#Digital film restoration within archives

[vivian-bell]

“Finally I received the dreaded news: “Sorry Eddie–but the print of Woman on the Run burned in the fire.”

“Okay, then–I have something to tell you,” I replied.  “When we showed it the first time, in 2003, I made a digi-beta copy before we shipped it back.  I couldn’t in good conscience return the film knowing it was the only print, not without making a copy for insurance.”

Although what I’d done was technically “piracy”–reproducing a film to which I had no rights–the studio’s vice president of assets, Bob O’Neil, a wonderful old-school gent, responded to this news with a simple email response: “Great stewardship.”

That digital version of Woman on the Run became the basis of a recent DVD release of the film in France, packaged within a hard-cover book I’d written about the film’s intriguing history.  Soon after, colleagues at the British Film Institute allowed me to be one of the beta-testers on the archive’s newly completed database.  First words I typed into the BFI’s system: Women on the Run.  And wouldn’t you know–up came listings for a dupe negative and a 35mm master sound track.  Restoring the film–as film–became the FNF’s immediate priority.  And when we discovered that the BFI’s sound material had irreparable damage, the digi-beta I’d made in 2003 proved vital to restoring those sections of the sound track.”

–Rescued from the Ashes by Eddie Muller, Noir City Magazine

[aaroncutler]

Sessão Mutual Films: A vida de dentro: Uma página de loucura + A esposa solitária [Mutual Films Session: The Life Within: A Page of Madness + Charulata]

January 17: The link above leads to Portuguese-language information about the 21st edition of the Mutual Films Session, co-curated and co-organized by me and Mariana Shellard, whose screenings will take place on January 18th, 30th, and 31st at the São Paulo-based unit of the Instituto Moreira Salles.

The event proposes a dialogue between two canonical films devoted to exploring the inner lives of their protagonists that involve images and words from four great artists. The avant-garde masterwork of Japanese silent cinema A Page of Madness (1926) was directed by the prolific and versatile Teinosuke Kinugasa (1896-1982) and based on a script by the writer Yasunari Kawabata (1899-1972), who in 1968 would become the first winner of the Nobel Prize for Literature to write primarily in the Japanese language. (Kenzaburō Ōe would also win the prize in 1994.) Charulata (1964) became one of the enduring classics of Indian and world cinema of the 1960s thanks in good part to the artistic choices made by its esteemed director, Satyajit Ray (1921-1992), who adapted the 1901 novella The Broken Nest, by Rabindranath Tagore (1861-1941), the first Asian author to win the Nobel Prize for Literature (in 1913) and his country's lone representative among the prize-winners to this day.

A Page of Madness will screen in a new digital copy prepared by the National Film Archive of Japan that differs from previously circulating versions of the film in multiple respects. The restoration efforts that have been made include bringing back a previously missing part of the original opening credits, the original projection velocity of 18 frames per second (fps), the original size of the frame (whose silent dimensions were diminished in the 1970s due to Kinugasa's choice to add a soundtrack), and, perhaps most notably, the original blue tinting of the image, something only discovered during the restoration process.

The version of Charulata that will screen represents a 2K restoration carried out in India in 2013 from the film's original negatives. This restoration process, conducted in Mumbai at Pixion Studios and the Cameon Media Lab, was overseen by Varsha Bansal on behalf of RDB Entertainments, the company that originally produced Charulata together with five other Ray films, all of which have been similarly restored. The screenings at the IMS Paulista mark the restoration's second set of showings in Brazil, with the first being the series "3x Satyajit Ray", which screened in December of 2023 at the Cinemateca Capitólio, in Porto Alegre.

The January 18th screening of A Page of Madness will be presented silently. (Although the film originally showed in Japan with narration by benshis - specialized storytellers and musicians whose accompaniments of silent films proved to be tremendously popular - we prefer to let the film's surreal and oft-ambiguous images speak for themselves on this occasion.) The January 30th screening of the film will feature live musical accompaniment by the Brazilian accordionist and composer Gabriel Levy, an aficionado of Japanese instruments and folk music traditions.

There is much more that could be said about the films, filmmakers, and writers represented in these screenings, and virtually none of it will be said here. However, readers that are interested in learning more about A Page of Madness could reasonably begin with the many pieces related to the film that have been written by the Yale University-based scholar Aaron Gerow, including the book A Page of Madness: Cinema and Modernity in 1920s Japan.

For our website, we were fortunate to be able to translate a short article by Gerow about Kawabata's relationship with cinema as explored in literary works like the novel Snow Country and some of his short stories. We have also translated a useful contextualizing article by Kaustuv Sen about the relations between the works by Tagore and Ray, who began as a kind of unofficial disciple of Tagore that eventually more than established his own ground in relation to the master of Indian music and letters.

Of additional interest is a fine short article that was published two years ago by the Indian author and filmmaker Ruchir Joshi about the experience of rewatching Charulata on the occasion of Ray's centenary. This blog's visitors may recognize Joshi as the center of a previous edition of the Mutual Films Session (including with a translation of his essay "The Death of a Tall Man", a much longer piece about Ray's work). Film programmers never act alone, but always in conversation with other researchers, viewers, and voices. For all the help that they have given in terms not only of research, but of inspiration for this project and other ones, people such as Joshi, Gerow, and many others are to be deeply thanked.

[classicmoviesetc0]

Find Rare, Hard to Find Movies at Classic Movies Etc.

In the fast-paced digital age of streaming services and on-demand content, it's easy to remember the timeless classics that have shaped the world of cinema. There's something special about the Golden Age of Hollywood and those independent features that often need to be noticed. But fear not, because Classic Movies Etc. is here to help you rediscover and enjoy these hidden gems.

At Classic Movies Etc., we are passionate about movies. We watch them. We love them. We acquire rare movie gems from the Golden Age of Hollywood, independent features, and television productions – from both the U.S. and abroad – that you might think are "lost" and unavailable. Our mission is to ensure that these cinematic treasures are not forgotten but cherished and shared with generations to come.

Our Unique Approach

Classic Movies Etc. is different from your typical e-commerce business or DVD retailer. We are a Movie Manufactured on Demand Service with a mission to bridge the gap between serious movie buffs, collectors, professional movie entertainment personnel, and the studios. Our approach is unique, as we understand the value of preserving and sharing these rare cinematic experiences.

How We Find Rare Movies

Our secret lies in our connections. We acquire our rare titles by having direct relationships with studio contacts within the film industry's archives. These archives hold a treasure trove of films that are often overlooked in the digital age. We also collaborate with major private movie collectors here and abroad who entrust all their titles to us. This network of passionate movie enthusiasts ensures that we have access to some of the most sought-after films in the world.

A Growing Collection

Our collection is ever-expanding, and we take pride in offering a diverse range of rare and hard-to-find movies. Whether you're a fan of classic Hollywood films, foreign cinema, or independent productions, Classic Movies Etc. has something for everyone. From timeless classics to obscure hidden gems, we curate a selection that caters to the discerning tastes of movie enthusiasts.

The Joy of Collecting

For serious movie collectors, finding that one elusive film to add to their collection can be a gratifying experience. Classic Movies Etc. Understands the thrill of the hunt, and we make it possible for movie collectors to find their favourite hard-to-find movies. Our platform is a treasure trove where you can explore, discover, and obtain those rare titles that complete your collection.

A Commitment to Quality

At Classic Movies, Etc., we are committed to preserving the quality and authenticity of these classic films. We ensure that the movies we offer are of the highest possible quality, often restoring them to their original glory. When you purchase a film from us, you can rest assured that you're getting a genuine and well-preserved piece of cinematic history.

Conclusion:

In conclusion, Classic Movies Etc. is your go-to destination forﾠfind rare hard-to-find movies.ﾠWe are not just a service; we are a passionate community of movie enthusiasts dedicated to preserving the cinematic treasures of the past. Whether you're a collector, a film buff, or simply someone looking to explore the world of classic cinema, Classic Movies, etc. is your gateway to a world of timeless entertainment.

More info-

The Harder They Fall (2021) on Dvd

Christmas Holiday Movies

[prasadcorp-blog]

Prasad Corp provides Digital Image Film Restoration services for film, video and audio through its state-of-the-art facilities in India. We are equipped with the finest of hardware, software, trained professionals and an integrated Film Laboratory. Our data security policy clearly defines processes and procedures to ensure complete confidentiality and protect our customers’ assets against all threats. Access control, data integrity, physical and environmental security, business continuity management and incident management are some of the many important aspects that form the basis of our Security Policy.

