of Western Civilization (1981)
Director Penelope Spheeris’ controversial documentary about the Los Angeles hard-core punk rock scene circa 1980 was perceived as shocking by some, even prompting L.A. police chief Daryl Gates to request banning all screenings of the film. Despite the qualms, the work remains a bracing historical and musical record of that culture, mixing outrageous performances and whirling mosh-pits with far more restrained interviews.  Featured bands include Black Flag, Fear, X, The Germs and Circle Jerks.  Scenes of older club owners making game attempts to describe this new type of music prove comic highlights. Spheeris made two other musical documentaries in this trilogy, chronicling the hair-metal and gutter-punk scenes, and—in a definite change of pace—the 1992 “Wayne’s World.”

East of Eden (1955)
Director Elia Kazan and screenwriter Paul Osborn fashioned John Steinbeck’s classic Cain-and-Abel allegory into a screen actor’s showcase. Though much abbreviated from Steinbeck’s sprawling epic, Kazan capitalizes on the teen angst theme popular in the ‘50s and artfully builds tension between the troubled, rebellious Cal (James Dean) vying against “good” brother Aron (Richard Davalos) for the love of their taciturn father (Raymond Massey). In his autobiography, Kazan described how he achieved the familial dynamics: “I didn’t conceal from Jimmy or from Ray what they thought of each other. The screen was alive with precisely what I wanted: They detested each other.” Dean received a posthumous Oscar nomination for his performance. Jo Van Fleet won an Oscar for her raw portrayal as the boys’ estranged mother.

Funny Girl (1968)
Reprising her Tony-winning performance as legendary singer-comedienne Fanny Brice, Barbra Streisand’s impressive vocal talent and understated acting, as guided by distinguished veteran director William Wyler, earned her an Academy Award for her screen debut. The film retains most of the stage show’s Jule Styne-Bob Merrill musical numbers including “People,” “I’m the Greatest Star” and “Don’t Rain on My Parade.” Streisand plays Brice as a plain-looking, fast-talking dynamo who yearns for the stage, and gets her chance when she’s hired by impresario Florenz Ziegfeld (Walter Pidgeon) and becomes the toast of Broadway. She meets and marries big-time gambler Nick Arnstein (Omar Sharif), but their idyllic romance crumbles as he grows to resent her fame. Produced by Ray Stark, Brice’s real-life son-in-law, “Funny Girl” was among the last of the successful big-budget musicals.

Life of an American Fireman (1903)
Film historian Charles Musser hails this as a seminal work in American cinema, among the most innovative in terms of editing, storytelling and the relationship between shots.  Edwin S. Porter was an influential pioneer in the development of early American cinema and “Life of an American Fireman” provides a superb snapshot of how advanced U.S. filmmaking had become.  Porter followed up several months later with “The Great Train Robbery.” Ironically, “Life of an American Fireman” later became a controversial topic in American film historiography when a re-edited, more modern version of the film using cross-cutting techniques was thought to be the original.  Many years later, scholars helped disprove this misconception by reviewing the original paper print copyright deposit in the Library of Congress.

The Lion King (1994)
Disney Studios further solidified its position as the producer of modern-day animated masterpieces with this lyrical 1994 offering.  The story of a young lion cub destined to become King of the Jungle, but first exiled by his evil uncle, “The Lion King” was a triumph from the moment of its release and has charmed new generations of viewers.  Like Disney’s beloved “Bambi,” “The Lion King” seamlessly blends innovative animation with excellent voice-actors (Jonathan Taylor Thomas, James Earl Jones, Moira Kelly, Nathan Lane, Matthew Broderick and Whoopi Goldberg) and catchy, now-classic songs by Sir Elton John and Tim Rice.  It is the film’s storytelling that resonates—funny, innovative, suspenseful—for both children and adults.  Since its release, the film has spawned an animated TV series, two made-for-video sequels and a highly imaginative Broadway show.

Lost Horizon (1937)
Frank Capra’s big-budget romantic fantasy “Lost Horizon” (based on the James Hilton novel) offered an emotional respite to an American public seeking escape from the Depression and yearning for their own personal utopias.  Through the book and film, the term Shangri-La became a household word.  In the story, dashing diplomat Ronald Colman and a group of plane passengers are kidnapped and taken for mysterious reasons to a remote valley in the Himalayas where they find a seemingly blissful paradise, refuge from a world on the precipice of war. Along with memorable adventure, “Lost Horizon” stands out for its stunning cinematography and fantastic, extravagant sets, a hallmark of the Golden Age of Hollywood.

