01.11.06
Posted in Cinema, What I'm Reading, Silent Films, Cinema History, Sci-Fi and Horror Flix, Books at 8:05 pm by Spencer
Anyone who knows me at all is all too aware of my passionate love for the films of Georges Méliès (aka George Melies). His most famous film is A Trip to the Moon (1901), with the iconic image of the Man in the Moon with a giant cannon shell embedded in one eye.
So, since I’m yammering about silent films and books ‘n’ stuff, here is a relevant excerpt from a previously posted comment I made to Mike Whybark’s blog (thanks, Mike!) in which I offer my (semi) humble opinion about various books about Mssr. Méliès.
Artificially Arranged Scenes: The Films of Georges Méliès by John Frazier (G.K. Hall & Co., 1979). The grail. Hopelessly rare, but absolutely superlative. It never even shows up at Bookfinder.com (which is saying something), and I only found a copy thanks to the Univ. of Washington graduate library. The first half or so is finely written bio-history. But the real treasure is the last half-plus, which consists of a film-by-film chronology of dang near every film he made, providing detailed scenarios, production details, and even info about which film archives have the surviving prints. Amply illustrated throughout. +/- 240 pp.
A Trip to the Movies. Georges Méliès, Filmmaker and Magician (1861 - 1938) by Paolo Cherchi Usai (International Museum of Photography at George Eastman House, 1991). Hideously expensive if you can find it (especially since it’s only 185pp.). But Signore Usai is one of the foremost silent film scholars in the world. As in Senior Curator of the Motion Picture Dept. at the George Eastman House. That said: I’ve never actually held one of these in my hands. So okay, caveat emptor.
Marvellous Méliès by Paul Hammond (St. Martin’s Press, 1975). Despite some weaknesses, probably the best of the more-available (and affordable) Méliès books, it is a somewhat rambling bio/history of Melies and his works. Includes a selected (though extensive) filmography (albeit with titles and years only). Does include some misconceptions resolved by later scholarship, though that’s not really the author’s fault. Extensively illustrated throughout.
‘Georges Méliès, Mage’ et ‘Mes Memoires par Méliès‘ by Maurice Bessy and Lo Duca (Prisma Editions, 1945). Another expensive one, alas, but the other grail for Méliès freaks. Published only en Francais, it consists of writings by the credited authors, as well as lengthy excerpts from Melies’ own memoir. Fortunately fer us dum Inglish talkerz, it is profusely illustrated throughout with stills, very rare original sketches by Méliès, and other fine treasures — which is what makes it worth the steep price you’re likely to find. The editions I see around online are all very expensive (tho lovely) hardbounds, but I know a softcover was published (because I’ve seen in the Univ. of Washington library).
Fwiw, I do not recommend the recent Elizabeth Ezra book, Georges Méliès: Birth of the Auteur — unless you really like ponderous, Masters-thesis-type film crit yammer.
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Posted in Cinema, What I'm Reading, Silent Films, Cinema History, Books at 7:27 pm by Spencer
Mr. David Jeffers’ comment on my last post reminded me of a remarkable book I would be remiss in not mentioning.
Don’t let the title fool you. Silent Cinema: An Introduction (BFI, 2000; 212 pgs.) by Paolo Cherchi Usai is no glossing overview of Edison and Griffith. It is an absolutely essential mother lode of information and rare history for the serious film-tech geek with even a passing interest in silent film. I am aware of no other work that comes even close to it when it comes to detailed, reliable information on all aspects of early film technology and its preservation.
It is a significantly revised and updated edition of Burning Passions (1991), which itself has apparently been a signature work pretty much since its publication. Best of all, it is equal parts history, source book, reference, primer, practicum, and in-depth analysis all wrapped in a crystal clear layout suitable for both skimming and wrapt absorption — in short, a real achievement and the kind of academic publication that should be a model regardless of topic or discipline.
Slient Cinema devotes whole chapters to erudite but (mostly) lay-approachable discussions of topics such as neglected pioneers (Max Skladanowsky anyone?), film gauges and aspect ratios, early experiments in color (a pet interest of mine), the fine art of filmography research, how to contact and interact with film archives, the ethics of restoration, even how to read an archive’s index card.
