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“Poligrafo Bakarra” – Music Video by Joseba Elorza

December 27th, 2016

Here’s a stunning new music video by the Spanish artist Joseba Elorza.

One of the great things about Vimeo is that it allows you to see work by cutting edge visual artists all over the world – not just in the United States and Europe. The image above is taken by from a music video by Joseba Elorza for the band Berri Txarrak (literally “Bad News”), a Spanish rock group that uses the Basque language for all their work. For more examples of Elorza’s work, check out his video demo here.

Elorza has done illustrations for Esquire, TV spots for National Geographic, and numerous video adverts as well, but the deep knowledge of pop culture in this video – check out the clips from such films as The Last Man on Earth, House on Haunted Hill, The Hitch-Hiker, Alias John Preston and others – really takes his work to another dimension. Playful, serious, and endlessly creative, Elorza is clearly a talent to watch – as you can see for yourself.

Check out the video by clicking here, or on the image above.

Carrie Fisher – Actor, Writer, Script Doctor – 1956-2016

December 27th, 2016

Carrie Fisher has died December 27th, 2016 at the age of just 60.

As readers of this blog may know, I don’t usually do obituaries here, but the death of Carrie Fisher puts the capper on a truly awful year for the arts, with one death piling up after another to the point where it simply can’t be ignored. Fisher, for example, was much more than just an actor in the Star Wars films. In addition to Fisher’s credits as an actor and author, she was also one of Hollywood’s most sought after script doctors, working on existing screenplays and punching them up to make them just that little bit better – a tough profession, and she was very good at it.

As Wikipedia notes, she worked on the scripts for “Hook (1991), Lethal Weapon 3 and Sister Act (1992), Made in America, Last Action Hero and So I Married an Axe Murderer (1993), My Girl 2, Milk Money, The River Wild and Love Affair (1994), Outbreak (1995), The Mirror Has Two Faces (1996), The Wedding Singer (1998), The Out-of-Towners and Star Wars: Episode I – The Phantom Menace (1999), Coyote Ugly and Scream 3 (2000), Kate & Leopold (2001), Star Wars: Episode II – Attack of the Clones (2002), Intolerable Cruelty (2003), Mr. and Mrs. Smith and Star Wars: Episode III – Revenge of the Sith (2005).” And yet none of these films give her any on-screen credit, and by 2004 she had moved on from script doctoring.

Carrie Fisher thus joins the long, long list of irreplaceable talents who have left us – many, like Fisher, far too soon – in 2016, including (and this is just a partial list) David Bowie, Alan Rickman, Harper Lee, George Kennedy, George Martin, Patty Duke, Lonnie Mack, Prince, Guy Hamilton, John Berry, Alan Young, Billy Paul, Burt Kwouk, Scotty Moore, Kenny Baker, Raoul Coutard, Leonard Cohen, Robert Vaughn, Leon Russell, Florence Henderson, George Michael, Zsa Zsa Gabor, Abe Vigoda, Doris Roberts, Jacques Rivette, Abbas Kiarostami, Lita Baron, Andrzej Wajda, Michael Cimino, Bill Nunn, Gene Wilder, Anton Yelchin – a terrible loss to us all.

So, this day, we take a moment to think about, and thank, all the artists who have contributed so much to the cinema and related arts – many of them crossover artists, such as Prince and David Bowie, and the great directors, like Rivette, Kiarostami and Hamilton – who are now no longer with us. But it is now for us, the living, to continue their work as best we can, and to remember and honor their work, which they gave their lives and talents to, and which will live on through the cinema and its allied disciplines, to continue to inspire, enlighten, and entertain us.

You can see the 2016 “TCM Remembers” video – an excellent tribute – by clicking here.

Everyone Wants To Be A Star!

December 21st, 2016

According to an interesting study, everyone wants to be a star – no matter what.

