Author Topic: Film Restoration and Preservation  (Read 10439 times)

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wilder

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Re: Film Restoration and Preservation
« Reply #45 on: March 02, 2017, 04:44:43 PM »
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wilder

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Re: Film Restoration and Preservation
« Reply #46 on: March 31, 2017, 10:38:16 PM »
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Anna Biller joins the AGFA advisory board
via American Genre Film Archive
BY JOE ZIEMBA • MARCH 30, 2017



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

wilder

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Re: Film Restoration and Preservation
« Reply #47 on: April 12, 2017, 04:45:04 AM »
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Seven Restored Lina Wertmuller Films Heading to U.S. Theaters
via blu-ray.com



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.



wilder

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wilder

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Re: Film Restoration and Preservation
« Reply #49 on: June 12, 2017, 07:03:38 PM »
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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



wilder

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Re: Film Restoration and Preservation
« Reply #50 on: August 03, 2017, 07:15:42 PM »
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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…



In the Soup (1992) - Kickstarter Restoration Campaign


jenkins

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Re: Film Restoration and Preservation
« Reply #51 on: August 03, 2017, 07:43:31 PM »
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Factory 25 treating it right, looking like it'll bring this home. it's beautiful.







there's a "naughty" additional gif on the page, which is very well constructed and deserves its money

wilder

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Re: Film Restoration and Preservation
« Reply #52 on: September 28, 2017, 04:37:54 PM »
+1
And speaking of "The Kingdom", 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).







To be released next year.

wilder

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Re: Film Restoration and Preservation
« Reply #53 on: October 25, 2017, 02:56:39 PM »
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The new 4K restoration, supposedly coming from Criterion soon:


wilder

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Re: Film Restoration and Preservation
« Reply #54 on: November 01, 2017, 07:57:56 PM »
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New resto:


wilder

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Re: Film Restoration and Preservation
« Reply #55 on: November 07, 2017, 03:43:39 PM »
+1

wilder

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Re: Film Restoration and Preservation
« Reply #56 on: November 13, 2017, 02:27:53 PM »
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Jacques Rivette's La Belle Noiseuse (1991) 4K restoration trailer (NSFW?)

Threading the needle between a narrative film about an artist and a documentary recording of the creative act, Jacques Rivette infuses his Balzac adaptation with erotic tension and suspenseful drama. All-but-retired painter Michel Piccoli, living en Provence with wife and onetime muse Jane Birkin, becomes inspired by visitor Emmanuelle Béart. He picks up the brush once again as his newly anointed model poses nude for the duration.

wilberfan

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Re: Film Restoration and Preservation
« Reply #57 on: December 13, 2017, 11:33:37 PM »
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National Film Registry Adds ‘Memento,’ ‘Titanic,’ ‘Die Hard,’ ‘The Goonies’ and More

http://www.slashfilm.com/2017-national-film-registry/
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wilberfan

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Re: Film Restoration and Preservation
« Reply #58 on: December 20, 2017, 07:26:57 PM »
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Our film and video history is threatened by the rise of streaming video

http://www.latimes.com/business/hiltzik/la-fi-hiltzik-streaming-20171220-story.html
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wilder

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Re: Film Restoration and Preservation
« Reply #59 on: December 26, 2017, 01:05:34 AM »
+1
alles kino - Streaming platform / online archive for German film



In searching for a trailer for Criterion's upcoming release of Volker Schlöndorff's Baal (1970), I stumbled upon this YouTube channel for alleskino, a (Germany based) VOD & subscription streaming platform exclusively for German films.

Their yt channel has tons of trailers for movies from recent history I've never heard of. I love the vibe and general look of so many of these 80s/90s German productions, but have had a hell of a time finding a decent roadmap to aid my exploration of them. This site looks like a fantastically frustrating resource for discovering movies I'll no doubt be unable to get ahold of for years to come. (Hurrah!)

Googly translated:

Quote
German film has a long tradition. However, well over 90 percent of German film heritage online are not accessible.  Daskino makes it possible to get to know German film heritage in all its facets.

For example, Spur der Steine (1966)

The films are presented in a fundamentally different way than in other video-on-demand platforms, with background information about the filmmakers, especially the directors, producers and actors, the films are placed in their film-historical context. On special editorially edited pages, various topics are highlighted and a corresponding film selection is presented along with background information and further links.

In this way, we want to keep the German film heritage alive and the protagonists behind it an appropriate platform.


From the FAQ:

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1. Which films do I find here?
At alleskino.de you will find German feature and documentary films produced for the cinema.

We aim to comprehensively depict German cinematographic history and therefore want to record in the long term all cinematographic films that have been produced with authoritative artistic or financial German participation, regardless of their commercial success and their artistic value. Our catalog contains pre-war films, which are mainly administered by the Murnau Foundation, the GDR productions of the DEFA Foundation and all cinema productions co-financed since 1945 by German production companies.

We want to evaluate whether a movie is suitable for our platform, but not with the gold scale. For example, films produced by German co-producers abroad, but without the participation of a German filmmaker, can be dropped. On the other hand, for example, Werner Herzog's American productions are interesting for us. The same applies to the work of the many filmmakers who were expelled by the Nazis. Of course, at a Fritz Lang retrospective, all-cinema would also show the works that were created after 1933. The same applies to outstanding television productions: we would very much like to show Edgar Reitz's Heimat trilogy - or the long-term documentation "Berlin Ecke Bundesplatz". Even if they did not run regularly in the cinema, they have the quality for cinema.

4. Who is behind Alleskino.de?
alleskino.de is a private initiative, which goes back to the film producers Hans W. Geißendörfer ("The Lindenstraße") and Joachim von Vietinghoff ("The Werckmeister harmonies") as well as to Andreas Vogel, Managing Director of transfer media gGmbH and filmwerte GmbH

(Re: geoblocking) I get a hint that the movie is not available in my territory. Why?
Film licenses are often issued by different rightholders in different countries. Although we always try to show the films worldwide, sometimes this is not possible due to a complicated legal situation. As a rule, the films are available at least in Germany, Austria and German-speaking Switzerland.


Also this is just a good excuse to drop a trailer for Wim Wenders' Until the End of the World (1991)


 

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