[peterlorrefanpage]

Help find this Peter Lorre film (plz reblog)

Peter Lorre as a dental patient in Die verschwundene Frau (The Missing Wife) (Silent, 1929).

This film is not commercially available - but it exists! It was found and restored!

Here are my attempts to acquire or at least see this film:

Thanks to @budcortfancam, I reached out to the email/contact on the website of Stephen D. Youngkin (the Peter Lorre historian). No word yet.

I found this rather bizarre 2009 blog post about an entire Lorre DVD collection, including this movie, but no insight into how they got it. I posted a comment but I don't think anyone is around to see it or release it from moderation.

I inquired on RareFilm.net, but they couldn't find it.

I saw this post from 2004: "This film was recently located in Brussels and restored. 75 years after it was made, it will receive its Second Vienna Premiere at the Film Museum."

I emailed the folks at #4 and they said:

Get in contact with The CINEMATEK (the Royal Film Archive) at Hôtel de Clèves, Ravenstein 3, 1000 Brussels, info at cinematek dot be

Or search their film collection - I did not find the film there.

Or send a request via their Contact page

I wrote via the Contact form and asked if this film was online to view or if I could purchase a copy. I received this response from the Royal Film Archive of Belgium:

"Unfortunately, we do not hold any digital copy of this film, so I am afraid we cannot help you with your request."

I've now reached out to the Peter Lorre News Blog. Update: They haven't sourced it yet either.

I posted on r/lostmedia. They suggested I contact the archive.

11/4/22: I have sent an email to that "info at cinematek dot be" address, asking if they had an incomplete or complete film, avoiding the word "digital."

11/28/22: I received a response!

"Thank you for your message and interest. We do preserve this title - however, we do not hold a digital version for this film.

"As our viewing activities are exclusively dedicated to students, researchers, and professionals, could you please specify within which framework your request is incorporated, and give us more details on the purpose of your research?

"We’ll then be able to advise if the print is complete."

12/2/22: I sent back a response. I am not sure how far to extend my hope at this point, but hope I do feel!

5/30/24: I have never received a response to my response. Much more recently, thanks to @peterlorrelove, we have learned that the film was screened at Berlin Zeughauskino in 2018. They had to have access to a print. Agh!

If YOU have any ideas or leads, please reply or use my Ask.

[nathanieldorsky]

Nathaniel Dorsky: Shimmering Golden Music

Extract from Notebook Interview Article and interview with Nathaniel Dorsky by Maximilien Luc Proctor   A conversation with the American experimental filmmaker on the occasion of a Barcelona retrospective of his and Jerome Hiler’s films and a new book about them both. 

Over the course of ten programs across five days in Barcelona this January, curators Francisco Algarín Navarro and Carlos Saldaña presented a career-spanning series devoted to American experimental filmmakers Nathaniel Dorsky and Jerome Hiler. The series was curated to coincide with the release of a brand-new book, Illuminated Hours. Nathaniel Dorsky and Jerome Hiler, focused on the pair’s early years; meeting and struggling to understand the elusive medium of film. As is the case for all Lumière publications, it is a beautiful object, complete with full-color stills and archival documents. The bulk of the book consists of extensive interviews with Dorsky and Hiler conducted by Navarro and Saldaña, and features texts by curator Mark McElhatten among many others, and incorporates excerpts from prior interviews, including one I conducted with Hiler for Ultra Dogme last year. Illuminated Hours is currently only available in Spanish, with an English language version slated for later this year. 

As Dorsky and Hiler exclusively screen their work directly from 16mm prints (rentable from Light Cone in Europe or Canyon Cinema in the U.S.), there were only two individual exceptions to this rule. Library (1970) was screened as a digital file, from a 2021 restoration by the Harvard Film Archive. A collaboration between the two filmmakers, Library is based on the old style “industrial”, highlighting the various community benefits of its namesake. Dorsky’s 17 Reasons Why (1985-87) was screened once from a print and was available to watch on a four-monitor (one for each of the 8mm frames shown simultaneously) constellation on a loop, from a 2020 digital scan done by MoMA. It is a delightfully playful whirlwind (I’m thinking here of a blink-and-you’ll-miss-it composition where Dorsky films his pants around his shoes while sitting on the toilet)  which condenses the visual beauty from across his filmography into a metabolism more often associated with the work of someone like Joseph Bernard. Apart from his fascination with photographic beauty formed through dense reflections and thick, high contrast plays of striped shadows silhouetting over brightly sunlit people and objects, Dorsky often holds a shot until time allows itself to unfold so that a surprise may surface. They are simple surprises, but ones that often bring about great pleasure; take three women seen through a window, all wearing deep red clothing. When one changes position, she reveals a bottle of ketchup in their midst, perfectly suited for the occasion. When we are presented with a collection of minute glimmering lights, we wonder for a moment where they might originate, until Dorsky turns the aperture to reveal they are light reflected in the droplets on the hood of a car. In Love’s Refrain (2000-2001), a clear plastic to-go box is opened by the wind, leans backwards, and its own contents (a lonely plastic fork and styrofoam cup) slide into the center, forming a new arrangement for this found statue. It is an image in conversation with the plastic bag floating in the wind of Variations (1998). There are beautiful rippling lights seen in macro, manifested as out of focus orbs, ruptures of the universe, shimmering golden music. 

Through Dorsky’s polyvalent montage he hopes that certain shots will be taken as reverberations of ones previously seen within a film—the edit is arranged intuitively yet strategically. The larger body of work supports and re-amplifies so many reverberations across the decades; Jerome Hiler appears numerous times throughout, as do endless bushes, shrubs, saplings and veteran trees. Text silhouetted and thrown onto unusual surfaces, human behavior when unaware (one presumes) they are being observed. Perhaps most fascinating are the infrequent yet recurring interludes of three to five shots of rapid movement through dense cross hatcheting created by shooting through an orange construction fence or by simply filming similarly shaped shadows intersecting with stairs—thrilling in their velocity within the context of such steady and measured work. Dorsky is interested in geometry and its permutations through movement, be they such rapid ‘stackings’ or the languid vibrations of nature reflected on the pulsating surface of a pond. So too do certain ideas reverberate across the pair’s collective body of work, though in less obvious ways. Where Hiler works with multiple exposures to overlap, echo, and strike lightning, Dorsky achieves his density of image in a single shot, with concrete, recognizable photography—we understand the literal images but not always the how or what of their surroundings. When we see a “pseudo-Hellenic bust” (to borrow from P. Adams Sitney’s apt description) lying on its side in Dorsky’s Threnody (2003-2004), it comes back to mind when we see the face of a similar figure in Hiler’s Words of Mercury (2010-2011), surrounded by a barren rural area in the background. In both cases the old world has fallen. Dorsky presents us with texts being written or copied down (by Hiler), but Hiler presents text itself (one screen-filling superimposition close-up of German text makes legible the name “Maria Rilke”). Hiler also creates text through the scratching of the film surface, such as in the notes he scrawls onto Marginalia. Immediately after stepping out of a Dorsky screening, some images remain in the mind’s eye with power, others vanish almost instantaneously—not for lack of visual virtuosity, but for their settling somewhere deeper in the mind than what is accessible on the surface. A few hours later certain images would return, but what truly astounded me was a shot which came to mind with complete clarity the following afternoon when I happened upon its analogous manifestation in the physical world: Dorsky’s camera careening into the flowers, leaning in closer to catch a pollinating bee, startlingly yellow in a sea of lavender, obstructing pedals pressed forward by the lens as it passed...

