Louis Le Prince' legendary "Roundhay Garden Scene" (1888) Presented in color for the first time! After a slight restoration of the original monochrome source, each frame was lovingly colored layer by layer. The process in itself uses no automation and is a close digital approximation of the hand painted method. Digital restoration and Frame by Frame colorization completed by Christopher David Heinmiler. If you are interested in my work and would like to use this footage or request my service in colorization of historical films please contact me at the following addresses. Contact: email@example.com firstname.lastname@example.org Enjoy and feel free to share!+ More details
While discussing early cinema and 19th century experiments in photographing motion, namely Eadweard Muybridge, it was suggested I try the Muybridge app available from the Tate Modern. Sadly it was only available for iPhone so, not to be discouraged, I decided to shoot film. Using an Oktomat camera from Lomography, I was able to shoot a series of 8 sequential images on one frame of 35mm film. I then developed the film myself and scanned each of the frames to compile in Adobe Premiere. I feel using a lo-fi camera and black and white film more accurately captures the aesthetic of these early motion experiments than any iPhone app ever could. When recreating the aesthetic of early photographic techniques I always finding myself asking "Why am I doing this?" The main reason is to learn about the process and the history behind them but I often find myself wanting to offer up some form of critique as well. In the case of early cinema, women's representation is the first thing that comes to mind. There was only one prominent female director working at the turn of the century and women were rarely the subject of early films. This lack of representation is something that persists to this day. Queer representation also immediately come to mind as there was none at the turn of the 20th century. With these two things in mind I chose to feature many of my friends in the queer community with the goal that in doing so I would be able subvert many of the prevailing associations people have with early cinema.+ More details
The legendary 1891 film "Dickson Greeting", presented in color for the first time! After a slight restoration of the original monochrome source, each frame was lovingly colored layer by layer. The process in itself uses no automation and is a close digital approximation of the hand painted method. Digital restoration and Frame by Frame colorization completed by Christopher David Heinmiler. If you are interested in my work and would like to use this footage or request my service in colorization of historical films please contact me at the following addresses. Contact: email@example.com firstname.lastname@example.org Enjoy and feel free to share!+ More details
Bill Douglas (1934-91) was an avid collector of cinema memorabilia and pre-cinema optical devices. He featured a number of these in his final film, the epic Comrades (1987). After Bill's death, his friend and co-collector, Peter Jewell, donated the collection to the University of Exeter. This film traces the origins of the collection from its origins in 1961 to its eventual home at the Bill Douglas Cinema Museum. It also tells the story of the making of Comrades, one of the forgotten masterpieces of British - and world - cinema.+ More details
Filmmaker Bill Douglas (1934-1991) achieved worldwide acclaim in the 1970s for The Bill Douglas Trilogy, a poetic series of films depicting growing up in a Scottish mining village after the Second World War. In 1987, he released Comrades, which proved to be his last film. This three hour epic tells the story of the Tolpuddle Martyrs, the first trade union in Britain, who were transported to Australia for the 'crime' of forming a union. The film enjoyed a limited run in London before virtually disappearing for over 20 years. The film's subtitle, 'A Lanternist's Account' reveals Bill Douglas's other great passion - collecting film memorabilia. Over 30 years, he and his friend Peter Jewell collected an enormous number of cinema, early cinema and pre-cinema objects. Douglas became fascinated with early and pre-cinema optical devices such as zoetropes, zograscopes, panoramas, thaumatropes and magic lanterns. He included many of these in Comrades, making the film not just an account of social injustice and the struggle for a decent way of life, but also a meditation on filmmaking and visual storytelling. Lanterna Magicka: Bill Douglas & the Secret History of Cinema tells the story of Comrades and Bill and Peter's remarkable collection. Featuring Alex Norton, Imelda Staunton, Robin Soans, Simon Relph, Mike Simkin, Charles Rees and Peter Jewell.+ More details
Presented by Flicker Alley and the Blackhawk Films® Collection Inventor Thomas A. Edison and William. K. L. Dickson, his principal associate, began work on the motion picture project in 1891. In 1894, they began to exhibit films commercially in the Kinetoscope, a peep-show device. Theatrical projection followed in 1896. These are some of the first films. The landmark first "peep-show" films that dazzled the viewers of the Kinetoscope were created by Thomas A. Edison and W.K.L. Dickson, and continue to be known as the first revelation of what film would become. Films include THE BARBER SHOP (1893), SANDOW (1894), COCK FIGHT, NO. 2 (1894), THE HORNBACKER-MURPHY FIGHT (1894), BUTTERFLY AND SERPENTINE DANCES (1894), and many, many more.+ More details
"Highway Tzar / Child in Star" Music by Twin Realities Dreamers from same session than The Krokodil Giant Tears. https://twinrealitiesdreamers.bandcamp.com/album/the-krokodil-giant-tears Foundfootage from James Stanley Brakhage & Andrzej Pawlowski.+ More details
Vídeo de apropiación en tres canales inspirado en los espectáculos de horror con linterna mágica y las fantasmagorías, los orígenes de la imagen en movimiento y la muerte del cinematógrafo como soporte y dispositivo de proyección. "El cine es esto. El lenguaje es la estructura. [...] Las tecnologías, por si solas, no permiten nada: son trastros que tienes ahí." -Pere Portabella, “La industria del cine está tocada de muerte” (2011) " [...] Artefactos fragmentarios, caleidoscópicos, trufados de rupturas, aparentemente dispersos pero cuyas espesas tramas y continuidades se producen explotando [...] las potencialidades del cine como lenguaje visual y sonoro." - Marcelo Expósito, Historias sin argumento. El cine de Pere Portabella (2001) El Silenci abans de Bach. Konvent.0 (Cal Rosal) 2014. Focus sur la Vidéothèque. LABoral (Gijón) 2014.+ More details
Having a bad day? Is life getting you down? Well no more! Relax & Be Calm pills will cure what ails you! (Disclaimer: If symptoms persist, consider electro-shock therapy) This Christopher Kay picture has recaptured the silent film era of 1920s cinema as authentically as possible, highly influenced by the likes of The Keystone Cops, Buster Keaton, Charlie Chase, Fatty Arbuckle and of course the man to whom the film is dedicated, the late great Charlie Chaplin.+ More details
For a year, I researched and wrote a paper on Race Films, black film director Oscar Micheaux. and blacks within American cinema. Then I wrote a script and produced an animation based on my research. Black representation in media has always been an issue, specifically in cinema. From the beginning, black actors were not given complex characters and were often relegated to play degrading stereotypes. A group of black artists and directors started producing films in the early 20th century to counteract these stereotypes. Called Race Films, these were made by black people, for black people and showed how blacks really lived and behaved. “Black Screen, Black Voice” is a narrative story about a black woman's involvement in this movement. Her brush with the Race Riots of 1919 prompts her social activism and she meets one of the most important black directors of the early 20th century, Oscar Micheaux.+ More details
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