criterionforum.org

A Cottage On Dartmoor will almost definitely be coming from the BFI in 2008, as a progressive PAL DVD from the new HD master. I hear they're trying to schedule it at the moment. If the Kino is a standards-converted PAL > NTSC disc, at least there'll be something better coming out sooner or later.

Cheers, Nick. Did MoC try to acquire Cottage?

No, it's always been a BFI affair. I just enquired about this title recently to try and find out what was going on.

Some updates from Digital Meme concerning Japanese silent films (including some Mizoguchi).

I'm not really sure where to put this post, as discussions of the new Eisenstein/"Potemkin" releases seem to be scattered all over this forum, there's some in the German Filmmuseum Thread (where they clearly don't belong), the most recent are in the Tartan thread.... would it be a good idea if the mods could splice all these posts together?

Just some additional comments on the new Transit edition, which I only watched yesterday and which I found amazing in various respects. As has already been pointed out, all the other editions, including the FsF, seem heavily cropped in comparison. Now, after watching the documentary on the disc it seems to be that it's not a fault of the disc producers, but simply due to the fact that they all seem to have worked from materials that the Russians cropped themselves when doing their 1976 version (there's a comparison of the framing of the various versions in that docu), in order to make it fit their current format and adding the Shostakovitch soundtrack. What the Russians also did is to actually prolong intertitles, and apparently even shots (by playing them back slower) in order to fit the film to Shosty's music! So if anyone wonders why the Shepard resto is 6 min. longer than this new version, although some shots are missing, now you know! Completely unacceptable practice, of course.

As to the new resto: everything is set right here, and that version seems to be a very faithful reconstruction of the original cut Eisenstein did for the Russian premiere. Now the Meisel music was written for the Berlin premiere, of course, and the German version was censored then, with Eisenstein himself re-cutting it. That meant that for this resto they had to slightly prolong the Meisel music in order to make it fit again after the missing shots were re-integrated. They did a perfect job with this, though. And the film gains so much by this original music. Instead of being constantly struck over the head by the Shostakovitch, one has now a very organic and dynamic feeling with this music. It greatly enhances the more lyrical scenes without taking away anything from the film's impact. The wider framing also enhances this, everything simply looks more 'open' and less heavy.
Also, a lot more (and better translated) intertitles which are very helpful to understand some of the action. The variations between the editing of this resto and the Shepard/Mosfilm version are not tremendous, but perceptible. So, definitely the most complete and convincing version, and surely the new Tartan, should it still be based on the old Mosfilm resto despite of the Meisel soundtrack, is not an alternative.

No english subs on both film and documentary (which curiously has optional Russian subs), so those who don't speak German or Russian would have to wait for the bfi or Kino to release this, but I'd say: this is worth waiting in any case.

Oh, nearly forgot: the image looks pretty gorgeous. Perfect contrast, mostly very clear and surprisingly little damage for the most part considering the age and history of that film.

Hey Tom, what about the new Transit NOS-- is this unsubbed also? I recall we all had a conversation about this and it was starting to look like that Transit was starting to english-sub their recent dvd's? Maybe it's because of the Kino dvd...? They dont want to step on their toes for the english market, I dunno.

The good thing now is for European silents, as HD transfers become the norm, PAL/NTSC shouldn't be an issue, if my understanding of the technology is correct. Or does that apply only to HD dvd's?

HerrSchreck wrote:Hey Tom, what about the new Transit NOS-- is this unsubbed also? I recall we all had a conversation about this and it was starting to look like that Transit was starting to english-sub their recent dvd's?

I don't know yet, it's not yet released (and I'll go for MoC in this case), but I would doubt it. I think the companies starting to put on english subs were arte stummfilmedition and German Filmmuseum (the latter always have English subs, it seems). It's probably indeed due to contractual regulations, or it's just laziness.