The entire Mubi Notebook article “Nathaniel Dorsky: Shimmering Golden Music” including the Maximilien Luc Proctor interview with Nathaniel Dorsky, is available online.

continue reading on     Mubi homepage

Illuminated Hours. Nathaniel Dorsky and Jerome Hiler    Lumière

*

[sciencespies]

How the Pandemic Changed Scientific Exploration

https://sciencespies.com/nature/how-the-pandemic-changed-scientific-exploration/

How the Pandemic Changed Scientific Exploration

Smithsonian Voices National Museum of Natural History

How the Pandemic Changed Scientific Exploration

March 11th, 2021, 6:00AM / BY

Emily Leclerc

Sylvester Musembi Musyoka, a Kenyan colleague and field crew leader, recording a large mammal fossil bone during a virtual field project to collect fossils in Kenyan excavation sites that were in danger of being damaged by severe weather. (Nzioki Mativo/Smithsonian)

When the World Health Organization declared COVID-19 a pandemic one year ago, it brought much of the world to a halt. Countries closed their borders, international flights stopped and people worldwide were told to stay home as much as possible. But not even a global pandemic could stop scientific advancement. Scientists near and far quickly adapted their research and fieldwork projects to follow the new health guidelines and keep everyone involved safe. Here is how seven of the National Museum of Natural History’s scientists continued to discover the secrets of the natural world safely during the pandemic.

Tuning in to past volcanic eruptions

The 1944 eruption of Mt. Vesuvius was its most recent. It is still considered an active volcano. (US National Archives)

In the early afternoon of March 22, 1944, Italy’s Mount Vesuvius erupted. Ash blanketed the surrounding area and lava flows decimated several nearby villages.

Ben Andrews, a geologist and director of the Global Volcanism Program, has been studying past ash plumes to improve forecasting and mitigation efforts for future volcanic eruptions. Unable to conduct fieldwork in person, Andrews and Allie Coonin, an intern at the museum and a student at Brown University, used digitized 35mm film footage collected by the U.S. Navy to study Mt. Vesuvius’ 1944 ash plume instead. The footage helped them make some of the first ever measurements of 3D air entrainment into a volcanic ash plume. These measurements will help Andrews determine whether future ash plumes will rise into the atmosphere, where they can disrupt air traffic and cause planes to crash, or collapse into flows of hot gas and volcanic matter that destroy everything in their path.

Phone a fossil excavation

A 615,000-year-old molar tooth from a fossilized pig, Kolpochoerus majus, found at an excavation site in Kenya. The tooth is dated around the time that the species went extinct. (Nzioki Mativo/Smithsonian)

Rick Potts, a paleoanthropologist and the director of the Smithsonian’s Human Origins Program, has been leading expeditions to Kenya for 36 years in hopes of further unraveling the story of how humans evolved. But when the pandemic hit, traveling to Kenya became impossible.

The travel ban was problematic because two of his excavation sites were in danger of being damaged by heavy rains. So, in August of 2020, Potts lead a virtual field project to collect fossils and stone artifacts that were at risk. Luckily, the team found that the fossil sites were in good condition. For seven days, Potts helped guide his Kenyan colleagues from afar through phone and video as they collected fossils that will help him and other scientists better understand our origins story.

This week’s Zoom guests are 2,000-year-old birds

When there isn’t a pandemic, Helen James excavates bird fossils on Mokapu Peninsula on Oahu to learn more about the evolution of island avian biodiversity. (United States Marine Corps)

Last year, when Helen James — a research zoologist and curator of birds at the museum — clicked into a Zoom call with her collaborators at the Bishop Museum in Hawaii, she wasn’t looking to chat about the events of the day or listen to a presentation. She was looking for bird bones.

James has been excavating fossilized birds in Hawaii to better understand the evolution of island avian biodiversity. The pandemic meant that James could not travel to Hawaii herself but the fossils still needed to be collected. The site where she collects fossils is being eroded by wind, rain and the sea. As the site erodes, bones are exposed and could be damaged by the elements if left in place. Luckily, her collaborators in Hawaii were able to make trips to the site for the fossils. They would then hold up every bone they had found over Zoom for James to look at. She preliminarily identified all of the collected fossils and will wait to further investigate the bones until it is safe to travel again.

A cherry for your thoughts on internet DNA

The Prunus genus contains many economically important species, but very little has been done to understand how these species are related. (Pixabay)

There are hundreds of millions of DNA samples stored in online repositories. And yet, in experiments, DNA stored online is usually considered secondary to samples collected in the field — until now.

Richard Hodel, a Peter Buck Fellow in the museum’s botany department, was planning to collect tissue samples from plants in the genus Prunus — which includes cherries, peaches, apricots and almonds — when his plans were curtailed by COVID-19. Needing an alternative way to study the evolutionary relationships between Prunus species, Hodel turned to online DNA repositories. Leveraging hundreds of millions of digital DNA sequences, Hodel made an evolutionary tree showing how major groups within Prunus are related. While DNA samples collected directly from the source will always be important, the pandemic reinforced the value of online repositories.

Finding fossils with Google Earth

Wyoming’s Bighorn Basin is famous for its beautiful badlands and its abundance of fossils. Paleobotanist Scott Wing identified this area as potentially having fossils using satellite images. (Scott Wing)

When COVID-19 shut down most of the country in March of 2020, Scott Wing, a paleobotanist with the museum, turned to Google Earth to keep himself sane while being stuck at home. For weeks, Wing scoured satellite images of Wyoming’s Bighorn Basin looking for places that might have plant fossils. Finding scores of possible spots and wondering if he was right, Wing got approval from the Smithsonian’s COVID Safety Team to make the 35-hour drive from Washington D.C. to Wyoming and see for himself. After a month camped out in the badlands, Wing realized that more than half of the sites he’d identified with satellite images had fossils. Because of this, he is using Google Earth to plan his next field season.

Sharing coral larvae is caring

When corals spawn, they release massive amounts of sperm and eggs into the water to create as many larvae as possible. (Zachary Foltz/SMS)

Coral larvae spend their first days to weeks swimming near the surface of the water trying not to be eaten. They then sink to the bottom of the ocean where they settle onto a surface to develop into an adult coral. Understanding the process of how coral larvae settle down is important for learning how the larvae become reef-building colonies.

Typically, Smithsonian Marine Station (SMS) scientists travel to Carrie Bow Cay Research Station in Belize to collect coral larvae for experiments aimed at understanding coral settlement. But when COVID-19 struck, it looked like they wouldn’t be able to continue with their experiments. Luckily, the Florida Aquarium, Biscayne National Park, SECORE International and the University of Miami pitched in and gave SMS larvae that they had collected. Their generosity allowed SMS to continue learning why coral larvae decide to settle where they do, an important step in developing more effective coral reef restoration projects.

Gardeners lend a helping hand

Malaise traps, like this one at the United States Botanic Garden, are being used to study insect biodiversity in urban areas. (Nicholas Silverson)

Before the pandemic, Nicholas Silverson, a museum specialist in the museum’s entomology department, would collect weekly samples from their malaise trap, a structure which passively collects insects moving though the Regional Garden at the United States Botanic Garden at the base of Capitol Hill.

Silverson says that field ecologists have been calling 2020 the year of missing data because of COVID-19’s impact on projects, like the trap, that rely on the in-person collection of data. Due to staff restrictions, Silverson and his team — Scott Miller and colleagues at the Barcode of Life Database — could not access the museum and Garden, but were able to rely on the Garden’s skeleton crew to maintain the trap and successfully collect weekly samples.

The data collected contributes to ongoing regional and urban biodiversity surveys that will help scientists around the world learn how insect populations move and live in those environments. With the help of the gardeners, this year’s data will be complete and able to show a more comprehensive picture of insect biodiversity in Washington, D.C. and the region.

Related Stories: Six Videos that Put the Pandemic in Context ‘One Health’ Could Prevent the Next Coronavirus Outbreak Get to Know the Scientist Studying Ancient Pathogens at the Smithsonian

Emily Leclerc is an intern in the Smithsonian National Museum of Natural History’s Office of Communications and Public Affairs. Her writing has appeared in Boston University News Service, Wahpeton Daily News and Dana-Farber’s Insight Blog, among others. Emily recently graduated from Boston University with an MS in journalism. She also holds a BA in biology from Roanoke College in Virginia. You can find her at https://emilyleclercportfolio.weebly.com/.

More From This Author »

#Nature

[animeman08]

Iron Man

Iron Man is a fictional superhero appearing in American comic books published by Marvel Comics. The character was co-created by writer and editor Stan Lee, developed by scripter Larry Lieber, and designed by artists Don Heck and Jack Kirby. The character made his first appearance in Tales of Suspense #39 (cover dated March 1963), and received his own title in Iron Man #1 (May 1968). Also in 1963, the character founded the Avengers alongside Thor, Ant-Man, Wasp and the Hulk.

