From: Scott (email suppressed)
Date: Thu Jan 12 2006 - 13:22:27 PST
Hi Bill,
Forgive the dumb question, but is the month-long series
scheduled for April?
Scott
At 12:47 PM 1/12/2006, you wrote:
>Thank you to all who responded on and off list to my posting about a
>film preservation guide for filmmakers. Your comments, suggestions
>and stories are very helpful. I'm not thinking of an exhaustive
>guide since I can and will direct readers to NFPF, Lux, IMAP and
>Screensound. Instead, I was thinking about a very simple set of
>steps filmmakers can take such as:
>
>locating the films
>
>getting them back from labs
>
>getting them out of basements, attics and garages
>
>removing them from acid laden boxes, closed cans and plastic bags
>
>removing paper products from the cans (although I'm still trying to
>figure out what to recommend so that the paper records don't get
>forever separated from the films)
>
>checking for vinegar and isolating deteriorating reels.
>
>
>Then, I thought I'd present a basic model of what a partial and full
>preservation might entail, so that even if you can't do it, you'll
>know what might be done.
>
>
>Finally, I suppose I need to write something about how to deposit
>originals and masters with archives, but I don't have clear answers
>to this question and was hoping to address them problem through a
>colloquium that is being proposed at NYU.
>
>
>The point is, most of us CAN'T do full preservation on our work and
>so have a mental block about doing anything! I want to provide a
>"harm reduction" approach and encourage all of us to take the simple steps.
>
>This leads me to explain why I'm doing all this.
>
>April 2006 marks the 30th Anniversary of BB Optics, my optical
>printing and film preservation company. Anthology Film Archives
>(Andrew Lampert) along with the Moving Image Archiving and
>Preservation program at NYU Cinema Studies (Howard Besser) is
>organizing a month-long series of screenings to celebrate the
>occasion. Programs will be an eclectic mix of films selected out of
>the list of the hundreds of films I've worked on or preserved since
>1976. The idea is to make really interesting shows that mix and
>match in unlikely combinations. For instance, we're hoping to open
>the series with a show combining Saul Levine's "New Left Note", a
>regular 8mm rapid fire diary film on the anti-war, anti-racist, and
>women's liberation movements of the early 1970s with a compilation
>of the Nixon White House Staff Super8 films. (Nixon gave super8
>cameras to his top aids and the FBI confiscated them when they found
>them in the office files of John Ehrlichman after he resigned his
>post as Assistant to the President for Domestic Affairs on April 30,
>1973.) I preserved all 14 hours of these films a few years back
>through a contract with the Nixon Library at the National
>Archives. Brian Frye is making the compilation.
>
>As a catalogue for the show, Anthology is printing a short book that
>will contain the program, along with some of my own writing, essays
>by filmmakers, film scholars and archivists as well as a
>self-preservation guide for filmmakers (if I can get it together in
>the short period of time before we go to press!)
>
>In any case, I'd love to hear more stories about what is and isn't
>being done to keep our works from disappearing. I'll keep you
>posted about the Anthology shows and the book.
>
>Thanks for the response so far.
>
>Bill
>
>--
>Bill Brand
>BB Optics
>108 Franklin Street #4W
>New York, NY 10013
>(212) 966-6253
>http://www.bboptics.com/bboptics
>
>__________________________________________________________________
>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>
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__________________________________________________________________
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.