HerrSchreck wrote:The good thing now is for European silents, as HD transfers become the norm, PAL/NTSC shouldn't be an issue, if my understanding of the technology is correct. Or does that apply only to HD dvd's?

I think it applies to all dvds, but it would be a question when exactly the transfer was made. Think of the Lubitsch silents: these transfers were made some years ago, and the Kino discs apparently do suffer from PAL/NTSC issues as far as I read, whereas I still strongly suspect that the Stillers were HD transfers, because they don't have these issues at all. I wouldn't trust Transit as much as the SFI in any case. The German Lubitschs all look good, but not as good as they could be. There are definitely some compression and/or interlacing artefacts which I never saw on any of the filmmuseum discs that I have (and on the arte discs only when they licensed something from somebody else).

The Transit release of Nosferatu will sadly not feature English subtitles. I fear this will be a general trend from now on, at least for the films that will be licensed by foreign companies for English territories.

In the interest of reviving this thread and panhandling a bit for extra help, I thought I would make this post and see if anyone could help me out...

I am currently writing my thesis, which will focus specifically on the silent era (between its death knell years, around 1926-29). I am investigating these films through the lens of "cinematic modernism," particularly in relation to the ideas of commodification, consumerism, cultural performance, sexuality, individuality, and the metropolitan dysphoria. (Sorry about being vague... trust me, its even less fleshed out in my head right now.) At this moment, I'm pretty set on writing about King Vidor's [b1a]The Crowd[/b1a], Joe May's [b1a]Asphalt[/b1a], and G.W. Pabst's [b1a]Pandora's Box[/b1a]. I would like to include one more film--preferably from the US, to have an even balance of European and Hollywood product--and have considered a few possibilities but have not yet confirmed anything.

So does anyone have any suggestions about that elusive fourth film?

Edit: Or rather--which movies--possibly films I've never heard of-- might I consider?

(I'll accept PMs or message board posts... whichever's most convenient...)

(If this thread shouldn't be in this thread, please let me know and I'll move it.)

I would wait until you've written on at least one of those films in detail, so that you can have a better idea of what your project is all about. Don't pick all the films first. Start exploring one, see what problems you find compelling and then look to the others to see if they offer different ways of approaching those problems. That's how you should choose the primary material. Start with The Crowd. Go from there. Fejos's Lonesome might be a good match with that. As would Sunrise. But let the project evolve first, then see what films would fit best.

postmodern-chuck wrote:"cinematic modernism," particularly in relation to the ideas of commodification, consumerism, cultural performance, sexuality, individuality, and the metropolitan dysphoria.

So does anyone have any suggestions about that elusive fourth film?

I'd say that your film is almost beyond all doubt going to have to be 1929's PICCADILLY by E A DUPONT. Milestone as well as Bfi feature lovely and informative discs of the recent restoration of this masterpiece. It epitomizes all the issues you raise. Each and every single one of them, and in blaring terms perfect to your project.

In tems of thinking through "cinematic modernism' you must first identify exaclty what definition of modernism you intend to apply to your readings of the films. Usually when considering the effects of the commodification and gross commercialism of society, many scholars refer to it as "pstmodern" because capital and labor can no longer be firmly linked. Also modernism tends to connote a belief that there is some type of universal/ relative truth, whereas postmodern challenges all notions of truth and authority. For a good discussion of these concepts consult the work of Fredric Jameson and Althusser, as well as Guy debord.
Now as to your question about the films, my first piece of advice as someone who is pursuing a doctorate in film studies is to consider how the films might be tied together through historical as well as cultural perspectives. For example you mention that you are focusing on the years of 1926-1929, what is commonly referred to as the high point of silent cinema. Thus start looking at films that might connect thematically and stylistically to support your assumption. So if you are intent on using King Vidor's The Crowd, perhaps you should consider using other films that depict the commercialism of cinema itself, such as The Last Command. Or perhaps you could analyze the effects of capitalism on the worker and the consumer, for such an anlysis one could look at Mary Pickford's My Best Girl or Clara Bow in It.
I agree with everyone else that Sunrise is a masterpiece, arguably it is perhaps the greatest film of the era, but you need to examine how it might fit in with your overall project. Another film to consider might be Ford's Iron Horse, a Western about the formation of the American continent and the influence of railroads. These are merely avenues of thought. Hope they help and good luck with your project. Just remember always be reading and writing.[/i]