Ever wondered what the difference between tinting and toning was? It’s not only clearly explained, there’s color plates showing examples of most of the available stocks and processes of the day. Trying to find an archive of Albanian silent film? Check one of the appendices. Early sound? Yep, got it.
Dr. Cherchi Usai is very well qualified to write of such things. He has served as the Senior Curator of the Motion Picture Department at the George Eastman House (1989-2004), founded the L. Jeffrey Selznick School of Film Preservation, the first institution of its kind in the United States which joined with the University of Rochester (NY) to create a master’s program in film and media preservation, and — among much else — is currently serving as Director of the National Screen and Sound Archive in Australia. He was also the 2005 recipient of the Award for Distinction in Scholarship and Conservation, given by Heritage Preservation and the College Art Association. In short, homey rocks.
I cannot praise this book enough.
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01.09.06
Posted in Cinema, Silent Films, Cinema History at 11:24 pm by Spencer
Film — not those new-fangled disc things but actual strips of film spooled up on reels — is an endangered species, and never more than now. It’s even worse for 16mm film, which very often is the last surviving format for thousands of films, especially short subjects. Sellers of new 16mm prints are dwindling very fast, those that are left are reliant on an even smaller number of labs even capable of producing 16mm prints, and the stuff you find on eBay is just getting older.
Without too much exageration, we facing a cultural and historic apocalypse directly comparable to the shift from nitrate-based film. Nitrate film stock was (and is) highly volatile and prone to decay; it was also what all films were printed on from the very birth of cinema until late in the 1950s. The result? Even by the most conservative of estimates, at least 80 percent of all films made prior to, say, 1930 are gone forever. Forever. Particularly decimated, for example, are films from unjustly neglected corners of the world, such as Scandanavia — bodies of work now (belated) recognized as being decades ahead of their time in advancing the most important art form of the last century.
True, there are important and vibrant archives preserving film, real film. MOMA and the Eastman House spring immediately to mind. The Library of Congress’ paper print collection has also been (rather belatedly) recognized as a precious repository of world film history. But the fact is that such archives are faced with a devil’s dilemma: by necessity they must focus their collections according to their own legitimate (albeit limited) priorities, and even within that context they are all too often severely constrained by the most basic considerations of budget and person-hours.
The reality right now is that home collectors (such as myself and, I hope, you) are truly the last bulwark against the devastating loss of thousands of films that deserve and need to be saved and preserved. Here at the brink of extinction, our purchases choices are severely limited — in five years, there will be nothing. Nothing. Just in the last two years, I’ve watched the market contract drastically. It will only get worse.
Whether you’re fortunate enough to be buying new prints or like most folks and buying carefully on eBay, you and I and all of us have a responsibility to cinema history, future cineastes, the filmmakers themselves to do everything we can to save as much as we can.
Part and parcel to this responsibility is observing at least the most rudimentary principles of good film preservation. CDs, DVDs and, indeed, 8-tracks come and go. Digitally-based media formats are built upon the notion of planned obsolescence — they are born doomed. Film — real film — is, on the other hand, utter simplicity: a series of still photographs that can be preserved in almost any format. The fact that we can today view the LOC’s collection of paper prints dating back more than a century and, indeed, view them as film or download them as Mpegs or watch them in yet another doomed format, RealVideo, is resolute testament to the importance of preserving these precious works while we still can.
To wit, here are some links providing some basic and not-so-basic information on the how-to of preserving film. Real film.
Film Forever: The Home Film Preservation Guide - Browse online or download a PDF of the whole shebang. Great stuff.
Image Permanence Institute (IPI) Storage Guide for Acetate Film (PDF)
IPI Media Storage Quick Reference (PDF)
Kodak film storage & handling tech notes — a number of wirthwhile articles, including info about melecular sieves. Unfortunately, the key distributer for molecular sieves — FPC — seems to have vanished off the face of the earth.
Some comparative info about chemical treatments including FilmRenew and VitaFilm, both of which are recommended. (From film-center.com)
National Film Preservation Foundation - wrapped in frames (stupid!) and pretty basic, but there ya go.