In an intriguing article, “The Rise of Fame: An Historical Content Analysis” by Yalda T. Uhls and Patricia M. Greenfield in Cyberpsychology: Journal of Psychosocial Research on Cyberspace, the desire for instant fame in teenagers and “tweens” has grown by leaps and bounds since the late 1960s, to the point that notoriety is prized above almost any other value. As the authors write,

“[The] recent proliferation of TV programming for the tween audience is supported on the Internet with advertising, fan clubs, and other online communities. These Internet tools expand TV’s potential influence on human development. Yet little is known about the kinds of values these shows portray. To explore this issue, a new method for conducting content analysis was developed; it used personality indices to measure value priorities and desire for fame in TV programming.

The goal was to document historical change in the values communicated to tween audiences, age 9-11, who are major media consumers and whose values are still being formed. We analyzed the top two tween TV shows in the U.S. once a decade over a time span of 50 years, from 1967 through 2007. Greenfield’s theory of social change and human development served as the theoretical framework; it views technology, as well as urban residence, formal education, and wealth, as promoting individualistic values while diminishing communitarian or familistic ones.

Fame, an individualistic value, was judged the top value in the shows of 2007, up from number fifteen (out of sixteen) in most of the prior decades. In contrast, community feeling was eleventh in 2007, down from first or second place in all prior decades. According to the theory, a variety of sociodemographic shifts, manifest in census data, could be causing these changes; however, because social change in the U.S. between 1997 and 2007 centered on the expansion of communication technologies, we hypothesize that the sudden value shift in this period is technology driven.”

Read the rest of this fascinating article by clicking here, or on the image above.

The Four Just Men – Classic British Television

December 21st, 2016

Long before the current era of superheroes, The Four Just Men were way ahead of the curve.

The Marvel and DC Universe films may be ruling the box office right now, but more than half a century ago, The Four Just Men ruled British television, constantly criss-crossing the globe to right wrongs, and mete out justice to those who deserved it, without the benefit of superpowers or enormous wealth – just using their wits, and their skills, in the service of humanity.

As Wikipedia accurately notes, “The Four Just Men was a 1959 Sapphire Films production for ITC Entertainment. It ran for one season of 39 half-hour monochrome episodes. The series, loosely based on a series of novels by Edgar Wallace, presents the adventures of four men who first meet while fighting in Italy during the Second World War. The men later reassemble, and decide to fight for justice and against tyranny, using money set aside for the purpose by their late commanding officer.

They operate from different countries: Jeff Ryder (Richard Conte) is a professor of law at Columbia University in New York, Tim Collier (Dan Dailey) is an American reporter based in Paris, Ben Manfred (Jack Hawkins) is a crusading independent MP who works from London and Ricco Poccari (Vittorio De Sica) is an Italian hotelier based in Rome.

The series is unusual in having the four lead actors appear in turn other than in the first episode; one or occasionally two makes a brief appearance in each other’s episode, usually on the phone. Guest stars included Judi Dench, Alan Bates, Leonard Sachs, Patrick Troughton, Donald Pleasence, Richard Johnson, Ronald Howard, Basil Dignam, Roger Delgado, Charles Gray, and Frank Thornton.

At the time Four Just Men was the most ambitious film series yet made for British TV. It was produced by Sapphire Films at Walton Studios, and on location in Britain, France and Italy. None of its four stars had been cast as regulars in a TV series before. Filming on the 39 episodes, each 25 minutes long, began in January 1959, and lasted for five months, using up to seven units in the studio or on location, and producing two or three episodes simultaneously. [Future director] John Schlesinger was credited as exterior unit or second unit director on a number of episodes.”

This, of course, was back when a season of a television series amounted to something – 39 episodes, in fact. All the actors involved were certifiable stars at the time in their respective countries, particularly Jack Hawkins in England and the esteemed director/actor Vittorio De Sica in Italy, thus giving the series an international commercial appeal. But most central to the series’ success – and its recent release on Region 2 DVD – is the sense that someone was out there, watching out for the everyday person, who had no authority or influence.