Magnificent as SUNRISE is (Murnau is and always has been my favorite director, and I've seen this film in the cinema, on vhs, and on dvd all total at least a hundred times), I really don't see it fitting your criteria-- it's a forced fit. Watch PICCADILLY-- I suspect this film will be perfectamundo.

postmodern-chuck wrote:I am currently writing my thesis, which will focus specifically on the silent era (between its death knell years, around 1926-29). I am investigating these films through the lens of "cinematic modernism," particularly in relation to the ideas of commodification, consumerism, cultural performance, sexuality, individuality, and the metropolitan dysphoria.

What you're describing sounds a lot like the Frankfurt school influenced theory of "vernacular modernism" developed by Miriam Hansen.

You may also want to look into Ben Singer's Book 'Melodrama and Modernity' and Zhang Zhen's 'An Amorous History of the Silver Screen'. Modernity theory is pretty hot in films studies right now, so you shouldn't have trouble finding material to fill your archive.

I picked up "THE HUNCHBACK OF NOTRE DAME Ultimate Edition" this weekend and was basically impressed. At least versus what's been previously available on this title. It came from Image/Blackhawk (meaning David Shepard) instead of Kino, as expected... Kino's been announcing editions of this and PHANTOM as forthcoming for about 2 years now. But barring the unearthing of a less damaged print (the films preservation positives are in notoriously bad shape), or some monstrously enjoyable extras, I cant see them trumping this. Since the nitrates on this are worn with nicks & scratches from extensive pre-preservation projection, with no pristine sources in sight, the best one can hope for is decent tints and a hi-def transfer... which is the case here. A brand new hi-def transfer of a delicately tinted positive reveals some detail that was not previously visible in earlier editions. And Michael Blake does his usual great job providing entertainingly enthusiastic, and obsessively eductational commentary. I love this guy-- he's one of the very few guys whose commentary I go RIGHT to when buying a title... most commentaries I dont even listen to.

The rest of the extras are good-- they ran telecine on the sum of the salvagable footage from the ancient ALAS & ALACK from 1913.. features Chaney playing a hunchback 10 years before NOTRE DAME, and a good 7 yrs before the world learned his name via PENALTY. The provide not one but TWO booklet inserts... one a 4 page color glossy that includes the chapter menu, and a great essay on the films genesis & execution by Blake. The second is a beautiful full color 20 page duplicate of the souveneir booklet handed out by Universal at the film's premeir exhibitions at premium outlets. The set also included TWO sets (was that a mistake?) of 3D glasses with which to view the stills included in a 3D screen format.

All in all a great deal for under 20 bucks, and probably the last word on the film for home vid for many years to come-- at least barring the discovery of new elements.

Regarding Hunchback, I trust Image has moved beyond the ghosting issues that plagued 2003's Phantom of the Opera release? I seem to recall Image blamed Milestone for sloppy conversion, but never heard much else on the matter.

I'm not sure where to ask this, but this seems like the right place.

Since the New York Film Festival cancelled their screening of The Iron Horse (new score and all), does anyone know if it's slated to come out on DVD?

It was the only silent I was going to be able to see, and then it wasn't. Somewhat disappointing (given I've heard little about it).

Yes. It's being released in the massive Essential John Ford Collection, which has been discussed here. It'll also be available in a separate Ford silents collection.

gubbelsj wrote:Regarding Hunchback, I trust Image has moved beyond the ghostic issues that plagued 2003's Phantom of the Opera release? I seem to recall Image blamed Milestone for sloppy conversion, but never heard much else on the matter.

