Started by w/o horse, October 26, 2007, 11:11:35 PM
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Quote"August is a month of celebration! We start with the launch of Quentin Tarantino and Roger Avary's The Video Archives Podcast and our ongoing series of tie-in screenings. Next, we salute the 30th Anniversary of Reservoir Dogs with a special six-day run of Quentin's personal 35mm print of the film, as well as double bills dedicated to the movie's cast, its influences and legacy. We are also proud to present Allison Anders' groundbreaking Gas Food Lodging which played at the legendary 1992 Sundance with Reservoir Dogs, paired with her film Grace of My Heart."
QuoteThe first XXX film lensed in Michigan! Set during the long, hot summer of 1967 and its impending real-life confrontations in Detroit, Hot Summer in the City pushes the boundaries of pornographic entertainment, injecting roughie violence and exploitation themes into its hardcore sex storyline. With genuine Top 40 hits playing in the background, a group of Black Militants kidnap a young white virgin in a plan to set off race riots throughout the suburbs.
QuoteSeptember 15 at 7pm | Ten years ago, if you walked into a random first run movie theater, there was still a chance that whatever you were watching would be projected on 35mm motion picture film. Ten years before that, it was almost a guarantee. Across the entire 20th century, there was nothing unique about seeing a film projected in 35mm. If a filmmaker shot their movie on 16mm or video and they wanted it seen widely, it was a given they'd blow it up to 35mm. In the present day, 35mm sits in an odd place, now a specialty format most exhibitors are no longer equipped to screen, when in recent memory it was just the way every theater received Twilight movies and Coca-Cola ads.There may be fewer theaters equipped for 35mm than there were a decade ago, but filmmakers haven't left it for dead quite yet. Artists are still finding new and exciting things to do with this hundred-year-old format, and working in another medium you'd be hard-pressed to replicate something like Alexandre Larose's brouillard - passage #14 (a single 1000-foot magazine of film featuring 39 overlapping exposures of the same ten minute shot) or Mike Gibisser's Slow Volumes (filmed on a custom 35mm camera made with projector parts supplied by the Chicago Film Society). The recent availability of inexpensive direct positive 35mm prints, printed directly from a video source file, has opened the format up to artists who would've never been able to afford to strike prints of their work during 35mm's heyday (including a number of artists whose work originates on video, as seen in this very program with the films STONE and Elegy for J.M.). Plenty of film traditionalists are still kicking around too, still editing on Steenbecks and printing from A/B rolls. A few years ago they'd get called fetishists but can you name a 2022 release that looks as good as the print of Ted Fendt's Broken Specs showing here? 35mm no longer enjoys the massive cultural presence it once had but surveying this collection of films drawn from the latest (and perhaps strangest) chapter in the format's history, it's hard to not feel excited by what the future has in store for it.
Quote from: wilder on August 13, 2022, 06:53:52 PMJust learned about RevivalHouses.com, the LA-equivalent of NYC's Screen Slate