Thus, in a way, not only do The Four Just Men prefigure the current craze for superheroes, offering hope in an uncertain world, but they also work their will through the actual channels of government and the law, without taking matters into their own hands, or using extra-terrestrial powers. This makes the series all the more relatable. From the opening title sequence – seen above – to the end of each episode, The Four Just Men act on the side of right against the forces of corruption and evil, winning on a human scale, rather than one of exaggerated influence.

As the series’ announcer intones at the start of each episode, “throughout time, there have been men to whom justice is more important than life itself. From these ranks come four men, prepared to fight valiantly on the side of justice wherever the need may be. Joined together in this cause, they are The Four Just Men.” It’s a nice dream- if only they were with us now.

See the intro to the series, as well as some episodes, by clicking here, or on the image above.

Restoring Sir Laurence Olivier’s “Richard III” (1955)

December 21st, 2016

Film restoration is one of the essential tasks for the cinema in the 21st century.

In this brief video, Martin Scorsese takes the viewer through the restoration of Oliver’s classic film Richard III in 2013 for release as a Blu-ray disc from Criterion, one of the masterpieces of cinema, shot in gorgeous Technicolor in the VistaVision process in 1955.

As Scorsese demonstrates in the video, the process to bring the film back to its original splendor was long and painstaking, and not helped by the fact that the film was extensively cut during various re-releases from its original running time. This was all the more problematic since in the film, Olivier used a “long take” strategy that meant that any one shot excised from the film also cut significant sections of Shakespeare’s play.

Then, too, the film was shot on various color stocks, and processed at different labs during its initial production, making the task of restoration all the more difficult, and in the places were segments were cut, whole frames of the original negative were destroyed, and had to be recreated digitally during the scanning process.

One thinks – or at least some people think – that film has a sort of permanence, but nothing could be further from the truth. Without assiduous care and attention, films – even relatively recent films such as this – soon fade and eventually cease to exist.

The task was made easier by the fact that the British Film Institute was involved; as someone who has been to the BFI Film Archive, and had the privilege of seeing some of the classic films of there 20th century in their original 35mm format there, including some shot on nitrate film, I can only applaud both the BFI’s efforts to keep restoring “film forever” – that’s now their official motto – and Martin Scorsese, for having such a significant hand in the process.

You can see the video by clicking here, or on the image above; fascinating viewing.

Vittorio de Sica’s “Two Women” Finally Gets A Real DVD Release

December 19th, 2016

Vittorio de Sica’s masterpiece Two Women finally gets a worthy DVD release.

As Svet Atanasov writes on the site Blu-ray.com, “winner of Best Actress Award at the Cannes Films Festival, Vittorio De Sica’s Two Women (1960) arrives on Blu-ray courtesy of British distributors Cult Films.

In Rome, Cesira (Sophia Loren) decides to close her shop and relocate to the countryside together with her daughter Rosetta (Eleonora Brown). It is a difficult move for her, but she is convinced that two will be safer there until the war ends. They pack their most precious belongings and then head to the train station.

When the train breaks down long before it reaches Cesira’s home village, the two women vow to finish their journey on foot. They are nearly killed after a German bomber fires at them while they cross an open field not too far away from their final destination.

For a while everything goes according to Cesira’s plan. She and Rosetta settle down and even though occasionally foreign soldiers pass through the area they feel safe. They also befriend the handsome teacher Michele (Jean-Paul Belmondo), who sees the world a lot differently than the rest of villagers. The two women also find themselves attracted to him, but for different reasons.

Eventually, the Allies liberate the southern parts of the country and begin pushing the Germans further north. It is then that Cesira and Rosetta decide to return to Rome and reopen the family store. But on the way back the women are forced to hide from their liberators, who turn out to be just as vile as the enemies they have been trying to evade.

Vittorio De Sica’s La Ciociara a.k.a. Two Women was the film that transformed Loren into an international star. Prior to it Loren had appeared in other films that were received well outside of Italy, but Two Women was the first foreign film to earn Oscar Award for Best Actress and its success had a profound impact on her career.