Yes, that release of PHANTOM which causes one's eyed to drip blood (that's literally the extreme of the mess that can be created by encoding a nonpreconverted master tape without any attempt to minimize the ghosting) was from Milestone's use of a British PAL master tape from Kevin Brownlow's restoration. It's really a shame because otherwise it's a beautiful package. The worst part is that lurking in there is a good transfer of the tinted, restored, rerelease print from the late 20's.

No this isn't anywhere near that, although it's not progressively encoded. It''s a hi-def transfer, encoded interlaced.

Arte just broadcast this version of 'Intolerance'.
Very damn good print, it looked as good as the restored Metropolis version, maybe a little better.
There are no big scratches or dirt, the colors are strong and the picture is quiet without wobbling intertitles. =D>
Good music from Antoine Duhamel and Pierre Jansen, but I never saw this movie before , so I can't compare it to other 'Intolerance' soundtracks.

I hope this will get a DVD release.

mogwai wrote:Yes. It's being released in the massive Essential John Ford Collection, which has been discussed here. It'll also be available in a separate Ford silents collection.

Thought I'd posted a thank you, but I seem to have missed it. I'll keep an eye out for that.

Gofter wrote:Arte just broadcast this version of 'Intolerance'..

Damn, I missed it because I thought it was the version I already had on that Kino Griffith Masterworks disc, which isn't bad, though. But it seems that the new print and especially the new music are an improvement. I bet this will come from arte stummfilmedition rather sooner than later.
Which reminds me: has anyone else experienced an encoding error with the soundtrack on the Kino disc? On my copy, it is only on the left stereo channel (while clearly being recorded in full stereo, of course). It's pretty annoying if you don't use the speakers in your TV set but play the sound via the hi-fi. I just wonder whether that affects all copies, because to my knowledge no reviewer has pointed this out. All the other discs in that Griffith set are fine in this and other respects.

Talking of recent restos: arte will show Murnau's "Phantom" on October 19. A must see for those who cannot wait for the MoC disc and have avoided the Flickeralley because of the replaced titles.

And just two weeks ago they showed a 2007 resto of Jean Epstein's "Finis Terrae", which looked absolutely gorgeous, and the film was a captivating experience, of course. Sharing a lot with both Flaherty's "Man of Aran" and Powell's "The edge of the world" (with which it even almost shares the title), this is a striking early example of those portrayals of hard life on isolated islands which seem to form almost a sub-genre in themselves, if one includes "La terra trema" or "The naked island". I assume this will come from arte stummfilmedition or arte france soon, too. I only hope the French will do more Epstein, Bernard etc.. It seems they are even slower in restoring/releasing their classics than the Germans....

[quote88="Tommaso"] and have avoided the Flickeralley because of the replaced titles. ....[/quote88]
Slight correction. There are no intertitles on the materials, aside from handscribbled flashframes from which to build new titles. There are no vintage cards on the neg.

[quote10="HerrSchreck"]Slight correction. There are no intertitles on the materials, aside from handscribbled flashframes from which to build new titles. There are no vintage cards on the neg.[/quote10]
Let's not quibble about this again. If we hadn't gotten the info from Nick that MoC is releasing "Phantom", I would surely have bought the Flickeralley already. But as I have managed so long to wait for the MoC, grant me the pleasure of finally being able to see the film at least on TV.

This thing about the handscribblings intrigues me. Does that mean that FWMS simply took those scribblings and re-wrote the text as a normal intertitle? I always thought that as usual they used censorship cards to create new German titles, which were then translated into English for the Flickeralley edition. It would be interesting to know what actually was written on these flashframes, full texts or just 'indications'? If the latter was the case, it might mean that there NEVER were any definitive titles, so that each and everyone could create a title of their liking based on the indications on the flashframes.