Tag Archives: blogathons

whiteshadow11

Preserving the Fragments: The White Shadow

[This post is a contribution to the third annual For the Love of Film blogathon and fundraiser, which will be running from May 13-18. This year, hosts Marilyn Ferdinand, Farran Smith Nehme and Roderick Heath have dedicated the week to Alfred Hitchcock, whose early (non-directorial) work The White Shadow will be the beneficiary of any money earned during the event, to support the National Film Preservation Foundation’s desire to stream the film online for free. Be sure to donate so you can see this very-nearly lost film yourself!]

[Note: I suppose I spoil The White Shadow a bit in here, but it’s an incomplete film, and in terms of film preservation, that’s part of its power. I wanted to get across the sense of what it was like to be in the Academy screening when we came to the end of the portion that exists. But if you particularly don’t want to know anything about the film until you can see it streaming thanks to the NFPF and this blogathon’s fundraising efforts, skim lightly especially in two paragraphs before and after the image of Hitchcock directing.]

We excitedly gathered on the sidewalk, anticipating being let into the Academy of Motion Picture Arts & Sciences’ own screening room, the Samuel Goldwyn Theatre in Beverly Hills. VIPs slipped by, headed toward the bar or lounge in their finery, while the rest of us waited, patient but anxious to begin the evening’s entertainment. Any screening at the Samuel Goldwyn Theatre is a treat, a step into a more opulent past presented by the self-appointed guardians of Hollywood history, but this was no ordinary screening. This was the very first appearance of an early, long-thought-lost Hitchcock film pretty much since its original release in 1924. Well, technically Hitchcock was the Assistant Director on the film (and he tended to get in on every part of production he could in those early days, so likely he was doing much more), the second of two collaborations with director Graham Cutts and actress Betty Compson, apparently rushed into production to capitalize on the popularity of the first, Woman to Woman. According to producer Michael Balcon, “it was as big a flop as Woman to Woman had been a success.” But Woman to Woman remains a lost film, and in any case, The White Shadow could’ve been a terrible movie and we still would’ve been ecstatic to see it.

Our excitement was first of all out of curiosity to see if we could see any glimpses of Hitchcock in the film’s style, but also simply because here’s a film that has been thought lost for decades, turned up (partially at least) in an archive in New Zealand, along with a bunch of other long-lost films. If we can still locate treasure troves like this in 2011, what else might still be out there, waiting for intrepid archivists to find it, figure out what it is, and restore it so the world can rediscover it?

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The Roundup: May 16, 2012

Well, the Roundup kind of took an unplanned hiatus while I recovered from the TCM Film Fest and struggled to get caught back up with the blogosphere. I’m still running a bit behind, but not by much, so let’s go ahead and try to get back into the groove here.

Featured Links

For the Love of Film Blogathon

The For the Love of Film Blogathon, now in its third year, supports film preservation by raising awareness of the need for preserving film and seeking to raise financial support for a specific film preservation cause of project. This year, the project is The White Shadow, the recently rediscovered 1924 film that Alfred Hitchcock worked on as assistant director (and many other things, most likely), currently the oldest film known to exist that Hitchcock played a part in making. In order to make it possible for more people to see the film, the National Film Preservation Foundation wants to put it streaming online, a conversion and delivery system that will cost several thousand dollars. Those of us blogging as part of the For the Love of Film Blogathon this year will be discussing Hitchcock’s work in general, his silent films, or other silent films in light of the importance of preserving this cinematic heritage and making it available to a wider audience. My piece about The White Shadow itself is right here. In the meantime, Marilyn Ferdinand of Ferdy on Films, Farran Smith Neame of The Self-Styled Siren, and Roderick Heath of This Island Rod are collecting the links to other participating blogs as articles get posted. It’s quite a collection already, which I look forward to delving into.

Tales of Hollywood: Preston Sturges’ Wild Ride by The Lady Eve of The Lady Eve’s Reel Life

Preston Sturges is one of my favorite writers and directors, and The Lady Eve (who has taken her pseudonym, of course, from one of his best films) has an excellent biographical piece about him and not only how he became one of a Hollywood’s first writer/directors (paving the way for Billy Wilder and many, many others), but about his other “job” as a restaurateur, starting the famous Players’ Club on Sunset, a popular hangout for many celebrities in the 1940s. She also tells of how the place basically ruined him. It’s a fascinating story that I really didn’t know anything about.