The raging war is easily felt throughout the entire film, but the focus of attention is very much on the manner in which Cesira and Rosetta do their best to continue living as if their lives were never shattered. Cesira in particular fully understands that her role as a loving mother should not be comprised, which is why she often emerges as a strong and unusually optimistic person. Rosetta unconditionally trusts her but also realizes that there are times when it is necessary that she follows her instincts.

The special bond that exists between the two women is abruptly broken in such brutal fashion that after that it seems impossible that Cesira could do anything as a mother to mend it. And yet, somehow the film finds a way to show that life, as unfair and ugly as it can be at times, is still worth living.

De Sica manages the incredible emotional ups and downs in the only way that actually makes sense – without any safe guards or filters. While this can make the film quite difficult to watch at times, it is certainly the reason why it also remains so profoundly moving.

The film was adapted by De Sica and the great writer Cesare Zavattini from the brilliant novel by Alberto Moravia which chronicles a true event. Moravia’s incredible body of work also inspired such iconic films as The Conformist, Le Mépris, and Time of Indifference.”

This is all true, but most importantly, for some unfathomable reason, Two Women fell into the Public Domain shortly after its release, and has been available only in terrible “pan and scan” prints that cropped the original 1.85:1 ratio into flat screen size, thus wrecking the gorgeous compositions De Sica creates throughout the film.

There’s also a feature length documentary on the life and work of de Sica on the disc, as well as an appreciation of Loren’s career, but the main event here is that finally – finally – we get a good transfer of this superb film in its original aspect ratio. I’ve been waiting for this for years, available both in DVD and Blu-ray, and best of all, it’s region free.

It’s very rare that PD films get rescued; this is a real part of cinema history restored.

Upcoming Conference: “Frankenstein and Popular Culture”

December 18th, 2016

Mary Shelley’s creation is always with us – more so today, perhaps, than ever before.

I’ve been invited to deliver a paper at the upcoming conference “Frankenstein and Popular Culture,” celebrating the 200th anniversary of the creation and publication of Mary Shelley’s Frankenstein at the University of Wisconsin-Madison on October 27-29, 2017. I chose as my topic “The Ghost of Frankenstein: What To Do With The Monster in The Digital Age?” – which is a pressing issue not only for scholars, but also for those within the industry as well. As I write in my paper, in part:

“Aside from J. Searle Dawley’s 1910 version of Frankenstein for the Edison Company, and moving through James Whale’s 1931 interpretation which pretty much put the ’stamp’ on the monster, the years have not been kind to Frankenstein’s creation. Bride of Frankenstein (1935) and Son of Frankenstein (1939) have some value, especially since Boris Karloff returned to the role that made him famous, but this ‘golden period’ was short lived.

Universal soon relegated the monster to series of inferior sequels, and by 1943 was ‘teaming’ the monster with their creation The Wolf Man to generate flagging audience interest, only to dispose of the monster altogether in 1944’s House of Frankenstein and 1945’s House of Dracula, to say nothing – literally nothing – of 1948’s Abbott and Costello Meet Frankenstein.

With this rather witless burlesque, Universal had seemingly run out of ideas. Yes, in the late 1950s Hammer Films effectively re-imagined the monster with Terence Fisher’s 1957 production of The Curse of Frankenstein, precisely because they were barred by Universal from using any visual, narrative or thematic elements of their version of the monster’s exploits, yet after an initial run of success, the final entries in the Hammer series also fell victim to diminishing returns.

Subsequent interpretations, from numerous other filmmakers, have been even more threadbare. My paper takes its title from the 1942 film The Ghost of Frankenstein, one of the last credible films in the original Universal series, and asks the question, ‘What are we to do with, or make of, the Frankenstein monster in the 21st century?’

Tracing the monster in film from its beginnings to the present, we see a disturbing but not altogether unexpected trend. Newer iterations of the classic tale feature more special effects, but less real content. Universal is right now planning to reboot their classic monsters with yet another version of The Mummy, starring Tom Cruise, with new versions of Frankenstein and Dracula to follow. But will any of these versions have lasting impact, or value? [. . .]