The Musketeers of Pig Alley (1912)
Considered the first gangster film, this 17-minute early work by director D.W. Griffith is also noteworthy for employing several innovative camera techniques. Cameramen of the era typically kept the entire frame in focus, but Griffith instructed cinematographer Billy Bitzer to place the subject of a scene in sharp focus while muting the background, a technique common in classical paintings, but unheard-of in films of that era. The film also introduced off-center framing—positioning the subject at the edge of the frame instead of dead center—to achieve greater visual and emotional impact.  The cast members, filmed with such revolutionary camerawork, included one of Griffith’s most famous discoveries, Lillian Gish, and her sister, Dorothy, as well as Lionel Barrymore, Donald Crisp, Harry Carey and Antonio Moreno, all of whom would go on to long careers in sound films.  The film has been preserved by the Museum of Modern Art Department of Film and can be viewed at mo.ma/musketeers.

Paris Is Burning (1990) 
In a 2015 article in The Guardian, Ashley Clark noted, “Few documentaries can claim to have sparked as much discussion and controversy as Jennie Livingston’s debut ‘Paris is Burning,’ the vibrant time capsule of New York’s ballroom subculture in the ‘80s.” The film explores the complex subculture of fashion shows and vogue dance competitions among black and Hispanic gay men, drag queens and transgender women in Manhattan. It shifts among ballroom contests and shows and interviews with contestants, who belong to different “houses” that are like families to them, sharing their views on wealth, notions of beauty, racism and gender orientation.

Point Blank (1967)
If ever there is a Mount Rushmore for tough guys, the face of Lee Marvin should be sculpted there in bold relief.  He definitely upholds that reputation in the relentless crime drama “Point Blank.” Based on a novel by Donald Westlake (writing as Richard Stark), this tense, stylish thriller from director John Boorman opens with Walker (Marvin) getting double-crossed by mobster friend John Vernon while conducting a crime on Alcatraz Island.  Shot, left for dead, and now missing $93,000, Marvin soon learns that his wife was also romantically involved with Vernon.  Writing for Slant in 2003, critic Nick Schager frames the film as a reworking of traditional noir: “Boorman set out to make a thriller that looked and felt like nothing else before it, using widescreen Panavision cinematography, explosive colors, and a multi-layered soundtrack to re-envision the noir picture as highbrow Euro-art film.”  “Point Blank” has come to be recognized as a seminal film of the 1960s.

The Princess Bride (1987)
The 1980s produced many feel-good movies and “The Princess Bride” is one of the decade’s most beloved. Adapting his popular 1973 novel for the screen, William Goldman collaborated with director Rob Reiner to craft a lighthearted parody of classic fairy tales that retains the writer’s wit and memorable characters and adds bravura performances and a barrage of oft-quoted dialogue. It is a joyride filled with assorted storybook figures like the beautiful title character (Robin Wright), her dashing true love (Cary Elwes), makers of magic spells (Billy Crystal and Carol Kane) and a rhyming colossus (Andre the Giant). As the devious Vizzini, Wallace Shawn incredulously exclaims “Inconceivable!” at every turn. Swashbuckling Mandy Patinkin dreams of avenging family honor and someday declaring, “Hello. My name is Inigo Montoya. You killed my father. Prepare to die!”  The film continues to delight audiences, drawing new generations of fans.

Putney Swope (1969)
When writer-director Robert Downey Sr.’s surrealistic satire of Madison Avenue and black power, “Putney Swope,” opened in July 1969, New York Times critic Vincent Canby characterized it as “funny, sophomoric, brilliant, obscene, disjointed, marvelous, unintelligible and relevant,” while New York Daily News reviewer Wanda Hale damned it as “the most offensive picture I’ve ever seen.” A cult classic from an earlier time, Downey’s wildly irreverent underground breakout film presents hilarious vignettes of an ad agency takeover by black nationalists. Although noting that power ultimately corrupts the militants, Henry Louis Gates Jr. reminisced that he and fellow black students at Yale loved the film as a utopian fantasy that offered them a realistic path—infiltration, then transformation—for social change.

