Das Cabinet des Dr. Caligari (1919)
“In just under 120 years of film history several hundred cinematic colour processes have emerged, many of which had their roots in nineteenth century still photography. To date, though, we still lack a comprehensive research publication that connects the technical foundations of these processes to their respective contemporary reception and their aesthetic or narrative uses.”
Concerned with “the perception and transformation of film colours as a result of their digitization,” Dr. Barbara Flückiger, professor for film studies at the University of Zurich, has recently launched the revamped Timeline of Historical Film Colors. Beautiful images and bibliographies of technical and primary documentation are available arranged by either Flueckiger’s classification scheme of processes or in a chronological timeline.
“Only about 20 percent of movies from the silent era survive in America today. That number increased just a little bit recently, when the Library of Congress received 10 long-lost films found and preserved by archivists in Russia.” Listen to the story on NPR.
From Inside Higher Ed:
“One change in particular is making waves in academe: an exemption that allows professors in all fields and “film and media studies students” to hack encrypted DVD content and clip “short portions” into documentary films and “non-commercial videos.” (The agency does not define “short portions.”) This means that any professors can legally extract movie clips and incorporate them into lectures, as long as they are willing to decrypt them — a task made relatively easy by widely available programs known as “DVD rippers.” The exemption also permits professors to use ripped content in non-classroom settings that are similarly protected under “fair use” — such as presentations at academic conferences. “
From Center for Social Media:
“The rules are broader than many expected, but still involve strict restrictions. The exemption for use of motion pictures on DVD—which lumps together doc filmmakers, college teachers and film/media studies students and noncommercial video creators such as remixers–is limited only to criticism and commentary, not to all potential fair uses; the excerpt must be “relatively short”; a new work must be created; and the maker must have a reason why an inferior quality (such as one shot off a screen or from a VHS) is not good enough. The rule only applies to DVDs, not to all audio-visual material–for instance to video games or slideshows. But the Librarian made no quantitative restrictions, in fact refusing to define “relatively short,” which means that makers can judge the length according to their critical or commentary needs; and the decision about whether high quality is necessary is left to the user.”
Announcement from ARTstor: “The Rogovin Collection has contributed 260 images of Milton Rogovin’s social documentary photography, now available in the Digital Library. A documentary photographer and political activist, Milton Rogovin (b. 1909) is best known for his portraits of the poor and working class, and his depictions of their lives, communities, and working conditions. Trained as an optometrist, Rogovin turned to photography when his political activism drew the attention of the House Committee on Un-American Activities in 1957 and negatively impacted his practice in Buffalo, NY. In 1958, Rogovin began his first photographic series, documenting Store Front Churches in the African-American community in Buffalo’s East Side. From the 1960s through the 2000s, Rogovin continued to photograph the working people and ethnic communities in the Buffalo area, often photographing his subjects both at their workplaces and in their homes. Further afield, Rogovin explored the plight of workers, particularly miners, in the small towns of Appalachia. In 1983, Rogovin received the W. Eugene Smith Grant in Humanistic Photography, which allowed him to expand his “Family of Miners” series to include workers in Scotland, France, Spain, Germany, Czechoslovakia, Cuba, Mexico, China, and Zimbabwe. Throughout his career, Rogovin has participated in 60 solo exhibitions and more than 30 group exhibitions and his work has appeared in more than 160 journals, magazines, and other publications. To view the Milton Rogovin: Social Documentary Photographs collection: go to the ARTstor Digital Library, browse by collection, and click “Milton Rogovin: Social Documentary Photographs”; or, if you are at your institution or have an ARTstor account, simply follow this link: http://library.artstor.org/library/collection/rogovin_milton For more detailed information about this collection, visit the Milton Rogovin: Social Documentary Photographs collection page.”
Selected film studies titles from Cambridge University Press series are available online. Cambridge Film Classics Cambridge Film Handbooks Cambridge Studies in Film
MediaRights 90-Second Cinema features a clip from Rea Tajiri’s History and Memory: For Akiko and Takashige this week. Rea Tajiri is Associate Professor in Temple University’s Film and Media Arts department. You can borrow a DVD of History and Memory from the library.