Copying the Marvel and DC Universe method of churning out franchise films on a regular basis, Universal is plowing ahead with a similarly designed program of entries in the coming years, with Johnny Depp tentatively attached as the lead in a reboot of The Invisible Man; Dwayne ‘The Rock’ Johnson potentially linked to a reboot of The Wolf Man; a remake of the 2004 film Van Helsing; Scarlett Johansson tagged for a remake of The Creature from The Black Lagoon; and Javier Bardem, perhaps, as the monster in a remake of The Bride of Frankenstein, with Angelia Jolie considered for the role of the Bride, as part of a project to create the Universal Monster universe.

Noted Universal chairperson Donna Langley of this strategy, ‘we have to mine our resources. We don’t have any capes [in our film library]. But what we do have is an incredible legacy and history with the monster characters. We’ve tried over the years to make monster movies — unsuccessfully, actually. So, we took a good, hard look at it, and we settled upon an idea, which is to take it out of the horror genre, put it more in the action-adventure genre and make it present day, bringing these incredibly rich and complex characters into present day and reimagine them and reintroduce them to a contemporary audience.’

But I would argue that it’s not going to work; that it hasn’t worked thus far; and that it won’t work in the future. The Frankenstein legend, and with it The Wolf Man, The Mummy, and Dracula are not material for a ‘Bourne’ or ‘Mission: Impossible’ series – all this will do is degrade the material further. What is needed is a creative force like the Hammer team, which takes the material seriously, and treats each project with the utmost care and attention, placing the emphasis on character, setting, and thematic development, rather than relying on special effects and fleeting star power to put these forthcoming projects across in the marketplace.

Hammer understood Gothic horror; it’s an English tradition. Universal, in the 1930s, had a sort of second hand comprehension of the genre through the lens of German Expressionism and British stage versions of the source materials, as brought to life by British (James Whale) or German émigrés such as Curt Siodmak and Karl Freund. The new Universal films are strictly an attempt to artificially jump start creations that need a firm re-grounding in their source material. In these films and others, we will get only a simulacric vision of these mythic characters, especially Victor Frankenstein and his creation; in short, all we will get is the ghost of Frankenstein.”

So, that’s where this stands at the moment – a few days before Christmas, 2016.

Peter Cushing Resurrected for “Rogue One: A Star Wars Story”

December 17th, 2016

Peter Cushing, the renowned British actor who appeared in the first Star Wars, is back on the screen.

As Kristopher Tapley and Peter Debruge report in Variety, “when audiences flock to multiplexes this weekend to see Gareth Edwards’ Rogue One: A Star Wars Story, they’re in for a blast from the past.

The film, which takes place just before the events of George Lucas’ 1977 original installment, brings actor Peter Cushing back to cinematic life through the use of state-of-the-art visual effects wizardry to reprise the role of Grand Moff Tarkin.

A British actor — Guy Henry, star of BBC series Holby City — was employed to portray the character physically on set, while in post-production, his work was replaced with a rather impressive Cushing performance by the artists of Industrial Light & Magic.

It was so impressive, in fact, that Cushing’s former secretary — Joyce Broughton, who oversees his estate and attended the film’s London premiere with her grandchildren — was taken aback emotionally when she saw the creation on screen.

‘When you’re with somebody for 35 years, what do you expect?’ Broughton says. ‘I can’t say any more because I get very upset about it. He was the most beautiful man. He had his own private way of living.’ Broughton, who was bequeathed Cushing’s estate when he died without an heir in 1994, was reticent to go into details about the situation due to a confidentiality agreement she signed with Disney and Lucasfilm. But despite the emotions, she said she was dazzled by the experience of the new film.

‘I have to say, I’m not a Star Wars fanatic, but I did think whoever put it together were absolutely fantastic,’ she says. ‘It’s not just a silly sort of thing. It’s really good!’ Cushing’s digital resurrection was first reported in August of 2015.