Rushmore (1998)
Director Wes Anderson’s indie film “Rushmore, ” a work filled with incisive detail to pop sensitivities, remains a cultural milestone of Gen X and millennials. Geeky misfit Jason Schwartzman tries to escape the stigma of being wildly unpopular at Rushmore Academy by becoming the king of extracurricular activities, nearly flunking out in the process.  He makes bizarre, unsuccessful attempts to woo elementary schoolteacher Olivia Williams and has a chaotic, up-and-down relationship with wealthy businessman-mentor Bill Murray. This was Anderson’s second film, following the unexpected success of his debut, “Bottle Rocket.”  In a 1999 interview with the New York Times, Anderson and screenwriter Owen Wilson described their cinematic approach: “We’re interested in characters who have enthusiasm,” and “We wanted to have ‘Rushmore’ become its own slightly heightened reality, like a Roald Dahl children’s book.”

Solomon Sir Jones films (1924-28)
Solomon Sir Jones was a Baptist minister and businessman who also had an important career as an accomplished amateur filmmaker.  Jones was born in Tennessee to former slaves and grew up in the South before moving to Oklahoma in 1889. As described on its website, Yale University’s collection of Solomon Sir Jones films consists of 29 silent black-and-white films documenting African-American communities in Oklahoma from 1924 to 1928. They contain 355 minutes of footage shot with then-new 16-mm cameras. The films document a rich tapestry of everyday life: funerals, sporting events, schools, parades, businesses, Masonic meetings, river baptisms, families at home, African-American oil barons and their wells, black colleges, Juneteenth celebrations and a transcontinental footrace.  Jones also documented his travels. IndieWire termed these films “the most extensive film records we have of Southern and urban black life and culture at the time of rapid social and cultural change for African-Americans during the 1920s, the very beginning of the Great Migration, which transformed not only black people as a whole, but America itself.”  The Smithsonian also has nine reels of film, comprising approximately two hours of footage. The films have been preserved by Yale University Beinecke Rare Book and Manuscript Library and the Smithsonian National Museum of African American History and Culture.

Steamboat Bill, Jr. (1928)
If Charlie Chaplin can be called the “poet” of American comedy and Harold Lloyd its “everyman,” Buster Keaton can best be seen as an ingenious craftsman.  Born in Piqua, Kansas to vaudevillian parents, Keaton as a toddler was given the name “Buster” by Harry Houdini, according to legend, for his ability to survive falls. Keaton’s fame rests on his array of work from 1920 to 1928 when, in both shorts and feature films, he displayed a seamless mastery of film comic technique, from superb cinematography and editing to brilliant, intricately visual gags. “Steamboat Bill, Jr.” opens with ship captain Steamboat Bill (Ernest Torrence) awaiting the arrival of his long-unseen son (Buster Keaton) whom he hopes to groom as his successor.  Keaton, fresh from Boston schooling, turns out to be a dandy wearing a striped blazer and sporting a ukulele. Impatient parent Torrence wearily begins the daunting makeover. The film is remembered for its breath-stopping stunts and cyclone finale.  After making the film, Keaton made a disastrous move to MGM, which, combined with personal difficulties, ended his productive career.

Suzanne, Suzanne (1982)
This insightful 30-minute documentary profiles a young black woman, Suzanne Browning, as she confronts a legacy of physical abuse and its role in her descent into substance abuse. The film was conceived by Browning’s aunt, Camille Billops, as a sort of cinematic drug intervention.  Family remembrances revealed the truth behind the addiction: Suzanne and her mother were victims of domestic abuse at the hands of the family patriarch.  Armed with the key to her own self-destructive behavior, Suzanne struggles to understand her father’s brutality and her mother’s passive complicity. After years of silence, Suzanne and her mother are finally able to share their painful experiences with each other in an intensely moving moment of truth. Directed by Billops and James Hatch, this film essay captures the essence of a black middle-class family in crisis.

Thelma & Louise (1991)
Screenwriter Callie Khouri began her script for “Thelma & Louise” with a single- sentence premise:  “Two women go on a crime spree.”  What emerged, from her word processor and eventually from the screen, became a feminist manifesto and a cultural flashpoint that eventually landed the film’s stars, in character, onto the cover of “Time” magazine.  Anchored by two career-defining performances from Susan Sarandon and Geena Davis (and a breakout early appearance by Brad Pitt), “Thelma & Louise” skillfully contrasts action-movie themes with a social commentary before building to an unforgettable climax.  Directed by Ridley Scott, “Thelma & Louise” has become a symbol of feminism.

