News for today's 2018

THESE AMAZING SHADOWS: The Film Preservation Act and the National Film Registry

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgogjUwYYTNIqX552IogP-aPIByboHR3kg9FSji57qXh_xw8mm7imKWQUJS4oNaM_SbJhv10_KFRQ2C_oKxdkLnm5WWnYOP2uPd5CD26jCWdEGRsz-8KE8a1xcmBHMnX73dtI4leqGVox6i/s1600/These+Amazing+Shadows.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgogjUwYYTNIqX552IogP-aPIByboHR3kg9FSji57qXh_xw8mm7imKWQUJS4oNaM_SbJhv10_KFRQ2C_oKxdkLnm5WWnYOP2uPd5CD26jCWdEGRsz-8KE8a1xcmBHMnX73dtI4leqGVox6i/s400/These+Amazing+Shadows.jpg" width="400" /></a></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><b><i><span lang="EN">Independent Lens</span></i></b><b><span lang="EN">, the Emmy-winning PBS series, <span style="font-size: small;">airs</span> Paul Mariano and Kurt Norton’s <i>These Amazing Shadows</i>, a one-hour documentary, on Thursday, December 29, at 10:00pm (check local listings).</span></b></span></div><div style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><i><span lang="EN">These Amazing Shadows </span></i><span lang="EN">i</span><span lang="EN">s an often kaleidoscopic swirl of film clips iconic and obscure, from <i>Casablanca</i>, <i>Gone with the Wind</i> and <i>The Wizard of Oz</i> to <i>2001</i>, <i>The Godfather</i> and <i>E.T., </i>plus culturally noteworthy home movies, the odd sound film demo and theater intermission bumper. The documentary also outlines the background of the Film Preservation Act and the creation of the National Film Registry.</span></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoBodyText" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFI_kXbSmXL4TEs8m06FcBFrZFMO2-1kpvFF7qn9Zw4h7zM6oBMBpabEpYWG0wJTx2K5Jsk8yWkHAYGwGcMCSJwIpH0w_Aptd8ZougqeWMGv4SHelFOVVqn8CqE69jWWLza5u3Ucx6wDyY/s1600/The+Night+of+the+Hunter.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFI_kXbSmXL4TEs8m06FcBFrZFMO2-1kpvFF7qn9Zw4h7zM6oBMBpabEpYWG0wJTx2K5Jsk8yWkHAYGwGcMCSJwIpH0w_Aptd8ZougqeWMGv4SHelFOVVqn8CqE69jWWLza5u3Ucx6wDyY/s320/The+Night+of+the+Hunter.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Night of the Hunter</i></td></tr></tbody></table><span style="font-size: small;"><span lang="EN">When Ted Turner purchased MGM in 1986 for $1.6 billion he sold off parts of his acquisition, but kept the film and TV libraries, which included those of MGM/UA, RKO and Warner Bros. With the hope of expanding the appeal of classic black and white films on his ‘SuperStation’ WTBS and elsewhere, Turner devised a plan to “colorize” them. In September 1986, Turner Broadcasting System released a list of 100 films set for “colorizing” – the list included <i>Casablanca</i>, <i>The Maltese Falcon</i>, <i>The Postman Always Rings Twice</i>, <i>Out of the Past</i> and other legends of black and white American cinema. Turner’s decision met with loud opposition from Hollywood filmmakers. The Director’s Guild was outspoken and an indignant Billy Wilder snarled: “Those fools! Do they really think that colorization will make <i>The Informer</i> any better? Or <i>Citizen Kane</i> or <i>Casablanca</i>? Or do they hope to palm off some of the old stinkers by dipping them in 31 flavors? Is there no end to their greed?”</span></span></div><div class="MsoBodyText" style="font-family: Verdana,sans-serif;"><br /><a name='more'></a><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span lang="EN">The outcry against Turner’s penchant for colorizing the classics culminated in Congressional hearings.<i> These Amazing Shadows</i> navigates the colorization controversy, illustrating the hue and cry with news footage of directors Sydney Pollack and Woody Allen appearing before Congress and clips of James Stewart speaking out on network TV. In 1988, the Film Preservation Act was passed and, through the Library of Congress’ National Film Preservation Board, brought about the National Film Registry.</span></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC7nTb3EQYZNcv3bH1Fd-ha4Uaic8Vog5IqMSuYk5GW7KNc4x_GexTNEDEy98E-bLuxz8gY__BQPGmkZBHeRschf9ZwPgFjxjPRRJhtsJeV_wzF9BVKagHOIjnSqO_NfgnwX4RzQZjoALd/s1600/a+man+and+his+duck.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC7nTb3EQYZNcv3bH1Fd-ha4Uaic8Vog5IqMSuYk5GW7KNc4x_GexTNEDEy98E-bLuxz8gY__BQPGmkZBHeRschf9ZwPgFjxjPRRJhtsJeV_wzF9BVKagHOIjnSqO_NfgnwX4RzQZjoALd/s320/a+man+and+his+duck.