My 11 Favorite Cinematographers by Alex Withrow of And So It Begins

Cinematography is one of my favorite things about the movies, and it’s not uncommon that a movie that looks really beautiful or distinctive will jump up a couple of notches in my estimation no matter what I think about the rest of it (story, acting, etc.). It’s all too easy to fall back on auteurist shorthand and credit a film’s look to the director – which is not always totally wrong, but often when directors have a distinctive and consistent “look” to their films, it’s because they tend to work with same cinematographer over and over again. Alex Withrow jumps straight to the source here and talks about his favorite cinematographers. Then he realized there weren’t any female cinematographers on his list, and went specifically looking for women to feature, resulting in this post. Then he went to find the films that he loved the look of, but weren’t by otherwise known cinematographers, and came up with this post for B&W cinematography and this one for color cinematography. All in all, an excellent set of posts.

Thomas Edison and the Origin of Sound and Color in Films by Lara at Backlots

Quick, film history 101: when did sound come into motion pictures? 1927, with The Jazz Singer. What about color? 1936 with Becky Sharp. Both common answers and not totally incorrect, and yet also…incorrect. As much as I love B&W films and think color is an option, not a necessity, and as much as I’ve grown to love silent cinema and think it was just as high an art form as sound film eventually became, the early pioneers of cinema were no more content with B&W and silence at the dawn of cinema than they were in the late ’20s and early ’30s, and color and sound experiments started way back with Thomas Edison, one of the original developers of cinema. Lara lays out his experiments with both color and sound in a highly informative and interesting post.

The 10 Greatest Movies of All Time (According to the Internet) by Cole Abius at Film School Rejects

If you follow Roger Ebert on his blog or on Twitter, you may have noticed him debating over his votes for this decade’s Sight & Sound poll, which creates a top ten list every decade based on the lists submitted by prominent (and invited) film critics. The poll has a certain cache, but it understandably leans heavily on accepted canon. Not necessarily a bad thing, but FSR decided to hold their own poll, inviting various prominent members of online media and film-related websites to make their own poll, which has some interesting results – about half accepted canon, and about half what I’d consider the canon of 30-year-old men, in other words, well-beloved 1980s favorites. Which is fine, and actually creates a more diverse list that captures something of our zeitgeist. Both lists have their place, and it’s fun to see alternative takes on the “best” movies of all time.

The Future is Female: 2012 is the Year of the Empowered Girl by various writers at Row Three

A group effort by a bunch of Row Three writers, in which I played only a humble part, writing about Katniss Everdeen. Others covered Haywire, Prometheus, The Avengers, The Secret World of Arrietty, Brave, The Girl with the Dragon Tattoo, A Lonely Place to Die, and more, talking about how this year seems to be something of a watershed in terms of having a large number (and variety) of female leads in the kinds of films that are traditionally centered on male figures. Lots of room for disagreement, additions, or even wondering whether making such a list actually negates its own purpose, so come on over and leave your thoughts.

More Links!

  • Christopher Morris at The Cinementals lists his top five Ginger Rogers films (sans Fred Astaire)
  • Joanna at Man I Love Films acclaims Steve McQueen as the original badass, and she is totally right
  • Dan Heaton of Public Transportation Snob picks out ten of his favorite podcasts; I already listen to and enjoy a few of these, but I’ll definitely be checking out some more!
  • Richard Brody calls for Every Movie Now – can’t say I disagree with him, but restoration/digitization I’m sure is a barrier
  • Where Danger Lives turns up a veritable plethora of Joan Crawford posters
  • Max Steiner is pretty much the father of movie scores, and Lara at Backlots (again!) runs down his career and influence thoroughly and engagingly
  • Seems like everyone I know has been writing about Murnau’s The Last Laugh lately, and now Chris Edwards of Silent Volume joins his voice to the throng – apparently I gotta see this thing, and soon
  • Andrew at Row Three (and other sites, but I saw it here first, regardless of favoritism) highlights some fun facts about Universal Studios as they turn 100