Saturday 1/22/2010 …talks/ presentations on the intersection between medicine and cinema. The schedule is as follows: 9:00 a.m.: Introduction by Robert D. Hicks, Director of The College of Physicians of Philadelphia Welcomes from Joanna Poses and Dwight Swanson 9:15a.m.–10:45a.m. First Session. Moderator: Dan Streible Scott Curtis, “Between Photography and Film: Early Uses of Medical Cinematography” Michael Sappol, “Difficult Subjects: Working with Films from the Collection of the National Library of Medicine” 10:45 a.m.–11:00 a.m.: Break 11:00 a.m.–12:00 p.m.: Second Session Barbara Hammer and Patti Doyen, “Complexities and Enigmas of Cinefluorography in the work of Dr. James Sibley Watson and Colleagues” 12:00 p.m.–1:00 p.m.: Lunch Break 1:00 p.m.–1:45 p.m.: Third Session Kirsten Ostherr, “‘Spectacular Problems in Surgery’: Medical Motion Pictures at the American College of Surgeons” 1:45 p.m.–3:30 p.m.: Fourth Session. Moderator: Mara Mills Devin Orgeron, “Edgar Ulmer and the National Tuberculosis Association: Mara Mills, “Telephone Operator, Camera-Operator: Laryngoscopy and High Oliver Gaycken, “The Flow of Life: Moving Images of Magnified Blood” 3:30 p.m.–3:45 p.m.: Break 3:45 p.m.–4:45 p.m.: Fifth Session. Moderator: Lance Wahlert R. Nick Bryan, M.D., “The Body Visible” 4:45 p.m.–5:00 p.m.: Closing Discussions Full descriptions of the talks are available at the Medical Film Symposium website: http://www.medicalfilmsymposium.com/presentations.html. Talks to take place at The Mütter Museum at The College of Physicians of Philadelphia (19 S. 22nd Street). The symposium will take place on the 2nd floor. Those wishing to attend the full symposium, including screenings and reception, must register for the symposium. (Admission to the Mütter Museum exhibits will require separate admission.) Those wishing to attend a specific talk or panel can attend with simply admission to the Mütter Museum.
Filmmaker Magazine | Winter 2010: Continuing Dilemma. By Jason Guerrasio
September 30, 2009 7:00 PM, Wednesday Strange Fruit, Dir. Joel Katz, 2002, 57 min. September 30, 7:00 p.m., Paley Library Lecture Hall This event is a part of a Film Series Curated by Wolgin Prize Finalist Sanford Biggers Introduction by Dr. Diane D. Turner, Curator of the Charles L. Blockson Afro-American Collection Director Joel Katz explores the history of the popular song “Strange Fruit,” written by Abel Meeropol and famously performed by Billie Holiday, through interviews with musicians, historians, genealogists and more. Katz fashions a fascinating discovery of the lost story behind this heartbreaking American classic. This event is part of a series of collaborative public programs presented in conjunction with the Tyler School of Art’s Jack Wolgin International Competition in the Fine Arts About Wolgin Prize Finalist Sanford Biggers Sanford Biggers (b. 1970, Los Angeles) is a native of Los Angeles, California, and current New York resident, who uses the study of ethnological objects, popular icons, and the Dadaist tradition to explore cultural and creative syncretism, art history, and politics. An accomplished musician, Biggers often incorporates performative elements into his sculptures and installations, resulting in multilayered works that act as anecdotal vignettes, at once full of wit and clear formal intent. Biggers has won several awards and has participated in a number of prestigious national and international artist residencies and fellowships. Sanford Biggers’ installations, videos, and performances have appeared in institutions in China, Germany, Hungary, Japan, Poland and Russia as well as several notable exhibitions such as the Prospect.1/New Orleans biennial, Illuminations at the Tate Modern, Performa 07, the Whitney Biennial and Freestyle at the Studio Museum in Harlem. He is currently preparing for solo shows at the Contemporary Arts Forum in Santa Barbara and the Brooklyn Museum and a permanent commission in New York City through the New York Percent for Art. About the Competition Created in 2009 by the real estate developer, banker and philanthropist Jack Wolgin of Philadelphia, the Jack Wolgin International Competition in the Fine Arts was established at the Temple University Tyler School of Art to recognize an emerging artist with a significant studio practice who critically and creatively engages with existing histories and images, and whose work transcends traditional boundaries. With a cash prize of $150,000, the Jack Wolgin International Competition in the Fine Arts grants the world’s largest juried visual art prize awarded to an individual. Inspired by the diversity of Temple University and its unique connection to the thriving art communities of Philadelphia, Mr. Wolgin chose the Tyler School to host and administrate the Competition. By bringing the work of innovative and talented artists to the Tyler School, the Competition seeks to open a dialogue among students, the diverse communities of Philadelphia, and the greater art world. The exchange of ideas and art inspired by the Jack Wolgin International Competition in the Fine Arts also perpetuates the spirit of Philadelphia, a cultural hub since our nation’s founding, rich in both historic and contemporary art.