1. LA B-11. The Art of Film For all inquiries and requests for information, your first contact should be the Head TF, Ally Field..afield@fas.harvard.edu Please limit your emails to essentials. Once sectioning has begun, your first point of contact will be your section leader.

2. LA B-11. The Art of Film Be sure to hand in your lottery forms. Lottery results should be available by midnight tonight (September 20). All students will be informed of results by email. Please be sure your email address is legible. Any student not admitted who wishes to be placed on the wait list for this course should notify the Head TF, Ally Field, by e-mail:.afield@fas.harvard.edu

3. Film archives and the film study print More than half the films produced before 1949 are lost. Because of technological changes, we rarely see the films that remain in their original forms, or in their original contexts. We must imagine way of viewing films historically. This means understanding how films were made and what they looked like for their original audiences. the differences between a 16mm or video version of a film, and variations in original 35mm versions (if an “original” still exists!).

4. Viewing films historically What might it have been like to watch this film in its first release, with the audience for which it was originally intended? What changes might have occurred in existing versions of the print? How does the video version (or versions) differ from the photographic print version?

5. Film archives and the film study print The differences between film and video copies of films. Problems of lost films, corrupted versions of films, and historical differences in film viewing. Compromises in restoring films for film study.

6. Differences between film and video Cinematography mechanical chemical reproduction analog equivalent to 2300-3000 horizontal lines 12 million pixels/frame Video electronic magnetic media analog and digital NTSC = 525 lines 350,000 pixels

8. Differences between film and video When a film is transferred to video: the image is less sharp, has less contrast, and produces less of a sense of depth; the reproduction of color is different; the scale of the image is different; sense and power of motion is attenuated: Film is recorded and projected at 24 frames per second. Pal video at 25 fps NTSC video at 30 fps the shape of the frame is different; portions of the image are cut; “panning and scanning”

10. Film and video

12. How silent film audiences saw and heard the films The motion picture palace. High standards of photographic beauty. Tinting and toning. No standard for shape of frame or speed of projection until after 1930. Each performance unique.

14. The fragility of film and the work of FIAF Before 1915, 85% lost Between 1920-29, of 6,600 features produced, 75% lost " 1930-39, 5,500 25% lost " 1940-49 5,000 10% lost

15. Destruction of individual copies through over-exploitation. Destruction of prints because of assumed obsolescence. After "primitive period." After transition to sound. Destruction of copies for safety reasons. Destruction of prints to recover silver or nitrate from the chemical emulsion of the film. Factors in deterioration of the copies, especially for film study. Projectors as “film grinders.” Deterioration through subsequent exploitation. Censorship and reediting of films. From Technicolor to Eastman color. The fragility of film and the work of FIAF

20. Archival compromises for preservation Kemp Niver and the Paper Prints Collection at the Library of Congress. Aesthetics of the dupe: protects the original but each subsequent copy struck produces deterioration of focus, contrast, color. Reediting for "aesthetic purposes.” Problems of non-standardized aspect ratios and film speeds.