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01.08.06
Posted in News of the World, Spooks, ELINT, Politics at 8:52 pm by Spencer
Transcript of a Jan. 7, 2006 Democracy Now! interview with Russell Tice.
[In late December, 2005,] “a former N.S.A. intelligence officer publicly announced he wants to testify before Congress. His name is Russell Tice. For the past two decades he has worked in the intelligence field, both inside and outside of government, most recently with the National Security Agency and the Defense Intelligence Agency. He was fired in May 2005, after he spoke out as a whistleblower.
In his letter, Tice wrote, quote, ‘It’s with my oath as a U.S. intelligence officer weighing heavy on my mind that I wish to report to Congress acts I believe are unlawful and unconstitutional. The freedom of the American people cannot be protected when our constitutional liberties are ignored and our nation has decayed into a police state.’”
When asked by host Amy Goodman why he was now publicly coming forward, he said one reason was “there was a certain roadblock that was sort of lifted that allowed me to do this, and I can’t explain, but I will to Congress if allowed to.”
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01.06.06
Posted in Whatever, Friends and Family at 8:34 pm by Spencer
Just stumbled upon this over at The Political Graveyard:
- Sundell, Charles C. — U.S. Vice Consul in Amoy, 1932; SAINT John’s, 1938; Windsor, 1943. Presumed deceased. Burial location unknown.
- Sundell, Charles J. — of Illinois. Born in Sweden. U.S. Consul in Stettin, 1861-66. Burial location unknown.
Who knew? At least I come by my political and foreign affairs fixation honestly.
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Posted in Whatever at 8:19 pm by Spencer
Archaic insults as magnetic buttons!
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Posted in Whatever, Natural Wonders at 8:16 pm by Spencer
Even though the filmmakers have since confessed the forgery, it’s still nifty to see the world’s most famous Bigfoot footage realigned (in an animated gif) so you can see him walk normally without all that camera movement.
Yep. Walks like a Bubba.
(Tip of the hat to Jeff Economy.)
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01.05.06
Posted in Whatever, What I'm Reading, Books at 10:03 pm by Spencer
On my way home from work and my woebegotten adventures detailed below (along with a general pattern of Everything Takes At Least Four Times As Much Effort And Vexation As Usual), I swung by the U Bookstore to pick up a copy of James Risen’s new book, also referenced earlier.
But alas, the thin (maybe a couple hundred pages) hardcover was freakin’ $26!! I love the Free Press, and I reckon Mr. Risen don’t come all that cheap but, jeez, come on guys! I balked at such highway robbery and decided I’d wait for the revised paperback instead.
But while I was there I disovered some tasty tomes, including one from a publisher so small they have an MSN email address. Namely, Shock and Awe in Fort Worth by Sheryl Elam Tappan. Ms. Tappan is an “independent consultant” who, in 2003, “led Bechtel’s proposal team in the Army’s competition for the two new Iraq oil field contracts until [emphasis in the original] she discovered the competition was a sham and recommended Bechtel withdraw, which it did.” She’s evidently done this sort of “writing contract proposals for giant evil corporations” thing for 10 years.
The competition at issue was the make-good “open bidding” [sic] the Pentagon was forced to undertake after it was revealed that Haliburton was given the whole Iraq oilfield dealio in a secret (and, ahem, probably illegal) deal. The new bidding was handled by the Army Corps of Engineers’ office in Fort Worth, hence the title reference.
Weeell…Ms. Tappan reportedly names names, dishes the dirt, and (she says) “provides the hard evidence of favoritism” in the Halliburton/Pentagon nexus that has largely been left to inference from the (let’s face it) blatantly obvious. A quick skim indicates the book is mostly a blow-by-blow from Tappan’s perspective. It may be dry going (or not), but at 150 pages I can prolly stand enough of it to decide if the book is worth the cover price.
All the same — you know shit is real bad when a company as dirty and as previously-inside as freakin’ Bechtel is taking their ball home because the game is rigged!
I also discovered a new (I think) phenomenon at the U Bookstore. There were a few books with yellow dot-stickers on the spine — turns out they were used books. Weird! I helped myself to a couple: a $13 copy of Jefferson’s War by Joseph Wheelan (a history of the 1801-1805 war against the Barbary Pirates — basically the US’ first real experience with international covert action and anti-terrorist warfare, more or less — drawing almost entirely on original sources) and Companero by Jorge G. Casteneda (a 1997 bio of Che Guevara, who’s come up in another [huge] book I’m just starting to wade through, Ultimate Sacrifice — more on that one later, I’m sure.)