Cool Trailers, Videos, and More

  • Ryan Gosling, Josh Brolin, Sean Penn, Emma Stone, etc., in a period neo-noir? Based on that and this trailer, I’m there the day Gangster Squad opens
  • I keep forgetting Safety Not Guaranteed exists, but with Aubrey Plaza in a time-travel-esque film, I gotta quit doing that – here’s the trailer
  • Can Ben Affleck go three for three as a director? Judging from this trailer for Argo, it seems very possible
  • Criterion has Three Reasons for The Gold Rush
  • Classic film fans! Check out this group photo and see how many you can name – I only got 15-20 or so (right click and say “open in new tab” to see it larger)

Noteworthy News

  • The Avengers is just setting records all over the place – $200m first weekend, $100m second, and over $1 billion worldwide
  • Jessica Chastain drops out of Iron Man 3 (boo!), but Rebecca Hall may be her replacement (yay!) – I love Hall almost as much as Chastain, and she definitely deserves more exposure, so I’m stoked
  • The existence of promo posters for Sin City 2 and Machete Kills suggest what Robert Rodriguez is up to lately
  • Edgar Wright‘s next movie may be The World’s End, a third film with Pegg & Frost; he’s still planning Ant-Man, though!
  • Apparently Film Socialisme isn’t to be Jean-Luc Godard‘s last film, after all; he’s prepping Goodbye to Language (which should really be the title of all his movies), and it’s gonna be in 3D – sorry JLG, I gotta *eyeroll* that
  • Brad Bird and Damon Lindelof working on a mysterious sci-fi project? Yeah, I’m there

For the Love of Film: Preservation Blogathon

love-of-film-blogathon

I’ve toyed on and off (mostly off) with the idea of working with film preservation – actually physically restoring aging films frame by frame before time and the elements destroy them. Theoretically film is timeless – it captures a moment in time and preserves it forever, allowing us to see actors, public figures, and our families and friends forever ageless. But physically, film is very delicate indeed; the nitrate stock used in non-digital film is highly flammable and prone to disintegration if not stored carefully. It’s estimated that over half of all films made before 1950 have been lost forever, and as many as 80-90% of silent-era films will never be seen again. With my love of classic film, those numbers horrify me. And while I haven’t actually gone into film preservation myself, Ferdy on Films and The Self-Styled Siren are setting up the opportunity to raise awareness of the need for it with an upcoming blogathon dedicated to the film preservation efforts of the National Film Preservation Foundation.

Here are a couple of paragraphs (copied from Marilyn, copied from the NFPF’s site) about the NFPF:

The NFPF raises money, awards grants, and organizes cooperative projects that enable archives, libraries, museums, historical societies, and universities to work together to save American films. Since opening our doors, we have helped preserve more than 1,560 films and assisted organizations in 48 states, the District of Columbia, and Puerto Rico. In 2009, we partnered with the National Film and Sound Archive of Australia to preserve and make available on the Internet several American silent films that no longer survived in the United States; another such project will be announced later in 2010.

A two-year study prepared by the Library’s National Film Preservation Board documented that American films are disintegrating faster than archives can save them. The types of motion pictures most at-risk are documentaries, silent-era films, avant-garde works, ethnic films, newsreels, home movies, and independent works. These are not Hollywood sound features belonging to the film studios, but ‘orphans’ that fall outside the scope of commercial preservation programs and exist as one-of-a-kind copies in archives, libraries, museums, and historical societies.

Because it is where the need is highest, the NFPF focuses on films that aren’t well-known, that don’t belong to a major studio, and that you’ve probably never heard of. But that doesn’t mean they aren’t important – these are the films that belong to the counterculture, to the individual, and to the world. These are films that will show the future that film doesn’t only belong to the big corporations, but to anyone who wants to make a film. And these are the films that preserve our history and our culture – but that won’t if they aren’t preserved themselves.

The blogathon starts officially a month from today, on February 14th. Keep an eye on Ferdy on Films and the Self-Styled Siren for more, as well as the site specifically set up for the blogathon, For the Love of Film. There you can also find some banners that Greg of CinemaStyles created (as well as the video embedded below) and use them to promote the blogathon as well, if you’re so inclined. I haven’t yet figured out what I will contribute, but I’m very excited to see what others will come up with.