Emory Cinematheque 2019
Left to right: Leonardo DiCaprio and Cate Blanchett in The Aviator | image source: theoscarbuzz.blogspot.com
The Cinematheque Film Series presents a weekly film series on Wednesday nights at 7:30 p.m. in either White Hall 205 or 208 at Emory University during the school year. The series is a collaboration between Emory College and the Department of Film and Media Studies, showing a series of outstanding films, typically in 35mm or DCP, from world cinema with an introduction by Emory faculty members.
The weekly screenings are free and open to the public.
Emory Explores the History of Color Films in Free Screening Series
ATLANTA (January 2, 2019)—The Emory Cinematheque, a weekly series of free film screenings, presents “Glorious Color!” for its Spring 2019 program. Beginning January 16 with restorations of Robert Wiene’s The Cabinet of Doctor Caligari (1920) and the Georges Méliès short A Trip to the Moon (1902), the screenings will be held each Wednesday at 7:30 PM in Emory’s White Hall 208 through April 24th. They are free and open to the public. All screenings will be shown in the theatrical projection formats 35mm or DCP.
From the earliest days of cinema, filmmakers have found sophisticated and expressive ways to represent color on
“Besides showcasing some of the most striking examples of color in the history of film, I want to raise awareness of the recent boom in digital film restoration. It is gratifying to see so many older films available to the public in high-quality versions, but at the same
Each film will be introduced by Dr. Steffen or other film studies faculty. For more information, visit the Emory Film and Media Studies website at http://filmstudies.emory.edu/home/events/film-series/emory-cinematheque.html or call 404-727-6761.
Spring Film Screen Series:
January 16, 2018: A Trip to the Moon (1902) and The Cabinet of Doctor Caligari (1920), 92 minutes total. DCP.
During the silent era, filmmakers used a variety of techniques to introduce color in their images, including tinting and toning, hand and stencil coloring of individual frames, and early experiments with natural color photography. This restoration of Georges Méliès’ A Trip to the Moon based on a rare hand-colored print. The 2014 restoration of Robert Wiene’s classic German Expressionist work The Cabinet of Dr. Caligari draws upon the surviving camera negative and reproduces the tinting and toning found on early release prints of the film.
Technicolor was not the first successful natural color process, but it became by far the most widespread since exhibitors could use normal projection equipment in all but its earliest version. Until the early 1930s, Technicolor employed a
The first major three-strip Technicolor film was the Disney animated short The Flowers and the Trees (1932). By the time of The Adventures of Robin Hood (1938), Technicolor had solved the main problems of photographing and printing
The cinematographer Jack Cardiff collaborated on three features with the Michael Powell and Emeric Pressburger: A Matter of Life and Death (1946), Black Narcissus (1947), and The Red Shoes (1948). They stand out as imaginative high points not only in the use of
The musicals that Arthur Freed produced for MGM arguably represent the creative pinnacle of Technicolor in Hollywood. And one of best examples of this is surely the 17-minute ballet sequence that caps Vincente Minnelli’s An American in Paris (1951) In it, Minnelli and his production designers evoke French painters such as Maurice Utrillo, Henri de Toulouse-Lautrec, Henri Rousseau
Eastman Kodak’s single-negative Eastmancolor process quickly displaced the three-strip Technicolor system as the industry standard, although Technicolor continued to produce
Technicolor’s dye transfer printing process, also known as dye imbibition and commonly abbreviated as “IB,” involved printing individual yellow, cyan and magenta dye layers that were “imbibed” by the gelatin on film stock. While relatively expensive and
In his first color film, the renowned Italian director Michelangelo Antonioni employed visual effects such as an extreme telephoto lens to suggest the troubled psychological state of the protagonist, Giuliana (Monica Vitti), as she wanders the industrialized landscape of northern Italy. Notoriously,
Taking advantage of faster Eastmancolor film stocks, in the 1960s Ingmar Bergman and Sven Nykvist largely abandoned standard studio lighting setups in favor of a more direct and naturalistic style. In Cries and Whispers (1972), they combined this approach with striking art direction and costume design that emphasizes reds, whites, browns
Barbara Loden wrote, directed and starred in Wanda (1970), a low-budget independent film about a woman adrift on the margins of society in Pennsylvania. Loden shot the film on 16mm reversal stock, which was subsequently blown up to 35mm for theatrical release. This 4K restoration by the UCLA Film and Television Archive preserves the film’s gritty
Vilmos Zsigmond (1930-2016) was easily one of the most accomplished cinematographers of the 1970s, working with filmmakers such as Steven Spielberg, John Boorman, Michael Cimino, and Robert Altman. In McCabe and Mrs. Miller (1971), Altman wanted to suggest the look of “old faded pictures.” Zsigmond employed a method known as flashing, which entails pre-exposing the negative to light before shooting. The resulting grainy image alarmed studio executives, but it helped cement the film’s reputation as a sophisticated and layered commentary on the Western genre and American capitalism. The film is also memorable for its performances by Warren Beatty and Julie Christie.
The bleach bypass process and its variants entail skipping or minimizing the usual bleaching stage in photochemical lab development. Because more silver is retained in the image, it increases the contrast and results in deeper blacks. It can also result in desaturated colors. In Distant Voices, Still Lives (1988), one of the most highly acclaimed modern films from the United Kingdom, Terence Davies uses the distinctive bleach bypass look to evoke his emotionally complex childhood in working-class Liverpool, and the impact of popular music on his family’s life. This new 4K restoration was supervised by the director.
The use of a digital intermediate (DI) entails scanning a film digitally, working with the image on a computer, then printing the finished master back onto film or using it for digital projection. The technology has existed in various forms for years, but by the early
In a profile on Speed Racer (2008) in American Cinematographer, David Tattersall stated: “To bring the anime world to life, the Wachowskis wanted something very different - not really a film look, a digital look, or an animated look, but a hybrid of all three. Our goal was a hyper-real look.” To achieve that look, Tattersall and the film’s technical crew used high definition video instead of film, an exaggerated color palette, and elaborate digital compositing and green screen effects. Lana and Lilly Wachowski’s homage to the Japanese manga and television series from the Sixties failed to turn a profit at the box office and received mixed reviews, but has since grown in reputation due to its high octane visual style and excellent cast, including Emile Hirsch, Matthew Fox, Christina Ricci