A wealthy American business magnate, playboy, philanthropist, inventor and ingenious scientist, Anthony Edward "Tony" Stark suffers a severe chest injury during a kidnapping. When his captors attempt to force him to build a weapon of mass destruction, he instead creates a mechanized suit of armor to save his life and escape captivity. Later, Stark develops his suit, adding weapons and other technological devices he designed through his company, Stark Industries. He uses the suit and successive versions to protect the world as Iron Man. Although at first concealing his true identity, Stark eventually publicly reveals himself to be Iron Man.

Initially, Iron Man was a vehicle for Stan Lee to explore Cold War themes, particularly the role of American technology and industry in the fight against communism. Subsequent re-imaginings of Iron Man have transitioned from Cold War motifs to contemporary matters of the time.

Throughout most of the character's publication history, Iron Man has been a founding member of the superhero team the Avengers and has been featured in several incarnations of his own various comic book series. Iron Man has been adapted for several animated TV shows and films. In the Marvel Cinematic Universe, the character was portrayed by Robert Downey Jr., appearing in the films Iron Man (2008), The Incredible Hulk (2008) in a cameo, Iron Man 2 (2010), The Avengers (2012), Iron Man 3 (2013), Avengers: Age of Ultron (2015), Captain America: Civil War (2016), Spider-Man: Homecoming (2017), Avengers: Infinity War (2018) and Avengers: Endgame (2019). The character also appeared in Spider-Man: Far From Home (2019) and in the upcoming Black Widow (2021) through archive footage.

Iron Man was ranked 12th on IGN's "Top 100 Comic Book Heroes" in 2011 and third in their list of "The Top 50 Avengers" in 2012.

> Powers, abilities, and equipment

Armor

Iron Man possesses powered armor that gives him superhuman strength and durability, flight, and an array of weapons. The armor is invented and worn by Stark (with occasional short-term exceptions). Other people who have assumed the Iron Man identity include Stark's long-time partner and best friend James Rhodes; close associates Harold "Happy" Hogan; Eddie March; (briefly) Michael O'Brien and Riri Williams.

The weapons systems of the suit have changed over the years, but Iron Man's standard offensive weapons have always been the repulsor rays that are fired from the palms of his gauntlets. Other weapons built into various incarnations of the armor include: the uni-beam projector in its chest; pulse bolts (that pick up kinetic energy along the way; so the farther they travel, the harder they hit); an electromagnetic pulse generator; and a defensive energy shield that can be extended up to 360 degrees. Other capabilities include: generating ultra-freon (i.e., a freeze-beam); creating and manipulating magnetic fields; emitting sonic blasts; and projecting 3-dimensional holograms (to create decoys).

In addition to the general-purpose model he wears, Stark has developed several specialized suits for space travel, deep-sea diving, stealth, and other special purposes. Stark has modified suits, like the Hulkbuster heavy armor. The Hulkbuster armor is composed of add-ons to his so-called modular armor, designed to enhance its strength and durability enough to engage the Hulk in a fight. A later model, created with the help of Odin and the Asgardian metal Uru, is similar to the Destroyer. Stark develops an electronics pack during the Armor Wars that, when attached to armors that use Stark technologies, will burn out those components, rendering the suit useless. This pack is ineffective on later models. While it is typically associated with James Rhodes, the War Machine armor began as one of Stark's specialty armors.

The most recent models of Stark's armor, beginning with the Extremis armor, are now stored in the hollow portions of Stark's bones, and the personal area networking implement used to control it is implanted into his forearm, and connected directly to his central nervous system.

The Extremis has since been removed, and he now uses more conventional armors. Some armors still take a liquid form, but are not stored within his body. His Endo-Sym Armor incorporates a combination of the liquid smart-metal with the alien Venom symbiote, psionically controlled by Stark.

Post-Secret Wars, Stark uses a more streamlined suit of armor that uses nanotechnology to shape shift into other armors or weapons.

Powers

After being critically injured during a battle with the Extremis-enhanced Mallen, Stark injects his nervous system with modified techno-organic virus-like body restructuring machines (the Extremis process). By rewriting his own biology, Stark is able to save his life, gain an enhanced healing factor, and partially merge with the Iron Man armor, superseding the need for bulky, AI-controlled armors in favor of lighter designs, technopathically controlled by his own brain. His enhanced technopathy extends to every piece of technology, limitless and effortlessly due to his ability to interface with communication satellites and wireless connections to increase his "range". Some components of the armor-sheath are now stored in Tony's body, able to be recalled, and extruded from his own skin, at will.

During the "Secret Invasion" storyline the Extremis package is catastrophically shut down by a virus, forcing him again to rely on the previous iteration of his armor, and restoring his previous limitations. Furthermore, Osborn's takeover of most of the few remaining Starktech factories, with Ezekiel Stane systematically crippling the others, limits Tony to the use of lesser, older and weaker armors.

After being forced to "wipe out" his brain to prevent Norman Osborn from gaining his information, Tony Stark is forced to have a new arc reactor, of Rand design installed in his chest. The process greatly improves his strength, stamina and intellect. The procedure left him with virtually no autonomic functions: as his brain was stripped of every biological function, Tony is forced to rely on a digital backup of his memories (leaving him with severe gaps and lapses in his long-term memory) and on software routine in the arc reactor for basic stimuli reaction, such as blinking and breathing. The Bleeding Edge package of armor and physical enhancement is now equal in power, if not a more advanced, version of the old Extremis tech.

Skills

Tony Stark is an inventive genius whose expertise in the fields of mathematics, physics, chemistry, and computer science rivals that of Reed Richards, Hank Pym, and Bruce Banner, and his expertise in electrical engineering and mechanical engineering surpasses even theirs. He is regarded as one of the most intelligent characters in the Marvel Universe. He graduated with advanced degrees in physics and engineering at the age of 17 from Massachusetts Institute of Technology (MIT) and further developed his knowledge ranging from artificial intelligence to quantum mechanics as time progressed. His expertise extends to his ingenuity in dealing with difficult situations, such as difficult foes and deathtraps, in which he is capable of using available tools, including his suit, in unorthodox but effective ways. For instance, in Stark's final confrontation with Obadiah Stane, the villain managed to have Stark's companions in an unconscious state in a room with motion sensors; when Stark entered the room, Stane warned him that the slightest move would trigger a fatal electrical current to his hostages, thus forcing Stark to stay still and slowly die of dehydration lest he wants his friends to die. However, while Stane was confident that such a trap was inescapable, Stark is able to outwit and defeat its mechanism in seconds, thus freeing the hostages and allowing him to continue the battle against Stane.

He is well respected in the business world, able to command people's attention when he speaks on economic matters, having over the years built up several multimillion-dollar companies from virtually nothing. He is noted for the loyalty he commands from and returns to those who work for him, as well as for his business ethics. Thus he immediately fired an employee who made profitable, but illegal, sales to Doctor Doom. He strives to be environmentally responsible in his businesses.

At a time when Stark was unable to use his armor for a period, he received some combat training from Captain America and has become physically formidable on his own when the situation demands it. In addition, Stark possesses great business and political acumen. On multiple occasions he reacquired control of his companies after losing them amid corporate takeovers.

Due to his membership in the Illuminati, Iron Man was given the Space Infinity Gem to safeguard. It allows the user to exist in any location (or all locations), move any object anywhere throughout the universe and warp or rearrange space.

[blackkudos]

Charles Burnett

Charles Burnett (; born April 13, 1944) is an American film director, film producer, writer, editor, actor, photographer, and cinematographer. His most popular films include Killer of Sheep (1978), My Brother's Wedding (1983), To Sleep with Anger (1990), The Glass Shield (1994), and Namibia: The Struggle for Liberation (2007). He has been involved in other types of motion pictures including shorts, documentaries, and a TV series.

Called "one of America's very best filmmakers" by the Chicago Tribune and "the nation's least-known great filmmaker and most gifted black director" by The New York Times, Burnett has had a long, diverse career.

Background

Charles Burnett was born on April 13, 1944, in Vicksburg, Mississippi, to a nurse's aide and a military father. According to a DNA analysis, he is mainly descended from people from Sierra Leone.In 1947, Charles's family moved to Watts, a largely black neighborhood in South Los Angeles. Burnett was interested in expressing himself through art from a young age, but the economic pressure to maintain a stable job kept him from pursuing film or art in college.