20,000 Leagues Under the Sea (1916)
Directed by Stuart Paton, the film was touted as “the first submarine photoplay.” Universal spent freely on location, shooting in the Bahamas and building life-size props, including the submarine, and taking two years to film. J. E. Williamson’s “photosphere,” an underwater chamber connected to an iron tube on the surface of the water, enabled Paton to film underwater scenes up to depths of 150 feet. The film is based on Jules Verne’s “20,000 Leagues Under the Sea” and to a lesser extent, “The Mysterious Island.” The real star of the film is its special effects. Although they may seem primitive by today’s standards, 100 years ago they dazzled contemporary audiences. It was the first time the public had an opportunity to see reefs, various types of marine life and men mingling with sharks. It was also World War I, and submarine warfare was very much in the public consciousness, so the life-size submarine gave the film an added dimension of reality. The film was immensely popular with audiences and critics.

A Walk in the Sun (1945)
Though better known for his World War I masterpiece “All Quiet on the Western Front,” director Lewis Milestone also directed the World War II classic “A Walk in the Sun.” The film (Robert Rossen adapted the excellent script from the Harry Brown novel) tells the story of a group of men and “how they came across the sea to sunny Italy and took a little walk in the sun.” The walk here is the struggle the platoon faces after surviving a beach landing near Salerno, Italy, and then having to fight their way a few miles toward a bridge and fortified farmhouse held by the Nazis. “Walk in the Sun” forgoes the usual focus of war movies on fierce battle scenes for an episodic, perceptive character study of the men in the platoon, interspersed with sharp, random bursts of violence.  The frequent conversations among the soldiers reveal the emotional stress they go through when faced with the day-to-day uncertainties of war, constant peril and the fear of death.

Who Framed Roger Rabbit (1988)
Described by Roger Ebert as “not only great entertainment but a breakthrough in craftsmanship,” “Who Framed Roger Rabbit?” introduced a new sense of realism into the interactions between cartoons and live-action characters on screen.  In this film noir comedy, set in a 1940s Hollywood where cartoon characters are real, private investigator Eddie Valiant (Bob Hoskins) is hired to prove the innocence of the accused murderer and uncontrollably crazy ‘toon’ Roger Rabbit (voiced by Charles Fleischer), with memorable appearances by Roger’s voluptuous wife, Jessica Rabbit (voiced by Kathleen Turner), and the chillingly evil Judge Doom (Christopher Lloyd). The film evokes a love for the golden age of animation, represented through the construction of Roger Rabbit himself, who embodies Disney’s high-quality animation, Warner Bros.’ character design and Tex Avery’s sense of humor. The spirit of the film is artfully summarized in this one line: “I’m not bad, I’m just drawn that way.”  Executive producer Steven Spielberg worked tirelessly to negotiate the use of over 140 beloved cartoon characters in the film, making this the first time Warner Bros. and Disney characters shared the screen and the last time Mel Blanc voiced Bugs Bunny and Daffy Duck before his death in 1989.
Title: Re: Film Restoration and Preservation
Post by: wilder on February 09, 2017, 08:33:56 PM
Breathing fresh life into cult classics on Blu-ray - interview with James White (http://www.homecinemachoice.com/news/article/breathing-fresh-life-into-cult-classics-on-blu-ray/24717#.WIsbhvXrBMA.twitter)
Title: Re: Film Restoration and Preservation
Post by: wilder on March 02, 2017, 04:44:43 PM
http://www.youtube.com/watch?v=qdRfuQ8Y8rU
Title: Re: Film Restoration and Preservation
Post by: wilder on March 31, 2017, 10:38:16 PM
Anna Biller joins the AGFA advisory board
via American Genre Film Archive
BY JOE ZIEMBA • MARCH 30, 2017

(http://i.imgur.com/CfV9pwB.jpg)

We are beyond honored to welcome Anna Biller, the filmmaker behind VIVA and THE LOVE WITCH, to the AGFA advisory board.

At the American Genre Film Archive (AGFA), we believe that genre films should rule the world. But we can’t make this happen alone. Our advisory board is a coalition of like-minded fans who believe in the importance and preservation of genre films. Together, we ensure that these movies will be available on 35mm until the end of time. Or until the planet explodes. Whichever comes first.

