Why are we still able, today, to view images that were captured over 125 years ago? As we enter the digital age, audiovisual heritage seems to be a sure and obvious fact. However, much of cinema and our filmed history has been lost forever. Archivists, technicians and filmmakers from different parts of the world explain what audiovisual preservation is and why it is necessary. The documentary is a tribute to all these professionals and their important work.
The career of the famous production designer Miljen Kljaković – Kreka and reveals all the beauty and importance of film scenography.
A very special encounter between legendary American cinematographer Vilmos Zsigmond and young French director Pierre Filmon. A personal journey with the brightest shadowmaker and his friends.
In his early days as an actor, Marlon Brando (1924-2004) was a shy young man with theatrical ambitions, like many others; but his charisma and superb acting skills made him truly unique, so that the doors to the starry sky of Hollywood opened for him. However, his peculiar manners, political commitment and complicated love life always overshadowed his artistic success.
The relations between Parma and cinema were so strong for almost the whole of the twentieth century that this city became an early laboratory of ideas and theories on cinema and a set chosen by some of the greatest Italian authors and beyond. Furthermore, a considerable number of directors, actors, screenwriters and set designers were born in Parma who have made their way internationally, testifying to the fact that in this small city in Northern Italy there was a decidedly cinematic air. Red armchairs takes up the thread of this story, wondering why, unique among the Italian provincial cities, Parma has given so much to the cinema, accompanying the viewer on a journey backwards that from the first projections of the Lumière cinema reaches the ultramodern experience of new multiplexes. During this journey we will meet the characters who created the conditions for this diffusion of cinematographic culture in Parma.
The artistry, triumph and lifelong friendship of the great cinematographers Laszlo Kovacs and Vilmos Zsigmond. With film school equipment, they shoot the Soviet crackdown of the 1956 Hungarian Revolution. As refugees they struggle in Hollywood, finally breaking into the mainstream with their pivotal contribution to the "American New Wave."
A documentary chronicling director Paul Schrader's ride through hell and back while making film history with his prequel to The Exorcist. Schrader, after being fired from the production and his version of the film shelved, is brought back 2 years later to complete it on a shoestring budget. In true cinéma vérité style we watch as Schrader and editor Tim Silano work all the angles to get the film on its feet and over to Europe for the world premiere.
Cameramen and women discuss the craft and art of cinematography and of the "DP" (the director of photography), illustrating their points with clips from 100 films, from Birth of a Nation to Do the Right Thing. Themes: the DP tells people where to look; changes in movies (the arrival of sound, color, and wide screens) required creative responses from DPs; and, these artisans constantly invent new equipment and try new things, with wonderful results. The narration takes us through the identifiable studio styles of the 30s, the emergence of noir, the New York look, and the impact of Europeans. Citizen Kane, The Conformist, and Gordon Willis get special attention.
At the height of the Vietnam war, Captain Benjamin Willard is sent on a dangerous mission that, officially, "does not exist, nor will it ever exist." His goal is to locate - and eliminate - a mysterious Green Beret Colonel named Walter Kurtz, who has been leading his personal army on illegal guerrilla missions into enemy territory.
Vittorio Storaro, A.S.C., A.I.C. (born 24 June 1940) is an Italian cinematographer widely recognized as one of the best and most influential in Cinema history, for his work on numerous classic films including The Conformist, Apocalypse Now, and The Last Emperor. In the course of over fifty years, he has collaborated with directors such as Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, Woody Allen and Carlos Saura. He has received three Academy Awards for Best Cinematography for the films Apocalypse Now (1979), Reds (1981), and The Last Emperor (1987), and is one of three living persons who has won the award three times, the others being Robert Richardson and Emmanuel Lubezki. Description above from the Wikipedia article Vittorio Storaro, licensed under CC-BY-SA, full list of contributors on Wikipedia.
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