Influence of Watts

Watts had a significant effect on Burnett's life and work. The community, which gained notoriety in 1965 when violent riots in the area caused the deaths of 34 people and injured more than 1,000, again made the news in 1992 when protestors turned to looting and arson following the acquittal of police officers tried for the beating of Rodney King. Burnett has said that the neighborhood had a strong Southern influence due to the large number of Southerners living in the area. Watts strongly influences his movies' subject matter, which often revolves around southern folklore mixed with modern themes. His film Killer of Sheep was set in Watts.

College

Burnett first enrolled at Los Angeles City College to study electronics in preparation for a career as an electrician. Dissatisfied, he took a writing class and decided that his earlier artistic ambitions needed to be explored and tested. He went on to earn a BA in writing and languages at the University of California, Los Angeles.

UCLA Film School and the Black Independent Movement

Burnett continued his education at the UCLA film school, earning a Master of Fine Arts degree in theater arts and film. His experiences at UCLA had a profound influence on his work, and the students and faculty he worked with became his mentors and friends. Some fellow students include filmmaking greats like Larry Clark, Julie Dash, Haile Gerima, and Billy Woodberry. The students' involvement in each other's films is highlighted by Burnett's work as a cinematographer for Haile Gerima's 1979 movie Bush Mama, as a crew member for Julie Dash's 1982 Illusions, and as a writer and cameraman for Billy Woodberry's Bless Their Little Hearts. His professors Elyseo Taylor, who created the department of Ethno-Communications, and Basil Wright, a British documentarian, also had a significant influence on his work. The turbulent social events of 1967 and 1968 were vital in establishing the UCLA filmmaking movement known as the "Black Independent Movement”, in which Burnett was highly involved. The films of this group of African and African American filmmakers had strong relevance to the politics and culture of the 1960s, yet stayed true to the history of their people. Their characters shifted from the middle class to the working class to highlight the tension caused by class conflict within African American families. The independent writers and directors strayed away from the mainstream and won critical approval for remaining faithful to African American history. Another accomplishment of the Black Independent Movement and Burnett was the creation of the Third World Film Club. The club joined with other organizations in a successful campaign to break the American boycott banning all forms of cultural exchange with Cuba. Many critics have compared the films of the Black Independent Movement to Italian neorealist films of the 1940s, Third World Cinema films of the late 1960s and 1970s, and the 1990s Iranian New Wave. At the time the movement flourished, many countries in the Third World were involved in a struggle for revolution, inspiring them to create films expressing their own indigenous views of their history and culture. In addition to staying true to history, many Black Independent Movement films have been considered a response to the White Hollywood and Blaxploitation films that were popular at the time.

Early career

Charles Burnett's earliest works include his UCLA student films made with friends, Several Friends (1969) and The Horse (1973), in which he was the director, producer, and editor.

Major films

Killer of Sheep (1978)

Burnett's first full-length feature film, Killer of Sheep, was his UCLA master's thesis. It took Burnett five years to finish, apparently due to the imprisonment of one of the film's actors, and was released to the public in 1978. The cast consisted mainly of his friends and film colleagues and it was filmed primarily with a handheld camera, seemingly in documentary style. The main character was played by Henry G. Sanders, a Vietnam veteran who had studied cinema at Los Angeles City College and was enrolled in several classes at UCLA. Sanders went on to a career in films and TV, including roles in Rocky Balboa, ER, Miami Vice, and The West Wing. The lead female character in Killer of Sheep was played by Kaycee Moore, who went on to act in former UCLA classmate Julie Dash's film Daughters of the Dust. The story follows the protagonist Stan, a slaughterhouse worker, who struggles to make enough money to support his family. According to the film's website, the movie “offers no solutions; it merely presents life”. Killer of Sheep revolves around rituals, in the family, childhood, oppression, and resistance to oppression. The soundtrack of ballads, jazz, and blues includes artists Faye Adams, Dinah Washington, Gershwin, Rachmaninov, Paul Robeson, and Earth Wind & Fire. The film was only screened occasionally because of its poor 16mm print quality and failed to find widespread distribution due to the cost and complexity of securing music rights. It was restored by the UCLA Film & Television archive in a new 35mm print of much higher quality. The re-released film won an array of awards including the critics' award at the Berlin International Film Festival, first place at the Sundance Film Festival in the 1980s, then called the USA Film Festival, and a Special Critics' Award from the 2007 New York Film Critics Circle. It was an inductee of the 1990 National Film Registry list. In addition, it was chosen as one of the 100 Essential Films of All Time by the National Society of Film Critics in 2002. Burnett was awarded a Guggenheim Foundation Fellowship in 1981, following the film's completion.

My Brother's Wedding (1983)

Burnett served as the director, producer, director of photography, and screenwriter for My Brother's Wedding. My Brother's Wedding was his second full-length film, but was not released because of a mixed review in The New York Times after playing at the New Directors/New Films Festival in 1983. As in Killer of Sheep, many of the film's actors were amateurs, including the costume designer's wife. The role of Pierce Mundy, the protagonist, was played by Everett Silas. Mundy struggles to choose between his brother's middle-class existence and his best friend's working-class world. The movie was the first feature Burnett shot on 35mm color film. Its cost was estimated at $80,000. The movie was acquired by Milestone Films, restored by the Pacific Film Archive at the University of California, Berkeley, and digitally reedited by Burnett.

To Sleep with Anger (1990)

To Sleep with Anger was Burnett's first higher-budget film, with an estimated cost of $1.4 million. The grant he received from the John D. and Catherine T. MacArthur Foundation helped Burnett support his family while working on the film. The $250,000 grant spread over the course of five years is awarded to gifted individuals to pursue personal projects. The movie was set in South Central LA and followed the same themes of family and southern folklore as most of his films. The story concerns a lower middle class Los Angeles family that welcomes a guest from the South who overstays his welcome and causes a major disturbance in the family. The family's instability seems to reflect the larger community's volatility. To Sleep with Anger was Burnett's first film to feature professional actors. The lead actors include Danny Glover, Paul Butler, Mary Alice, Carl Lumbly, and Vonetta McGee. Glover, who plays Harry Mention, agreed to a reduced fee and went on to invest in the production. A box-office favorite known for his role in the Lethal Weapon films, Glover continued to star in many successful productions including The Royal Tenenbaums, Dreamgirls, 2012, and Death at a Funeral. Although highly acclaimed by critics, To Sleep with Anger did poorly at the box office. Burnett attributes this to poor distribution and lack of good taste. The film won many awards, including best screenplay from the National Society of Film Critics (the first award of its kind given to an African American writer). Other awards include two Independent Spirit Awards for Best Director and Best Screenplay, the American Film Institute's Maya Deren Award, the Special Jury Recognition Award at the 1990 Sundance Film Festival, a Special Award from the Los Angeles Film Critics Association, and nominations for Burnett and Glover by the New York Film Critics Association.

The Glass Shield (1994)

The Glass Shield follows a story of corruption and racism in the Los Angeles Police Department. It was Burnett's first film catering to a wider audience, featuring Ice Cube, the rap artist, as a man wrongfully convicted of murder. The protagonist of the movie, JJ Johnson, is played by Michael Boatman. The movie's themes include a strong emphasis on the powerlessness of its African American characters and female characters. Johnson's female police officer, the first in the precinct, is forced to deal with sexism both within the police department and on the streets. The officer is played by Lori Petty, who went on to become a director in the 2008 movie The Poker House. The Glass Shield was nominated for a Golden Leopard award at the 1994 Festival del film Locarno. It grossed approximately $3,000,000 in the U.S.

Namibia: The Struggle for Liberation (2007)

Namibia: The Struggle for Liberation follows the story of Namibia's hardships while attempting to win independence from South African rule. The film is based loosely on the memoirs of Namibia's first president, Sam Nujoma, the former leader of the South West Africa People's Organization SWAPO. The script was based on Nujoma's autobiography, Where Others Wavered, and was reported to be a government-commissioned celebration of liberation. Both main actors in the movie, Carl Lumbly and Danny Glover, participated in Burnett's prior films, with Lumbly and Glover both appearing in To Sleep with Anger. The movie was filmed in Namibia and casting was especially difficult because the over 200 speaking parts were mostly given to local Namibians, many of whom had differing dialects. The film was an opening-night selection at the 2008 New York African Film Festival.

