Un documental sobre la fallecida Vivian Maier, una niñera cuyas 100.000 fotografías hasta entonces desconocidas le valieron una reputación póstuma como una de las mejores fotógrafas de la calle.
¿Qué tienen en común películas como Casablanca, El Padrino y West Side Story? Además de su popularidad, han sido consideradas “significativas desde un punto de vista cultural, histórico o estético” por la Biblioteca del Congreso de los Estados Unidos y catalogadas en el Registro Nacional de Cinematografía, un listado de los tesoros del cine norteamericano que refleja la diversidad de las películas, y por lo tanto de la misma experiencia de Norteamérica. Cada año se añaden 25 películas al Registro. La lista actual de 525 películas incluye títulos de todas las categorías: documentales, clásicos de Hollywood, cine de vanguardia, cortos y cine mudo. El documental These Amazing Shadows es un detallado dossier de la rica y extensa filmografía estadounidense, no sólo desde un punto de vista cinéfilo, sino también cultural y humano.
Among the pieces featured in Fragments are the final reel of John Ford's The Village Blacksmith (1922) and a glimpse at Emil Jannings in The Way of All Flesh (1927), the only Oscar®-winning performance in a lost film. Fragments also features clips from such lost films as Cleopatra (1917), starring Theda Bara; The Miracle Man (1919), with Lon Chaney; He Comes Up Smiling (1918), starring Douglas Fairbanks; an early lost sound film, Gold Diggers of Broadway (1929), filmed in early Technicolor, and the only color footage of silent star Clara Bow, Red Hair (1928). The program is rounded out with interviews of film preservationists involved in identifying and restoring these films. Also featured is a new interview with Diana Serra Cary, best known as "Baby Peggy", one of the major American child stars of the silent era, who discusses one of the featured fragments, Darling of New York (1923).
¿Por qué podemos ver hoy imágenes que se filmaron hace más de 125 años? A medida que nos adentramos en la era digital, nuestro patrimonio audiovisual parece darse por sentado. Sin embargo, buena parte del cine y de nuestra historia filmada ya se ha perdido para siempre.
In this John Nesbitt's Passing Parade short, a look is taken at the problems of film preservation efforts in the 1930s and early 1940s.
On the first hot day of summer, an old farmer goes fishing just as he has done for many years on the West Branch of the Delaware River. A young boy, his frequent fishing companion, eagerly takes him to see the first giant bulldozers, which are to begin construction on the Cannonsville Reservoir. In order to provide more water for the cities, the vast project will flood the valley. The old man goes to the general store and walks the length of the valley to talk about his concerns, but most people do not support him. The young people of the valley celebrate at a barn dance. The old man resists eviction with his unloaded flintlock. The next day, he watches as the houses and farms are burned to clear the way. His friend, the fiddler, picks him up and takes him and his few belongings away.
This John Nesbitt's Passing Parade series short highlights the film preservation efforts of the Museum of Modern Art in New York. Several scenes from early newsreels are shown.
Thierno Souleymane Diallo sets out with his camera in search of the birth of filmmaking in Guinea. Charming and determined, he traces his country’s film heritage and history and reveals the importance of film archives.
This documentary short-film follows the story of The White Bus Cinema based in Southend-on-Sea. They keep the process of projecting real celluloid film alive by showing films from their archive of over 3,000 films, ranging from Super 8, 16mm, and 35mm prints. The film argues why it's important to continue the shooting and projection process of film in our current age of digital shooting and projection in modern Hollywood, amidst the chaos of studios removing films from their streaming services.
A 3 Part Collection of More Than 75 Early Films by Alice Guy, Louis Feuillade and Léonce Perret. The invention of cinema—and its growth into a sophisticated art form—are vividly brought to life in this massive collection of films from the early years of the influential Gaumont Film Company. Each disc is devoted to one of Gaumont’s artistic directors, who oversaw all film production at the studio, and profoundly influenced not only the identity of the studio but also the evolution of the cinema itself.
A glimpse at how genre film-focused home video companies have taken the charge in preserving, restoring, and releasing so many works which otherwise might have been lost to time.
Apostles of Cinema follows Frank, DJ Black, and Rehema — three devoted film workers in Tanzania — as they reintroduce a classic piece of the country’s film history to their audiences of working class cinephiles. We join them, alongside Maangamizi: The Ancient One (2001), on a journey through the labyrinth of informal libraries, studios, and cinemas that exist to keep film and film culture alive. A testament to the profound cultural value of film when made truly accessible.
A documentary on Cosme Alves Netto (1937-1996), former head of the Cinematheque of the Museum of Modern Arts at Rio de Janeiro.
A comprehensive and fascinating behind-the-scenes look at the restoration process of restoring 3-strip Cinerama for the 1962 film "The Wonderful World of the Brothers Grimm".
Documentary short regarding the preservation and restoration of the worldwide remains of the Keystone films.
A discussion on restoring title cards to English from foreign source prints.
Ben Model discusses scoring music for silent movies.
Documentary about the Buster Keaton short Hard Luck (1921).
Documentary on Day Dreams (1922), a Buster Keaton silent comedy.
En la segunda década del siglo pasado, el guayaquileño Augusto San Miguel (1905-1937) dirigió, produjo y protagonizó las primeras películas de ficción realizadas en el Ecuador. Desgraciadamente las películas de San Miguel -como varios episodios de su vida- se perdieron en el tiempo. Lo único que queda de su producción cinematográfica son los anuncios en los diarios de la época, así como una misteriosa leyenda, según la cual fue enterrado con sus películas.