Comments on: A Century Ago: Films of 1912 — Part One

By: Matthias

Matthias — Wed, 16 Jan 2013 02:21:00 +0000

Thank you very much for this detailed article, John. I am very interested in Hollywood professionalism in relation to technological change and your insights into the film-digital discourse are truly enlightening.

While last year supposedly marked the ‘death of film’ (which was rigorously covered in the media), many mainstream films continue to be shot on actual film, for aesthetic, nostalgic, and – potentially – marketing reasons. The concept of the ‘material’ surrounds new releases and has served as a viable means of promotion (see, for example, THE MASTER’s use of 70mm or Christopher Nolan’s insistence on shooting on film).

I find all of this fascinating and I am grateful that you add your personal insights to the discourse.

By: Luciano

Luciano — Thu, 10 Jan 2013 21:42:26 +0000

Thank you so much Mr. Bailey! This post is wondeful. I would’ve liked to have gone to that show but family matters kept us from leaving our small town. Joe usualy has me crank out a film at the Nethecutt Collection (he recently gave me the privelege to crank out Buster Keaton’s “The General”), but it’s time someone else gets a try!
I also completely relate to what you described about film becoming a lost art. I feel the same way too. I am very interested in silent film, film mechanics (I’m currently restoring a Powers Cameragraph that Joe gave me), and motion picture cameras. But unlike most I am thirteen years old. Just recently I started production on my own silent picture, one that is not experimental in any way, but a REAL twenty minute two reeler by the name of “Mechanics” (we’re even working with the Model A Ford club to drive around in the backgrounds of each shot). But, what concerns me the most is that I’m trying to make it into silent film in an era where film is dissapearing. It breaks my heart deeply. Many ask me why I don’t just use digital, and I tell them,”Because it’s not fun, it’s not real, it’s just numbers and letters. Film is light.” So, I feel that with the older generation getting older and older, I must try and keep that torch burning.

Since I was five years old, silent film is all I’ve known, and after all those years, I haven’t met many people like Joe and you, Mr. Bailey. Thanks so much for this post. I hope many more people will discover these wonderful programs at the Linwood Dunn Theater.
Another interesting tid-bit is that I’ve been talking to Joe about teaming up our projectors someday. So, who knows? Maybe there might just be a little more cranking to do.

JOHN’S REPLY:
Luciano, No one should write a funeral oration for motion picture film yet. The just announced Academy nominations for the Oscar are evidence of just how many movies are still shot on film– and will continue to be by determined cinematographers.

Once thought lost silent films are being discovered and restored all the time. You may know that Turner Classic Movies channel feature silent films regularly and has a regular PST 9pm Sunday night slot for a silent feature.
I think that once you have your Powers projector up and running– you’ll be able to crank away for your friends. Awesome.

By: Raul Davalos, ACE

Raul Davalos, ACE — Sun, 06 Jan 2013 04:18:53 +0000

Dear John,
What a terrific event it must have been. Thanks for this wonderful recounting. Having had the opportunity to meet and speak with Lillian Gish, your post recaptured for me that feeling of being intimately connected to the past by simply being in the same room with them, or watching their work in such a nostalgic way. It’s time travel.

In the scope of things these past 100 years have spanned some amazing technological breakthroughs but most of the deep changes only ocurred within the last decade. One can only imagine what will follow in the next 100. However one thing that hasn’t changed much is the basic storytelling grammar developed by Griffith, Eisenstein and others. I’m willing to bet the won’t be much change in that department in the years to come either. The well placed close up or well measured pause will always be the legacy of this first era of filmmaking. Amazingly that legacy is still within grasp of our own experiences – whether its the hand cranking of a hundred year old projector, a chat with an early participant, or the playing of the American Photoplayer. I’m grateful for your wonderful writing in this column for keeping our perspective current and true.

Raul

JOHN’S REPLY: I think we all share your hope that dramatic film grammar will maintain its 100 year old continuity– but we may just as easily see an expanding dichotomy in how we present drama and character. The big money side of filmmaking will likely still rely on the most advanced technology to entice audiences. The real question is whether smaller and indie films will survive without employing an ersatz digital universe. Two of the most exciting films this year are Michael Haneke’s AMOUR (the Austrian entry for Oscar consideration) and BEYOND THE HILLS, the 150 minute Roumanian entry from Cristian Mungiu— both films intimate and intense examinations of a two person relationship.

By: howard

howard — Tue, 01 Jan 2013 02:09:11 +0000

I second Andy’s post. And the video of Joe ‘playing’ was terrific!
I somehow got my hands on an original paperback copy of Arthur Knight’s ‘The Liveliest Art’ when I was very young. It had a HUGE impact on my interest in filmmaking. I remember imagining all the films he’d describe, how excited I’d get just by READING about films! It’s late and I can’t explain it now, but one day I’d love to comment on what that book meant to me.

JOHN’S REPLY: Howard, when you have the itch to write about “The Liveliest Art,” I’d love to hear.

By: Cory W

Cory W — Tue, 01 Jan 2013 01:37:03 +0000

It is always a joy to read your essays. I am looking forward for part 2!

By: Andy deBruyn

Andy deBruyn — Mon, 31 Dec 2012 15:35:10 +0000

Thanks for this post. I would not have known about this event at the Dunn had you not written about it. Your writing made me feel like I was there. Must have been magical. Thanks for sharing the evening and Joe Rinaudo’s committed work.