Documentaries

Burnett has made many documentaries including America Becoming (1991), Dr. Endesha Ida Mae Holland (1998), Nat Turner: A Troublesome Property (2003), For Reel? (2003), and Warming by the Devil's Fire (2003) which was part of a TV series called The Blues. America Becoming was a made-for-television documentary financed by the Ford Foundation. The documentary concentrated on ethnic diversity in America, especially the relations between recent immigrants and other racial groups. Dr. Endesha Ida Mae Holland was a short documentary about a civil rights activist, playwright, and professor that fought hard to overcome obstacles caused by racism and injustice. Nat Turner: A Troublesome Property featured Burnett's actor and friend Carl Lumbly. The movie won a Cinematography Award in 2003 from the Long Beach International Film Festival. Warming by the Devil's Fire was an episode for Martin Scorsese's six-part compilation PBS documentary. Burnett worked as a producer for the documentary For Reel?.

Shorts

Burnett was involved in many shorts that include Several Friends (1969), The Horse (1973), When It Rains (1995), Olivia's Story (2000), and Quiet as Kept (2007). When It Rains follows the story about a musician that tries to assist his friend with paying her rent. Quiet as Kept is a story about a relocated family after Hurricane Katrina.

Television films

Charles Burnett has directed many made-for-television movies, including Nightjohn (1996), Oprah Winfrey Presents: The Wedding (1998), Selma, Lord, Selma (1999), Finding Buck McHenry (2000), and Relative Stranger (2009). Nightjohn was adapted from a Gary Paulsen novel, and went on to premiere on the Disney Channel in 1996 to high praise. The story follows an escaped slave who learns to read and returns to his former home to teach others to read and write. Nightjohn was awarded the Vision Award of the NAMIC Vision Awards in 1997 and a Special Citation Award from the National Society of Film Critics in 1998, and was nominated for a Young Artist Award by the Young Artists Awards in 1997. Oprah Winfrey Presents: The Wedding was directed by Burnett, with Oprah Winfrey as an executive producer. Halle Berry and Carl Lumbly star in this drama surrounding the wedding of a wealthy African American woman and a poor white musician. Selma, Lord, Selma, a Disney movie, follows the story of a young girl inspired by Martin Luther King Jr. who decides to join the historic protest march from Selma to Montgomery. Selma, Lord, Selma was nominated for a Humanitas Prize in 1999 and an Image Award from Image Awards in 2000. Finding Buck McHenry is about a young boy who tries to discover whether his baseball coach is a former legend in baseball. Finding Buck McHenry won a Daytime Emmy in 2001, a Silver Award from WorldFest Houston in 2000, and a Young Artists Award in 2001, and was nominated for an Image Award in 2001. Relative Stranger was nominated for an Emmy in 2009, an Image Award in 2010, and a Vision Award from NAMIC Vision Awards in 2010.

Awards

In 1988 Burnett won a MacArthur Fellowship for his work as an independent filmmaker.

Burnett earned the Freedom in Film Award from the First Amendment Center and the Nashville Independent Film Festival. The award was given to Burnett to honor his commitment to presenting cultural and historical content that he felt needed to be discussed, rather than focusing on commercial success. Burnett was honored by the Film Society of Lincoln Center and the Human Rights Watch International Film Festival in 1997. In addition, Burnett was presented grants by the Rockefeller Foundation, the National Endowment for the Arts, and the J.P. Getty Foundation. The prestigious Howard University's Paul Robeson Award was given to Burnett for achievement in cinema. To honor his achievements, the mayor of Seattle declared February 20, 1997, Charles Burnett Day.

In September 2017 it was announced that Burnett was to receive a Governors Award – known as an "honorary Oscar" – from the Academy of Motion Picture Arts and Sciences.

Recurring themes

The recurring themes in Charles Burnett's work were primarily history's effect on the structure of family. He also strived to make films about working-class African-Americans that denounced stereotypes and clichés. Burnett has told critics that he makes films that deal with emotions coming out of real problems like maturity and self-identity. He also found a recurring theme in liberation and struggle perhaps after the influence from the UCLA's Third World Film Club that championed the revolutions occurring worldwide in the 1960s and 1970s.

Other projects

In 1999, Burnett directed a film called The Annihilation of Fish. The film is an interracial romance film starring James Earl Jones and Lynn Redgrave that won the Jury Award from the Newport Beach Film Festival in 2001, the Audience Award at the Sarasota Film Festival in 2001, and a Silver Award at WorldFest Houston in 2000. Burnett and two other directors, Barbara Martinez Jitner and Gregory Nava, directed the television series American Family. American Family was nominated for 2 Emmys and a Golden Globe Award and won many other awards. Burnett also acted in the documentary Pierre Rissient: Man of Cinema with Clint Eastwood. He is currently in pre-production on two films projects: The Emir Abd El-Kadir and 83 Days: The Murder of George Stinney.

In January 2019, it was announced that Burnett would direct the film Steal Away, based on Robert Smalls's escape from slavery.

Personal life

Charles Burnett is married to costume designer Gaye Shannon-Burnett. They have two sons, Steven and Jonathan.

Filmography

Several Friends (short, 1969)

The Horse (short, 1973)

Killer of Sheep (1978)

My Brother's Wedding (1983)

To Sleep with Anger (1990)

America Becoming (TV documentary, 1991)

The Glass Shield (1994)

When It Rains (short, 1995)

Nightjohn (television film, 1996)

The Final Insult (docufiction short, 1997)

The Wedding (TV, 1998)

Dr. Endesha Ida Mae Holland (documentary short, 1998)

Selma, Lord, Selma (television film, 1999)

The Annihilation of Fish (1999)

Olivia's Story (short, 2000)

Finding Buck McHenry (television film, 2000)

American Family (TV series, 2002)

Nat Turner: A Troublesome Property (TV documentary, 2003)

For Reel? (TV, 2003)

The Blues: Warming by the Devil's Fire (TV documentary, 2003)

Namibia: The Struggle for Liberation (2007)

Quiet as Kept (short, 2007)

Relative Stranger (television film, 2009)

Power to Heal: Medicare and the Civil Rights Revolution (with Daniel Loewenthal, TV documentary, 2018)

[bmaatuga]

Why I love the Libraries’ digitized Red & Black newspapers. And my colleagues!

Because they fill in so much information I need to understand the footage I examine on the bench, especially when the footage is silent (despite having a magnetic soundtrack on the film) and the only data on the reel is “Box 3, #5.” Well, that information refers to some long-ago-lost list which would have told me more about this reel, had it come over with the film collection, so I have to view the footage myself and make some guesses.

I was looking at some 1978 or 1979 color footage of people using a metal detector and digging under an oak tree on North Campus, across from the Chapel.

There is a stone that reads “Class of 187-” the last number being indeterminate (though it looks like a 5 to me).

There is shovel and trowel digging,

then a backhoe gets involved, 

and then a box comes up. Ah-ha, I said to myself, a time capsule.

So I go to the Red & Black archives online among the Georgia Historic Newspapers site and searched. Huzzah! Here are the results.

We have to mention that, although we are glad his research lead to the discovery of this time capsule, Dr. Coulter’s beliefs about the South were quite outdated. The New Georgia Encyclopedia covers his career as an “unreconstructed Southerner” here.

Even the Atlanta Constitution got in on the story and you can see someone with a movie camera in the upper left of the photo:

The University’s in-house newsletter, Columns, also covered it:

$15.00 an hour for restoration work in 1979 would be $55.18 today.

I realized I needed to talk with Steven Brown, former University Archivist, to find out the story. Steven has always been an amazing font of information about these marvelous university stories so, of course, he knew immediately what I was talking about and was thrilled to know we have film footage of the dig!  Steven said the papers in the capsule were in terrible shape, but they have been saved. He even made an online exhibit about the capsule that you can read here, on the University Archives section of the Hargrett Library’s website.  Note that the stone was moved to a new location, still on campus. [Steven recommends that if you are interested in time capsules, check out Oglethorpe University’s CRYPT OF CIVILIZATION time capsule--https://crypt.oglethorpe.edu/ ]

So although the popular archives rapid-processing mantra, “More product, less process” works pretty well with papers, it doesn’t so much for film and videotape holdings. We really need to take the time to examine the footage to provide something more than “Box 3, #5″ in order for anyone to discover what is captured within our holdings. Just a bit of digging (so to speak) among a few sources turns up a lot of information! Then, when the researcher arrives asking, “Do you have any film of the digging up of the 1872 time capsule?” we can reply, “Why, yes. Yes, we do.”

