L’incroyable histoire d’une mystérieuse inconnue, photographe reconnue aujourd’hui comme l’une des plus grandes Street Photographers du 20ème siècle. Née à New York, d’une mère française, avant de résider à Chicago, Vivian Maier était inséparable de son Rolleiflex et prit tout au long de son existence plus de 100 000 photographies sans jamais les montrer. Pour être libre d’exercer son art quand elle le voulait, Vivian Maier fut une nanny excentrique toute sa vie. ..
Tells the history and importance of The National Film Registry, a roll call of American cinema treasures that reflects the diversity of film, and indeed the American experience itself.
Pourquoi sommes-nous encore capables, aujourd'hui, de voir des images prises il y a plus de 125 ans ? A l'heure du numérique, le patrimoine audiovisuel apparaît comme une évidence. Cependant, une grande partie du cinéma et de notre histoire filmée a été perdue à jamais. Archivistes, techniciens et cinéastes de différentes parties du monde expliquent ce qu'est la préservation audiovisuelle et pourquoi elle est nécessaire. Le documentaire est un hommage à tous ces professionnels et à leur travail important.
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).
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.
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.
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.
Mamlo parcourt la Guinée à la recherche de Mouramani, premier film tourné en 1953, par un noir d’Afrique francophone. Dans cette quête, il découvre ce que fut le cinéma dans son pays et ce qu’il est devenu. Confrontant sa caméra à l’Histoire, il cherche jusqu’en France une copie de ce film disparu.
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 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.
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".
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.
Documentary short regarding the preservation and restoration of the worldwide remains of the Keystone films.
A documentary on Cosme Alves Netto (1937-1996), former head of the Cinematheque of the Museum of Modern Arts at Rio de Janeiro.
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 discussion on restoring title cards to English from foreign source prints.
Ben Model discusses scoring music for silent movies.
Documentary on Day Dreams (1922), a Buster Keaton silent comedy.
During the 1920's, Augusto San Miguel (1905-1937) directed, produced and starred in the first feature films made in Ecuador. Unfortunately, San Miguel's films -like many episodes of his life- disappeared in time. The only remains are the movie ads on old newspapers and a mysterious legend, by which San Miguel was buried with his films.
Documentary about the Buster Keaton short Hard Luck (1921).