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Gus Visser and his Singing Duck</i></td></tr></tbody></table><span style="font-size: small;"><span lang="EN">Among the tumble of Registry “culturally, historically or aesthetically significant” films glimpsed in <i>These Amazing Shadows</i> are dramas, comedies, musicals and animated features. The documentary‘s tone is generally serious, but there is also a fair sprinkling of whimsy. The grim but seared-into-memory footage of Abraham Zapruder’s famous home movie of the Kennedy Assassination is on the list as is a thought-provoking home movie (<i>Topaz</i>)<i> </i>taken in a U.S. internment camp for Japanese Americans during World War II. Yet there’s the bizarre sound film demo of Gus Visser and His Singing Duck, not to mention the jaunty theater intermission promo, “Let’s All Go to the Lobby (to get ourselves a treat)”…a mélange!</span></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><i><span lang="EN">These Amazing Shadows </span></i><span lang="EN">covers a lot of ground in an hour. There are nearly as many interviews (Debbie Reynolds, Paul Schrader, Christopher Nolan, Rob Reiner, Peter Coyote, John Waters and many others) as there are film clips. The program features reflections on movies in general as well as specific films and genres but also explores attitudes and issues (race relations, women in film, cold war propaganda). Naturally, D.W. Griffith’s legendary <i>Birth of a Nation </i>has its moment in the spotlight. Though an innovative groundbreaker, this film affects me in the same way Leni Riefenstahl’s <i>Triumph of the Will </i>does. Each is historically and cinematically relevant but promotes deeply offensive propaganda; Riefenstahl extolled the Nazis, Griffith the Ku Klux Klan.</span></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM-ZX1rFXGICrgRgHW74a71ot-yrFTwbpEuT6zt_MreFhr1LTPu6cBqIu4wPGl85X3hHp6H1OaXzBtBBHRVGUj3qNC5SCOs3mpPLx23TVEWCrwQQo49pb4JEpBkyj-qDm5WrSxbslyEEt3/s1600/Brando+and+cat.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM-ZX1rFXGICrgRgHW74a71ot-yrFTwbpEuT6zt_MreFhr1LTPu6cBqIu4wPGl85X3hHp6H1OaXzBtBBHRVGUj3qNC5SCOs3mpPLx23TVEWCrwQQo49pb4JEpBkyj-qDm5WrSxbslyEEt3/s320/Brando+and+cat.jpg" width="225" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Godfather</i></td></tr></tbody></table><span style="font-size: small;"><span lang="EN">A central point, hammered home as the documentary comes to its conclusion, is the importance of preservation and restoration. It was news to me that the original negative of <i>The Godfather</i> had been reduced to “tatters.” Overused because of the film’s immense popularity (“loved to death”) it was at one time in dire need of restoration. It’s no stretch to imagine that if <i>The Godfather </i>could nearly come to ruin, a terrible fate could easily befall less prominent, smaller films.  And why would anyone care about saving movies? Well, that’s not a hard question for a film lover/blogger like me. Without film, my soul would shrivel and die. <i>These Amazing Shadows</i> takes the larger view - film is “our family album,” a part of American history and culture.</span></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span lang="EN">Currently there are <a href="http://www.loc.gov/film/registry_titles.php" style="color: #990000;"><b>550 films listed</b></a> in the National Film Registry. Each year the Librarian of Congress, with input from the public and the National Film Preservation Board, picks 25 films to add to the Registry. </span><span lang="EN">To learn more about <i>These Amazing Shadows</i>, an official selection of the Sundance Film Festival, <a href="http://www.pbs.org/independentlens/these-amazing-shadows/" style="color: #990000;"><b>click here</b></a>.</span></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: Verdana,sans-serif; font-size: small;"><i><span lang="EN">A footnote: I can’t ignore the irony that Ted Turner, who eventually abandoned colorization (a prohibitively expensive process), just a few years later launched</span></i></span><i style="mso-bidi-font-style: normal;"><span lang="EN" style="font-size: 11pt;"><span style="font-family: Verdana,sans-serif; font-size: small;"> Turner Classic Movies. The channel stands today as a beacon in the night for classic film fans - and airs predominantly black and white films...</span></span></i><br /><br /></div><div class="MsoNormal" style="text-align: center;"><br /><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/28aSBRPDfh4" width="420"></iframe></div></div>

Independent Lens, the Emmy-winning PBS series, airs Paul Mariano and Kurt Norton’s These Amazing Shadows, a one-hour documentary, on Thursday, December 29, at 10:00pm (check local listings).These Amazing Shadows is an often kaleidoscopic swirl of fil…

THESE AMAZING SHADOWS: The Film Preservation Act and the National Film Registry

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