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Posted in Web Dev, Browsers at 9:20 pm by Spencer
I lost a good couple hours to hair pulling and snarling, ultimately culminating in the effective demise of my install of Firefox 1.0.7. Word to the wise: do not update Chris Pederick’s damn-excellent Web Developer Toolbar to the latest 1.0 release if you’re using that version. You might have more luck if you completely uninstall the older version first…and then again maybe not, I dunno.
By all reports, Firefox 1.5 has no problems — but if you like to stay a little behind, say for testing purposes, beware.
All of this is a real shame since by all accounts the new version is mighty nice indeed (albeit with one or two slightly troubling-sounding Known Issues).
Here’s what happened to me. I clicked my little “you’ve got updates” icon and it merrily updated. When I closed then reopened Firefox, nothing was usable — I couldn’t type in the URL or search blanks, and I couldn’t access any of the browser menus, not even using keyboard shortcuts. The green “check for updates” icon was visible in an unusual spot and I could click that, but no joy there.
A visit to the toolbar’s official site revealed a prominent message saying those upgrading should uninstall first. D’oh! So why is the new version at the same download coordinates as the old, I asked no one in particular as I began to gnaw on my desk.
Aaanyway… The “solution” for Windows users is as follows:
1. Close Firefox. (Yes, that icon does still work, too.)
2. Fire up your command window (Start > Run and type cmd) and cd to \Program Files\Mozilla Firefox\
3. Run this command: firefox.exe -safe-mode (This starts Firefox in, you guessed it, safe mode.)
4. Go to Tools > Extensions.
5. Find Web Developer 1.0 and uninstall it.
6. Close Firefox. Then open it again.
This will restore you to most functionality and at least allow you to export your bookmarks and compile a list of extensions to replace if need be.
In my case, though, View Source was totally fubarred, producing only the (now) customary multi-pane view with a whole lot of nothing in it. To be fair, I dunno if this was due to something done by the Web Dev toolbar or some post-lobotomy clash with other extensions. But there it was n’t all the same.
(Hm… Come to think, I never tried to actually access a site at this stage. Bad QA on my part — sorry!)
So at that point I went and updated my copy of Firefox to 1.5 only to find that several of my beloved dev-friendly extensions were not compatible with it and were dead. Alas and alack!
But my woes were not ceasing to rain, brothers and sisters. When I then tried to install the Web Dev toolbar all I got was a “download error” of some sort. Prolly some permissions thing, tho maybe not. In any event, by that point I was pretty well beyond civil comportment and decided to leave bad enough alone. But not until I gave myself the sadistic pleasure of uninstalling Firefox altogether.
Hopefully a clean install will produce more joy for me. Fingers crossed…it’s kind of a professional imperative, doncha know. Meanwhile, my home copy of FF and all its extensions will remain as-is for a while longer yet.
Meanwhile, my public apologies to the esteemed Mr. Pederick for my rather snippy email earlier today. :-. I must hasten to add that he replied very promptly (!!) and was kind enough to provided some helpful instructions.
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01.04.06
Posted in Web Dev at 10:19 pm by Spencer
If you’re a real web geek, you prolly noticed that the IE7 dev team over at Microsoft have officially adopted the Mozilla/Firefox RSS icon. Those with access to recent builds of the IE7 beta may also notice other striking similarities to Firefox.
This sort of thing might naturally raise the dander of many who (not entirely without justification, and don’t make me cite bone-dry legal decisions) would accuse MS of exhibiting a pattern of stealing good ideas.
But most interesting to me in this context was this passing (?) thought in the aforelinked post:
John [Lilly] and Chris [Beard of Mozilla] were very enthusiastic about allowing us (and anyone in the community) to use their icon. This isn’t the first time that we’ve worked with the Mozilla team to exchange ideas and encourage consistency between browsers, and we’re sure it won’t be the last.
Veeery intellestink. Not sure what to make of that…but I hope it’s good.
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