The AGFA advisory board consists of Alamo Drafthouse founders Karrie and Tim League, filmmakers Paul Thomas Anderson and Nicolas Winding Refn, and musician RZA. Today, we’re proud to welcome Anna Biller to the ranks.

“I am thrilled to be included on the board of the American Genre Film Archive,” says Biller, “I believe passionately in continuing the legacy of film, and in preserving some of the great genre films that are such a vital part of our history and culture."

Anna Biller’s work is an inspiration. Meticulously crafting VIVA and THE LOVE WITCH on 35mm, Biller is a breath of fresh air for twenty-first century genre filmmaking. She channels the hyper-stylized aesthetic of Jaques Tati, the surreal melodrama of Nicholas Ray, and the pop-art pulp of Doris Wishman to create movies that feel like nothing else before or since.

For more on Anna Biller and her work, visit: www.lifeofastar.com (http://www.lifeofastar.com)
Title: Re: Film Restoration and Preservation
Post by: wilder on April 12, 2017, 04:45:04 AM
Seven Restored Lina Wertmuller Films Heading to U.S. Theaters
via blu-ray.com

(http://i.imgur.com/Xm2jwxz.jpg)

Kino Lorber will bring back to U.S. seven classic films from acclaimed director Lina Wertmuller which have been recently restored. The distributors have also confirmed that one of them, Seven Beauties, will transition to Blu-ray later this year.

The touring series makes available the following titles: The Seduction of Mimi, Love & Anarchy, All Screwed Up, Swept Away, Seven Beauties, Summer Night, Ferdinando & Carolina, plus the documentary Behind the White Glasses.


http://www.youtube.com/watch?v=CkxIi3bxFAE
Title: Re: Film Restoration and Preservation
Post by: wilder on May 02, 2017, 07:15:34 PM
Lost and Found Cinema by Imogen Sara Smith - Criterion (https://www.criterion.com/current/posts/4519-lost-and-found-cinema)
Title: Re: Film Restoration and Preservation
Post by: wilder on June 12, 2017, 07:03:38 PM
Quote
Produced in the aftermath of the horrific destruction witnessed with the dropping of atomic bombs at Hiroshima and Nagasaki, the “tri-dimensional religious art film” The Way of Peace (1947) represents a historic early example of a sponsored anti-nuclear film.  Created under the auspices of the American Lutheran Church, the uncompromising film, animated with stop motion and puppets, was intended to influence public opinion and international policy by graphically illustrating how man’s inhumanity to man could ultimately lead to the destruction of the Earth.  The cautionary tale features grim imagery that undoubtedly shocked audiences in its time, including expressionistic sequences depicting torture, lynching and Nazi fascism, culminating with an extended, technically-innovative special effects sequence dramatizing a devastating global nuclear war that results in the extermination of humankind.

The creative team assembled to make The Way of Peace represents a notable cross-section of Hollywood talent of considerable interest to cinema and media historians.  The short film was written and directed by American animator, screenwriter and director, Frank Tashlin, perhaps best known as the director of many golden-era Warner Bros. animated shorts and a number of major studio films starring Jerry Lewis, including  Cinderfella (1960) .  In a highly successful film career spanning decades, The Way of Peace represents Tashlin’s lone foray into dramatic work.  Technical supervision and the “original conception” for The Way of Peace was provided by the Reverend H.K. Rasbach, who would later serve as an advisor to director Cecil B. DeMille on The Ten Commandments (1956) and director George Stevens on The Greatest Story Ever Told (1965).  Rasbach would also later work with the West Coast Commission of the National Council of Churches on film and broadcasting, reviewing scripts to insure they met decency standards. The Way of Peace was co-produced, photographed and featured puppet design by Chinese-American special effects pioneer Wah Ming Chang, who worked on character designs for Walt Disney, puppet animation and special effects for George Pal, and innovative and highly-influential sculptures and props for the original Outer Limits and Star Trek television series.  The film's other co-producer and art director was noted artist, etcher and set and production designer James Blanding Sloan (foster father to Wah Ming Chang, with whom he formed East-West Studios).  Lastly, The Way of Peace was narrated by Academy Award-nominated actor Lew Ayres, a dedicated pacifist and, controversially, with great personal sacrifice, a prominent conscientious objector to World War II.