[falsebooles123]

In Search of the Missing Link - Diary of a Big Ole Gay 1/6/23

Hey Whores, so first big news.I got layed off from my dayjob so yay?

But actually while I hated the job It kinda sucks. I've been job hunting and rationally I know that its only been like 3 days but mentally/emotional it feels like I will die pennyless and alone.

Also um feel free to give me money on my Ko-Fi if though feels so inclined.

Anyway sluts and hoebags heres what this blogs about

A Full Ass List of Movies I Can't Find and or are Lost

note: subject to change I'm having it here as a way of recordkeeping.

Films That Are Actually Lost

Why Bring That Up (1929) dir. George Abbot (the film adaptation of two white guys minstral act, (i.e Blackface), this is a very specific curio to 1920's vauldville to the best of my knowledge this has been lost and honestly I don't think anybody was going to miss it.)

Die Büchse der Pandora (1919) dir. Arzén von Cserépy (I like to call it Asta's Nielsens Pandora's Box. It is an earlier adaptations of the Lulu play duology which most people will probably know by G.W.Pabst. To the best of my knowledge this is lost

The Crystal Cup (1927) dir. John Francis Dillon (another gay book adaptation this one is official recognized as lost)

In Private Collection

Twelth Night (1933) dir. Oscar Wilde (this film is in private collection and is essentally a home movie of his middle school play recital, why anyone knows about this to the point that its on letterboxd is absurd but here we are)

Shes a Prince (1926) dir Marcel Perez (A short comedy by famous spanish director. Currently have a research request with The Eye Film Museum in the Netherlands who have restored several of his short subjects to see if they have it in there archives)

The Kiss (1963) dir. Andy Warhol (A literally film about kissing, its owned by the Andy Warhol Museum in Pittsburgh, I've actually just checked my email and I might be able to get some clips of the film and/or rent a digital version of it, i'll have to look into it)

Various Films dir Kenneth Anger (Anger had a habit of taking some of his films out of circulation which is fine. I have seen all of his avalable work up to the 1980s but the vast majority of his juvanilia, (essentially anything pre-fireworks), is within his private collection).

Films Not Available Online (that I know of)

Christopher Strong (1933) dir. Dorothy Arzner

Only Yesterday (1933) dir. John M. Stahl

WonderBar (1934) dir Lloyd Bacon

Blood and Roses (1960) dir. Roger Vadim

DeathWatch (1966) dir Vic Morrow

P.J (1968) dir. John Guillermin

Twelth Night (1969) dir. John Sichel

The Girl in Tails (1926) dir. Karin Swanström

If you know about any of these films please let me know in the comments of DM me.

[classicmoviesetc0]

Find Rare, Hard to Find Movies at Classic Movies Etc.

In the fast-paced digital age of streaming services and on-demand content, it's easy to remember the timeless classics that have shaped the world of cinema. There's something special about the Golden Age of Hollywood and those independent features that often need to be noticed. But fear not, because Classic Movies Etc. is here to help you rediscover and enjoy these hidden gems.

At Classic Movies Etc., we are passionate about movies. We watch them. We love them. We acquire rare movie gems from the Golden Age of Hollywood, independent features, and television productions – from both the U.S. and abroad – that you might think are "lost" and unavailable. Our mission is to ensure that these cinematic treasures are not forgotten but cherished and shared with generations to come.

Our Unique Approach

Classic Movies Etc. is different from your typical e-commerce business or DVD retailer. We are a Movie Manufactured on Demand Service with a mission to bridge the gap between serious movie buffs, collectors, professional movie entertainment personnel, and the studios. Our approach is unique, as we understand the value of preserving and sharing these rare cinematic experiences.

How We Find Rare Movies

Our secret lies in our connections. We acquire our rare titles by having direct relationships with studio contacts within the film industry's archives. These archives hold a treasure trove of films that are often overlooked in the digital age. We also collaborate with major private movie collectors here and abroad who entrust all their titles to us. This network of passionate movie enthusiasts ensures that we have access to some of the most sought-after films in the world.

A Growing Collection

Our collection is ever-expanding, and we take pride in offering a diverse range of rare and hard-to-find movies. Whether you're a fan of classic Hollywood films, foreign cinema, or independent productions, Classic Movies Etc. has something for everyone. From timeless classics to obscure hidden gems, we curate a selection that caters to the discerning tastes of movie enthusiasts.

The Joy of Collecting

For serious movie collectors, finding that one elusive film to add to their collection can be a gratifying experience. Classic Movies Etc. Understands the thrill of the hunt, and we make it possible for movie collectors to find their favourite hard-to-find movies. Our platform is a treasure trove where you can explore, discover, and obtain those rare titles that complete your collection.

A Commitment to Quality

At Classic Movies, Etc., we are committed to preserving the quality and authenticity of these classic films. We ensure that the movies we offer are of the highest possible quality, often restoring them to their original glory. When you purchase a film from us, you can rest assured that you're getting a genuine and well-preserved piece of cinematic history.

Conclusion:

In conclusion, Classic Movies Etc. is your go-to destination for Find Rare Hard to Find Movies. We are not just a service; we are a passionate community of movie enthusiasts dedicated to preserving the cinematic treasures of the past. Whether you're a collector, a film buff, or simply someone looking to explore the world of classic cinema, Classic Movies, etc. is your gateway to a world of timeless entertainment.

For More Info:-

Family Movies

[trustcentric]

Optical disk archive

Optical disk archive archive#

Optical disk archive code#

Optical disk archive professional#

Optical disk archive archive#

Sony (as of 2020) sells 5.5TB Optical Disc Archive Cartridges. Sony's aim is to create at least a 6TB storage medium.

Optical disk archive professional#

Sony will be using Archival Disc in the Optical Disc Archive professional archival product range. Both companies will market the optical format under their respective brands. In order to reach a larger capacity whilst ensuring higher playback signal quality, the standard will employ crosstalk cancellation and partial-response maximum-likelihood (PRML) signal processing. The disc format is not intended as a consumer storage medium as of 2014, but is intended by the two companies as a solution for professional-level data archival. Sony expects the new standard to see usage in the film industry (such as storage of 4K resolution audiovisual data ), archival services, and cloud data centres handling big data. Release timescales of the larger discs are currently unknown. In the summer of 2015, Sony was scheduled to release a roadmap plan to increase Archival Disc capacity from 300GB to 1TB per disc. In 2019, Sony, co-developed with Panasonic, released it third generation Optical Disc Archival.

Optical disk archive code#

The track pitch is 0.225 μm, the data bit length is 79.5 nm, and the standard will utilise the method of Reed–Solomon Code error correction. The disc structure will feature dual sides, with three layers on each side, and a land and groove format. The Archival Disc standard jointly developed by Sony and Panasonic will utilise signal processing technologies such as narrow track pitch crosstalk cancellation, high linear density inter-symbol interference cancellation and multi-level recording. The discs are designed to hold 300 gigabytes of data in their first release, then a second version of the discs will hold up to 500 gigabytes, and eventually a third version of the discs will be able to store up to one terabyte of data, based on the roadmap plans of both companies. High-Definition Versatile Multilayer Disc (HD VMD).HD DVD: HD DVD-R, HD DVD-RW, HD DVD-RAM.Blu-ray Disc ( BD): BD-R & BD-RE, Blu-ray 3D, Mini Blu-ray Disc.DVD: DVD-R, DVD+R, DVD-R DL, DVD+R DL, DVD-R DS, DVD+R DS, DVD-RW, DVD+RW, DVD-RAM, DVD-D, DVD-A, DVD-Video, HVD, EcoDisc, MiniDVD.Compact disc ( CD): CD-DA, CD-ROM, CD-R, CD-RW, 5.1 Music Disc, Super Audio CD ( SACD), Photo CD, CD Video ( CDV), Video CD ( VCD), Super Video CD ( SVCD), CD+G, CD-Text, CD-ROM XA, CD-i, MIL-CD, Mini CD.At film production studios, post-production facilities, and film archives, DIVArchive V7.0 supports complex DPX packages with as many as 1 million individual files per DIVArchive object and frame- and path-based partial-restore operations. “Sony’s Optical Disc Archive system is a complete archiving solution for file-based workflow, and we look forward to seeing the system in action at IBC2012.”ĭIVArchive is a software-based middleware solution that interfaces via 1/10G Ethernet and 4/8G Fibre Channel networks to connect diverse media infrastructures with NAS, SAN, and data tape storage systems. “When the Sony optical disc expandable robotic library starts shipping, Front Porch Digital will support the Optical Disc Archive system using AXF,” said Geoff Tognetti, senior vice president of engineering for Front Porch Digital. By implementing open AXF within DIVArchive, the company has taken a step toward replacing outmoded legacy formats such as TAR with a truly open and storage-agnostic approach, ensuring long-term accessibility to the world’s most valuable content. Customers who use DIVArchive V7.0 with the Sony system will get the benefit of long-term storage and preservation through AXF.įront Porch Digital developed the new open AXF technology to protect, preserve, and facilitate the exchange of content among storage systems, today and for the future. The validation by Front Porch Digital means that Front Porch Digital will support Sony’s Optical Disc Archive expandable robotic library taking advantage of AXF technology. Sony is collaborating with manufacturers in a number of related business areas. This comes as a result of Front Porch Digital completing the process of validating devices for DIVArchive V7.0, the latest generation of the company’s acclaimed content storage management (CSM) system, and the first system of its kind to implement the new open AXF technology. Front Porch Digital will qualify Archive eXchange Format (AXF) technology for Sony’s recently announced Optical Disc Archive technology being unveiled at IBC2012.

