Why are we still able, today, to view images that were captured over 125 years ago? As we enter the digital age, audiovisual heritage seems to be a sure and obvious fact. However, much of cinema and our filmed history has been lost forever. Archivists, technicians and filmmakers from different parts of the world explain what audiovisual preservation is and why it is necessary. The documentary is a tribute to all these professionals and their important work.
Ann Adachi-Tasch
Self
Margaret Bodde
Self
Serge Bromberg
Self
Te-Ling Chen
Self
Benjamin Chowkwan Ado
Self
Costa-Gavras
Self
Dennis Doros
Self
Patricio Guzmán
Self
Anne Hubbell
Self
Why are we still able, today, to view images that were captured over 125 years ago? As we enter the digital age, audiovisual heritage seems to be a sure and obvious fact. However, much of cinema and our filmed history has been lost forever. Archivists, technicians and filmmakers from different parts of the world explain what audiovisual preservation is and why it is necessary. The documentary is a tribute to all these professionals and their important work.
Film has become so pervasive in our society that we tend to take it for granted. From big screen blockbusters to intimate arthouse dramas and documentaries to home movies, we see these cinematic records of us and our world virtually everywhere we look. It’s a phenomenon that’s present globally, too, one that spans all seven continents. And, because these images have been committed to a fixed medium, we tend to assume that these records will be with us permanently. But will they? As writer-director Inés Toharia Terán’s compelling new documentary reveals, that’s not an assumption we should make – indeed, far from it. This excellent examination of film preservation efforts is an eye-opening revelation, showing us just how much of film history has been lost through deterioration, censorship, careless management and even willful destruction – an estimated 80% of all silent films ever made and roughly 50% of those created since the invention of talkies. The documentary explores the reasons behind these tragedies, as well as the efforts that have been made to save and/or restore pictures that could have easily – or still might possibly – become lost without concerted initiatives to protect them. Terán’s work is particularly impressive from the standpoint of comprehensiveness, showing the impact that this effort has had on film collections from around the around, from all ages past and from all genres, including not only entertainment offerings but also documentary footage and even those designed to capture cherished personal memories. Through interviews with leading directors, archivists, restoration professionals and photographic industry experts, viewers gain an insightful new appreciation for why these celluloid records matter to us and why it’s important to make the effort to save them from neglect before they’re gone forever. Admittedly, some may find this offering a little overlong, but, in my view, better more than less when it comes to a showcase aimed at purposely illustrating the need to preserve these precious and otherwise-irretrievable materials. And, to its credit, the film does a fine job of keeping its narrative from becoming too technical, a noteworthy accomplishment for a subject that could easily become overly burdened by indecipherable jargon. “Film” is must-see viewing for anyone who loves movies and passionately desires to see as many of them curated as possible, making their continued existence available to posterity as a genuine living record of our memory.
Cameramen and women discuss the craft and art of cinematography and of the "DP" (the director of photography), illustrating their points with clips from 100 films, from Birth of a Nation to Do the Right Thing. Themes: the DP tells people where to look; changes in movies (the arrival of sound, color, and wide screens) required creative responses from DPs; and, these artisans constantly invent new equipment and try new things, with wonderful results. The narration takes us through the identifiable studio styles of the 30s, the emergence of noir, the New York look, and the impact of Europeans. Citizen Kane, The Conformist, and Gordon Willis get special attention.
Tells the history and importance of The National Film Registry, a roll call of American cinema treasures that reflects the diversity of film, and indeed the American experience itself.
The history of cinematic sound, told by legendary sound designers and visionary filmmakers.
Director Michael Apted revisits the same group of British-born adults after a 7 year wait. The subjects are interviewed as to the changes that have occurred in their lives during the last seven years.
Documentary about the art of film editing. Clips are shown from many groundbreaking films with innovative editing styles.
Told through performances, TV interviews, home movies, family photographs, private letters and unpublished memoirs, the film reveals the essence of an extraordinary woman who rose from humble beginnings in New York City to become a glamorous international superstar and one of the greatest artists of all time.
Daniel Craig candidly reflects on his 15 year adventure as James Bond. Including never-before-seen archival footage from Casino Royale to the upcoming 25th film No Time To Die, Craig shares his personal memories in conversation with 007 producers, Michael G Wilson and Barbara Broccoli.
สารคดีที่ศึกษาอิทธิพลและมรดกทางภาพยนตร์จากผู้กำกับหนังคาวบอยแดนยุโรป เซอร์จิโอ คอร์บุชชี ผ่านบทสัมภาษณ์สองนักทำหนังชื่อดัง เควนติน ทารานติโน่และรุจเจโร ดีโอดาโต.
When Allied forces liberated the Nazi concentration camps in 1944-45, their terrible discoveries were recorded by army and newsreel cameramen, revealing for the first time the full horror of what had happened. Making use of British, Soviet and American footage, the Ministry of Information’s Sidney Bernstein (later founder of Granada Television) aimed to create a documentary that would provide lasting, undeniable evidence of the Nazis’ unspeakable crimes. He commissioned a wealth of British talent, including editor Stewart McAllister, writer and future cabinet minister Richard Crossman – and, as treatment advisor, his friend Alfred Hitchcock. Yet, despite initial support from the British and US Governments, the film was shelved, and only now, 70 years on, has it been restored and completed by Imperial War Museums under its original title "German Concentration Camps Factual Survey".
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.