Back for the Future: Film Restoration in the 21st Century

The Academy Film Archive is hosting a UCLA class, MIAS 210: Ethics of Film Restoration, on Monday nights at 7:30 beginning September 30 at the Linwood Dunn Theater. The screenings and discussion are free and open to the public.

More information for MIAS students: click here

Screenings: Mondays at 7:30 PM Linwood Dunn Theater

Schedule:

September 30: Schawn Belston, 20th Century Fox

Film: MY DARLING CLEMENTINE (1946, John Ford)

This screening will debut a 4k digital restoration of John Ford's classic Western My Darling Clementine. Featuring iconic performances by Henry Fonda as Wyatt Earp and Victor Mature as Doc Holliday, My Darling Clementine, whose original negative has been lost, can still be viewed on the big screen thanks to the efforts of film archives, and 20th Century Fox's most recent effort.

October 7: Jere Guldin, UCLA Film & Television Archive

Film: Restoring Clara Bow: RED HAIR, THREE WEEK-ENDS fragments and the recently preserved feature POISONED PARADISE: THE FORBIDDEN STORY OF MONTE CARLO (1924, Louis Gasnier)

Clara Bow was the “It” girl of the 1920s, whose fashion, fame and persona defined the Jazz Age and flapper era. Although many of her films are lost, Bow’s impact on the popular culture endures in the remaining works. Fragments from two films, as well as the newly preserved feature Poisoned Paradise, will be screened with live piano accompaniment by Michael Mortilla.

October 14: Robert Harris, independent restorationist

Film: REAR WINDOW (1954, Alfred Hitchcock)

One of Hitchcock's undisputed masterpieces, Rear Window features electrifying performances by James Stewart as a recuperating photojournalist in a leg cast and Grace Kelly as his socialite girlfriend who begin to suspect the neighbor they can observe through his rear window may be a murderer. In 2002, when the Technicolor dye transfer process was revived, the restoration team took advantage of its unique opportunities. The very first 2002 dye transfer print of the restored Rear Windowwill be screened.

October 21: Joe Lindner, Academy Film Archive

Film: Preserving Large-Format Film: THE MIRACLE OF TODD-AO, A PLACE TO STAND, TO BE ALIVE!

The seeds of IMAX and the recent high-frame-rate presentation of Peter Jackson's The Hobbit: An Unexpected Journey can be found in the 70mm Todd-AO format, which featured stereophonic sound and 30-frames-per-second projection. Three of these early large-format films – which will be presented as they were seen by their original audiences and cannot be screened in any other theater – showcase the technical achievements of these pioneering filmmakers and the challenges of preserving (and presenting) their films in the 21st century.

October 28: Adrian Wood, independent consultant, International Olympic Committee

Film: Preserving Feature Films and Filmed Records of the Olympic Games

Filmed records were created for every Olympic Games held in the 20th century. Preserving and restoring these films has been a Herculean task, involving numerous archives around the world and professionals familiar with every cutting-edge film and video format available to filmmakers at every Olympics. Rare footage from the Olympic Games of 1928, 1936 and 1968 will be featured, as well as a short documentary showing Leni Riefenstahl planning, shooting, and editing Olympia, her film of the 1936 Berlin Games.

NO SCREENING on NOVEMBER 4

November 11: Heather Linville, Academy Film Archive

Films: Preserving the Academy War Film Collection

In the years following World War II the Academy actively acquired hundreds of nitrate prints of short films designed to educate, encourage, and inspire homefront audiences during the war. The collection is one of the largest outside government archives and contains many unique prints. Academy Film Archive preservationist Heather Linville will show many of the preserved films and offer insight into the research and preservation practices that have gone into this 8-year effort which has resulted in the rediscovery of many shorts not seen by audiences in over 70 years.

November 18: Jeff Lambert, National Film Preservation Foundation

Films: Preserving the Avant-Garde: The NFPF's Avant-Garde Treasures DVD Set

Working independently, avant-garde and experimental filmmakers have pushed the limits and broken the rules of traditional filmmaking to create their own personal works. Films selected for the NFPF’s most recent collection in its DVD series “Avant-Garde Treasures,” by Carolee Schneemann, Bruce Conner and Andrea Callard, will be presented on film along with a discussion of the particular challenges of preserving these unique, cutting-edge works.

November 25: Rita Belda, Sony Pictures Entertainment

Film: HARD TIMES (1975, Walter Hill)

The challenges of preserving a film made within the 1970s studio system will be discussed through a case study of Hard Times, a 1975 film featuring Charles Bronson as a bare-knuckle fighter in 1930s New Orleans.

December 2: Theo Gluck, Walt Disney Company

Film: Digital Restoration of Academy Award®-Winning Disney Animated Shorts: FLOWERS AND TREES; THE OLD MILL; TOOT, WHISTLE, PLUNK AND BOOM

The Academy Award-winning shorts Flowers and Trees and The Old Mill, made by Walt Disney in the 1930s, first introduced audiences to Technicolor animation. While these shorts served as a testing ground for expansion to the Technicolor features Disney would later produce, such as Snow White and the Seven Dwarfs and Fantasia, they were also animation masterpieces in their own right. Twenty years later, Disney won another Oscar for his studio's first foray into color widescreen (Cinemascope) animation, Toot, Whistle, Plunk and Boom. Screenings of the 4k digital restorations of all three shorts will be accompanied by a detailed discussion of the challenges of preserving and restoring animated films.

December 9: Keanu Reeves and Justin Szlasa, independent producers (schedules permitting)

Film: SIDE BY SIDE (2012, Chris Kenneally)

In 2010 actor-producer Keanu Reeves witnessed the transition from film to digital media – in image-capture, post-production and theatrical presentations – and decided to document this sea change taking place in his industry. Through interviews with leading Hollywood filmmakers and cinematographers, SIDE BY SIDE probes the virtues and limitations of capturing and viewing stories on film vs. digital means. This screening will be the premiere of the first 35mm print of SIDE BY SIDE.




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