A Lucasfilm rep tells Variety that the filmmakers will not be discussing the nuts and bolts of what went into the actor’s reprise until January, in order for audiences to see the film and enjoy it without being spoiled by those details. But the implications raised by the bold achievement, and others like it, are another thing entirely — and they’ve been ringing throughout the industry for decades.

Films like Zelig, Dead Men Don’t Wear Plaid, and Forrest Gump traded in re-creating personalities of yesteryear. On the heels of Gump in 1995, director Robert Zemeckis resurrected Humphrey Bogart with the help of ILM artists for an episode of HBO’s Tales From the Crypt . . .

More recently, in 2012, hip-hop artist Tupac Shakur was brought back to life via hologram for a performance at the Coachella Valley Music and Arts Festival in Indio, Calif. And just last year, Weta effects artists had to manifest much of actor Paul Walker’s performance in Furious 7 after the actor died midway through production in a fatal car accident.

‘We’ve been making photoreal people for quite some time in films,’ says Richard W. Taylor II, a Directors Guild member and former vice-chair of the Visual Effects Society . . . ‘There’s a whole new phenomenon where famous actors are getting themselves scanned in order to provide for their family and their family’s trust in perpetuity, so that they can be recreated in films in the future,’ Taylor says. ‘Or as insurance, if they were injured or if anything happened while they were in a production.’

This technology raises all sorts of fascinating questions for the industry: If an actor declines to appear in a sequel or project, can the filmmakers now find a way to include him or her anyway (the way Dawn of the Planet of the Apes brought back James Franco by recycling deleted scenes from Rise of the Planet of the Apes)? If an actress’ contract protects her from having to shoot a nude scene, could one be created virtually using virtual body doubles?

As for the deceased, California has led the way in protecting the right to control how an actor’s image is used after his or her death. The legislature passed a law in 1984 establishing the postmortem right of publicity and timing them out 50 years after the individual’s death.

The law was a response to a court ruling finding that Bela Lugosi’s heirs had no power to prevent the use of his image in Dracula merchandise. At the urging of the Screen Actors Guild, the legislature has since extended the right to 70 years.”

But as Tapley and Debruge point out, the use of “synthespians” opens up a whole host of ancillary issues. While it’s nice to see Cushing “back” on the screen – and a number of reviewers have noted that it’s odd that one of the best actors in the film died in 1994 – one has to say that despite the general enthusiasm, the technique still really doesn’t work – you can tell that the performer isn’t really there during the shooting, and that the entire performance is being created after the fact.

That said, the publicity factor here can’t be ignored, and of course the estates of actors will certainly welcome these developments, as scanned versions of deceased thespians become more and more prevalent in films. There are numerous other cases not cited in the Variety article; for one example, Oliver Reed being resurrected from the dead to complete Ridley Scott’s Gladiator (2000), when the actor died halfway through shooting from a heart attack. And the technology can only improve.

But still, there’s something chilling here, as the dead walk among us again, seemingly alive, yet actually no longer with us. Nostalgia fans will have a field day with Rogue One: A Star Wars Story, and the film is already a resounding commercial success, bringing in $140 million in its opening weekend. But what it portends for the future, we’ll have to wait and see. Technology is, of course, transforming everything.

Rogue One: A Star Wars Story is in theaters now, so see for yourself.

New Article: Don Sharp’s Pyschomania Restored by the BFI

December 14th, 2016

Director Don Sharp’s Psychomania has just been restored by the British Film Institute.

As I write in Senses of Cinema 81 (December, 2016), “BFI’s Flipside series continues with another excellent release, a completely restored version of Don Sharp’s ‘zombie biker’ film Psychomania (1973), starring George Sanders in his last role, with capable assists from Beryl Reid and Nicky Henson.

Psychomania concerns Tom Latham (Henson), the leader of a teenage motorcycle gang, The Living Dead, who with the aid of his devil-worshipping mother (Reid) and her obedient butler Shadwell (Sanders) makes a deal with the Devil for his gang’s literal immortality.