[patrickjones-blog]

Photographic slides are part of many people’s old photo collections. Photographers in the pre-digital era are likely to have several of their images stored in this format. Others may have inherited a few boxes of slides from the family archives. Regardless of how the slides got there, one thing is true of all of them: they are at risk of deteriorating and being lost forever if we don’t act soon to digitize them.

What is a 35mm slide?

Technically, a slide can be either a cut negative of an image captured on film, or a developed and colorized film slice generated from a negative. In both cases, the slice is framed in cardboard or plastic in order to allow it to be easily handled as well as loaded into a slide projector for displaying.

Slides were originally designed as a space-saving format to store photos. Further, with slides, it was easy to project photos on a screen for a group to view at the same time rather than have people flip through an album individually. Over time, however, as digital formats and online sharing became more common, slides fell out of use. Many hobbyist and professional photographers kept the format alive for a bit longer, as they preferred the detail in film to that in early digital photos. But with digital now so well established, slides are largely relegated to gathering dust in boxes.

How to convert 35mm slides to a digital format

There are a couple of options when trying to convert images stuck in slides to a digital format:

Professional scanning

If you are willing to invest a bit in the project, professional conversion services are probably the best choice, especially when large libraries are involved. They have the equipment and expertise to efficiently convert negative slides as well as regular image slides. They can then make the images available through a number of digital formats, including online downloads, USB flash drives and CDs. The process is not only quicker but will also yield high quality images that can be printed and enlarged. Lastly, an established professional service can also expertly restore photos contaminated with dust or debris spotting, a common problem with slides that have been kept in storage for a while.

The do it yourself route

If you’re planning to digitize 35mm slides yourself, then you need to start with the right equipment which, in this case, means a scanner designed for scanning slides. These units take the slide and project it onto a receptor that captures the image and digitizes it internally. You can then pick and choose the slides you want to scan and retain versus the ones that are best discarded. If you don’t factor in the time involved, this approach is less expensive than using a service. There are a lot of slide scanners on the market and so here are some points to consider when shopping for one:

Image quality – Don’t waste your money on a low-megapixel scanner to scan 35mm slides. You need a scanner in the range of 9 megapixels or higher for best results. There are a lot of discount scanners available, but they compromise on image quality in order to keep their price points low. The best gauge of quality is the extent to which you can enlarge an image once scanned. Low megapixel scanners generally only give a 4 x 6 image at best. Good scanners can produce poster size images without loss of detail or quality.

Scanning speed – Again, low cost means a slower machine to convert 35mm slides to digital. If you have all year to scan slides, then this may not be such a huge consideration. But if you don’t want to be spending months processing slides, a better quality scanner can deliver faster results, as well as multi-slide scanning capability. Keep in mind that fast scanners require more data storage, so you will likely need a sizable storage card as well for the scanner until data is moved to your computer.

Compatibility formats – The large majority of scanners work well with most computers that are up to two years old. If your computer is older, then you may run into issues, especially on systems running an OS older than Windows 10 or an earlier Mac OS.

Comparison shopping – Don’t settle on the first scanner you find. There are many choices out there offered by the likes of Amazon and B&H. Walmart and Target are a couple of other stores worth checking out, although their stock tends to be limited when it comes to higher end models. Before you settle on a model, you may want to go down to a local camera or computer store to see how these scanners actually work and learn more about their features firsthand.

Consider renting or buying – If your scanning needs are a one-time event and you believe that you can wrap up the task over a weekend or within a week, consider renting. It may end up being more cost-effective than buying in such instances. Many high-end scanners are available for rental periods at a fraction of the cost of an outright purchase.

Bootstrapping

If you are working with a very tight budget then you can use a flatbed scanner for this purpose, although you are unlikely to get very high quality images this way. Still, it is a viable method to digitize slides into photo files for online sharing. Your image quality will depend on how much the scanner lights up the slide. You should factor in a certain amount of editing time on each scanned image in order to enhance it. Additionally, just laying the slides on the scanner won’t work. You will need some kind of cardboard backing to reflect the light back through the slide so it creates a decent quality image to capture. Since this will generate a collage of slides as one image, you will then have to crop out the individual images using photo editing software such as Photoshop. Although not ideal, the flatbed scanning route is still an option worth considering for those who want to minimize their costs.

The post A Primer on Digitizing Your Old 35mm Slides appeared first on ScanCafe.

via ScanCafe

[gracemulhollandstudio]

An Archival Impulse HAL FOSTER

However disparate in subject, appearance, and affect, these works—by the Swiss Thomas Hirschhorn, the American Sam Durant, and the Englishwoman Tacita Dean—share a notion of artistic practice as an idiosyncratic probing into particular figures, objects, and events in modern art, philosophy, and history.

In the first instance archival artists seek to make historical information, often lost or displaced, physically present. To this end they elaborate on the found image, object, and text, and favor the installation format as they do so.

Some practitioners, such as Douglas Gordon, gravitate toward “time readymades,” that is, visual narratives that are sampled in imageprojections, as in his extreme versions of films by Alfred Hitchcock, Martin Scorsese, and others.

Yet the term also suggests a changed status in the work of art in an age of digital information, which is said to follow those of industrial production and mass consumption.

This last point might imply that the ideal medium of archival art is the megaarchive of the Internet, and over the last decade terms that evoke the electronic network, such as “platforms” and “stations,” have appeared in art parlance, as has the Internet rhetoric of “interactivity.”

The archives at issue here are not databases in this sense; they are recalcitrantly material, fragmentary rather than fungible, and as such they call out for human interpretation, not machinic reprocessing.

Yet he insists that, even within this prison pail, radical figures might be recovered and libidinal charges rewired—that this “phenomenology of advanced reification” might still yield an intimation of utopian possibility, or at least a desire for systematic transformation, however damaged or distorted it might be

In an artistic equivalent of the uncertainty principle in scientific experiment, Girl Stowaway is an archive that implicates the artist-as-archivist within it.

It had a beginning and an end, and exists as a recorded passage of time. My own journey follows no such linear narrative. It started at the moment I found the photograph but has meandered ever since, through unchartered research and to no obvious destination. It has become a passage into history along the line that divides fact from fiction, and is more like a journey through an underworld of chance intervention and epic encounter than any place I recognize. My story is about coincidence, and about what is invited and what is not.

Sebald even questions the humanist commonplace about the restorative power of memory; the ambiguous epigraph of the first section of The Emigrants reads: “and the last remnants memory destroys.”

Durant stages his archive as a spatial unconscious where repressed contents return disruptively and different practices mix entropically

Yet this is not the only implication of his archival art: his “bad combinations” also serve “to offer space for associative interpretation,” and they suggest that, even in an apparent condition of entropic collapse, new connections can be made.

On the contrary, it assumes anomic fragmentation as a condition not only to represent but to work through, and proposes new orders of affective association, however partial and provisional, to this end, even as it also registers the difficulty, at times the absurdity, of doing so.