In a 1947 article covering the production of The Way of Peace titled “Peace and Puppets,” Newsweek magazine reported that “Mr. Rasbach worked with technicians for twenty months at a cost of $60,000 to get the effects he wanted.”  That year, the startling product of that labor premiered in Constitution Hall, Washington D.C., with The Way of Peace screening to over 2,700 invited guests, including members of Congress, representatives of the Supreme Court and leaders from numerous branches of government.  Today, The Way of Peace stands as a unique artifact of the atomic age, significantly intersecting the histories of animation, sponsored film, religion, politics, nuclear policy, and propaganda.  In 2014, the landmark film was named to the National Film Registry by the Librarian of Congress.

UCLA Film & Television Archive completed preservation of The Way of Peace in 2017 with a grant from the National Film Preservation Foundation.

— Mark Quigley, manager, Archive Research and Study Center


http://www.youtube.com/watch?v=1-0VXePcJcM
Title: Re: Film Restoration and Preservation
Post by: wilder on August 03, 2017, 07:15:42 PM
(http://i.imgur.com/GIXbxnf.jpg) (https://vimeo.com/227757230)

Quote
Upon its release in 1992, it won the grand jury prize at Sundance competing against films like Reservoir Dogs (Quentin Tarantino) and Gas, Food, Lodging (Alison Anders), and proceded to play some of the most prestigious festivals worldwide throughout that year, including Venice, Toronto, and the New York Film Festival. 

But, despite these rave reviews and an amazing start to a theatrical tour, a series of distribution mishaps caused it to become unavailable and more or less stay that way for the next quarter-century. Now, an official high-quality copy of it does not exist digitally, it's not on Blu-Ray, and the DVD release it saw in 2004 which is now out of print.

As of last year, there was only one fine-grain, black-and-white master archival print left, and unfortunately, while being screened at a cinema in Los Angeles, this precious but aging, fragile print was accidentally damaged during projection to the extent that moments of the first and fifth reel were virtually shredded

Without this time-proof archive of the film, not only can we not reproduce In the Soup in the way it was meant to be seen – it could be lost forever.

Because of the rarity of the Kodak black-and-white stock with which it was made, this process of restoration requires the epitome of expert attention and high-tech equipment at labs around the world…

http://www.youtube.com/watch?v=beHlaDVeVyA

In the Soup (1992) - Kickstarter Restoration Campaign (https://www.kickstarter.com/projects/factory25/in-the-soup-urgent-restoration-and-25th-anniversar)

Title: Re: Film Restoration and Preservation
Post by: jenkins on August 03, 2017, 07:43:31 PM
Factory 25 treating it right, looking like it'll bring this home. it's beautiful.

(https://ksr-ugc.imgix.net/assets/017/724/693/2fbf552dd4b97922091325a17944cc99_original.gif?w=680&fit=max&v=1501509877&auto=format&gif-q=50&q=92&s=6e757f729d0104a3aab5d568f155361d)

(https://ksr-ugc.imgix.net/assets/017/728/529/30173fd04e629bcf5b8b08b8385ef001_original.gif?w=680&fit=max&v=1501525658&auto=format&gif-q=50&q=92&s=4173e37b45e420b001c13b416d00289a)

(https://ksr-ugc.imgix.net/assets/017/728/538/0e01a18dd6c65668cd4e7cb574a3769b_original.gif?w=680&fit=max&v=1501525683&auto=format&gif-q=50&q=92&s=2bcb8fa5a0a590aeed1369a786c42124)

there's a "naughty" additional gif on the page, which is very well constructed and deserves its money
Title: Re: Film Restoration
Post by: wilder on September 28, 2017, 04:37:54 PM
And speaking of "The Kingdom" (http://xixax.com/index.php?topic=865.msg333393#new), it's one of a handful of early works by von Trier that are getting digitally restored. Production company Zentropa has released a seven-minute featurette diving into the lengthy process of scanning the original film strips and re-editing the movies from scratch in order to preserve the director's projects (trivia: "The Kingdom" was recorded on DigiBeta, a now defunct format).


http://www.youtube.com/watch?v=x1Gw_eBmzW4


http://www.youtube.com/watch?v=p9szV9Y4nYQ

To be released next year.