Soon the gang members are deliberately killing themselves in a variety of grotesque and spectacular fashions, secure in the knowledge that they will soon be immortal. However, as with all such arrangements, things don’t go precisely as planned. Suffice it to say that business transactions with Satan are a decidedly risky business, for as we all know, the Devil is in the details.

Tom is an impetuous fellow, and he’s suspicious (with good reason) about his parentage and his home life in general. ‘Why did my father die in that locked room?’ he asks Shadwell petulantly. ‘Why do you never get any older? And what is the secret of the living dead?’

Soon enough, Tom’s mother – a curiously distant maternal figure if ever there was one – inducts Tom into the cult. With that accomplished, the rest of the film is a series of violent action set pieces, involving the ritualistic suicide of the gang members and their almost immediate resurrection, in which supermarkets are ransacked, innocent pedestrians are mowed down, and general mayhem ensues.

But that’s just for openers. Like so many motion picture motorcycle gangs before them, Tom has bigger plans, and wants to embark upon a campaign of wholesale violence, murdering policemen, judges, teachers, any authority figure that might hamper the gang’s activities. At this juncture, Tom’s mother and Shadwell intervene to put a halt to Tom’s grandiose scheme, in a manner that’s both bizarre and apparently quite effective.”

You can read the entire article by clicking here, or on the image above; a real cult classic.

The Third Nitrate Picture Show at Eastman House

December 13th, 2016

As Liz Logan writes in the excellent web journal Hyperallergic, nitrate film refuses to die.

As she notes, “many of the most iconic films in cinematic history — Casablanca, Gone With the Wind, Citizen Kane — were recorded on nitrate, the earliest form of motion picture film, yet the material has a terrible reputation. Used from the late 1800s through the 1940s, nitrate film was incredibly flammable and caused some major fires in movies theaters.

These tragic chapters in cinematic history have been revisited in films such as Cinema Paradiso, Inglourious Basterds, and The Artist. Later, once nitrate film was phased out, many archives were intentionally burned, simply to destroy the hazardous material.

But film archivists see nitrate in a different, less fiery, light. Aside from being an important ancestor of all the forms of film that came after it, nitrate is lauded for its luminous, high-contrast images, resulting from an emulsion that was rich in silver and the film’s excellent transparency.

And if it’s handled properly, the film is perfectly safe. For all these reasons, the George Eastman Museum in Rochester, New York is gearing up for the third Nitrate Picture Show, which will take place from May 5–7, 2017. Passes for the weekend go on sale at midnight on Monday, December 12.

‘It’s kind of a mystery how nitrate film has endured, because people are so afraid of it,’ said Deborah Stoiber, technical director of the festival and collections manager in the museum’s Moving Image department, which houses more than 100,000 cans of nitrate in its vaults.

Those cans comprise more than 6,000 titles, many on extended loan from Warner Brothers. The museum’s Dryden Theatre is one of only three theaters in the US with the legal safety measures in place to screen nitrate films, and the only such theater outside of California.

The Nitrate Picture Show is intended not only to give audiences an authentic cinema experience from the past, but also ‘to dispel the myth that all nitrate is scratched, jerky, falling apart or otherwise not worth keeping,’ Stoiber said. The films that are shown at the festival are in pristine condition, and visitors can see and touch such nitrate prints up-close. People are often astounded by the quality, according to Stoiber.”

It’s true – nitrate film is difficult to handle, but the quality is superb – director Jean Cocteau noticed the difference when new, safety film prints were struck of his masterpiece Beauty and The Beast in the early 1950s, and lacked the shimmer and brilliance of the original imagery.

There’s no question that nitrate cinema is, and will remain, a niche technology, something like stone lithography, but for sheer pictorial impact and depth, nitrate remains unmatched as a visual technology. Those who have the chance to see this festival will be able to see the difference for themselves; the result is really stunning.

This festival is a labor of love, and the results should be simply gorgeous.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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