Le Giornate del Cinema Muto 2006 Sommario / Contents
Le Giornate del Cinema Muto 2006 Sommario / Contents
Le Giornate del Cinema Muto 2006 Sommario / Contents
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
In Die Biene Maja, the plot consists of events in the life of the bee<br />
protagonist Maya, relying upon the charm of the cinematic attractions<br />
along the way.The production reflects a huge photographic effort, while<br />
its matter-of-fact cinematography does justice to the real-life marvels of<br />
nature depicted. The story is anthropomorphic, advancing by human<br />
steps and turns, but the onscreen momentum of life is based on the<br />
rhythm and actions of the insects themselves.While the insect actors are<br />
driven by their instincts instead of acting skills, the humanization of the<br />
miniature fauna in the film by necessity relies on the intertitles and<br />
musical accompaniment. Dialogue and narrative titles guide the literate<br />
audience in interpreting the images, which on their own could be<br />
misunderstood, or taken for granted through familiarity, from the point of<br />
view of the creatures and their terms of life.The magnified activities on<br />
the screen can be grasped on two levels, both constantly present and<br />
working together – sometimes, with surprising power, in a parallel<br />
direction, or sometimes simply operating against each other. The<br />
nocturnal scene with the elves – a trick sequence – can be seen as an<br />
acknowledgement that the actual life of insects may be less<br />
comprehensible to our human experience than any fairytale in<br />
wonderland. – JUHA KINDBERG<br />
HAGHEFILM/SELZNICK SCHOOL FELLOWSHIP <strong>2006</strong><br />
La borsa di studio Haghefilm/L. Jeffrey Selznick School of Film<br />
Preservation è stata istituita nel 1998 da Peter Limburg, presidente<br />
<strong>del</strong>la Cineco/Haghefilm di Amsterdam. Da allora otto dei migliori<br />
diplomati <strong>del</strong>la scuola sono stati ad Amsterdan per lavorare a stretto<br />
contatto con gli specialsiti <strong>del</strong>l’Haghefim al restauro di cortometraggi<br />
<strong>del</strong>la collezione <strong>del</strong>la George Eastman House. I risultati così ottenuti<br />
vengono poi annualmente presentati al pubblico <strong>del</strong>le <strong>Giornate</strong> <strong>del</strong><br />
<strong>Cinema</strong> <strong>Muto</strong>.<br />
Quest’anno la vincitrice <strong>del</strong>la borsa di studio Haghefilm è Pat Doyen,<br />
attualmente residente a Richmond, Virginia. Ms. Doyen, laureata in<br />
produzione cinematografica alla Tisch School of the Arts <strong>del</strong>la NYU,<br />
ha conseguito il Master in Media Study and Theatre presso la State<br />
University of New York a Buffalo nel 1998. Negli ultimi sette anni ha<br />
tenuto corsi sulla cinematografia a passo ridotto ed animazione negli<br />
Stati Uniti ed in Canada. È co-proprietaria <strong>del</strong>la Chop Suey Books di<br />
Richmond, VA, specializzata in libri usati e rari di arte, fotografia,<br />
design, cinema e architettura. – CAROLINE YEAGER<br />
The Haghefilm Fellowship at The L. Jeffrey Selznick School of Film<br />
Preservation was established in 1998 by Peter Limburg, President of<br />
Cineco/Haghefilm Laboratory in Amsterdam, The Netherlands. Since its<br />
inception, eight outstanding graduates of the school have traveled to<br />
Amsterdam to work side by side with the preservation specialists at<br />
Haghefilm preserving short films selected from the George Eastman<br />
House collection. Each year the Fellow presents the preserved film at <strong>Le</strong><br />
<strong>Giornate</strong> <strong>del</strong> <strong>Cinema</strong> <strong>Muto</strong>. This year’s recipient of the Haghefilm<br />
Fellowship is Pat Doyen, who currently resides in Richmond,Virginia. Ms.<br />
132<br />
Doyen is a film production graduate of NYU’s Tisch School of the Arts,<br />
and received her Master of Arts in Media Study and Theatre from the<br />
State University of New York at Buffalo in 1998. For the past 7 years she<br />
has taught small-gauge filmmaking and animation classes to students in<br />
the U.S. and Canada. She is the co-owner of Chop Suey Books in<br />
Richmond,VA, which specializes in used and rare books in the fields of<br />
art, photography, design, film, and architecture. – CAROLINE YEAGER<br />
BRONCHO BILLY’S ADVENTURE (Essanay Film Mfg. Co., US<br />
1911)<br />
Regia/dir: Gilbert M. “Broncho Billy” Anderson; cast: Gilbert M.<br />
“Broncho Billy” Anderson, Edna Fisher, Fred Church; 35mm, 961ft., 16’<br />
(16 fps), George Eastman House, Rochester, NY. Conservazione e<br />
stampa/Preserved and printed <strong>2006</strong>.<br />
Didascalie in inglese / English intertitles.<br />
Broncho Billy’s Adventure può essere considerato una nuova aggiunta<br />
alla lista di titoli conservatisi su Broncho Billy. Quest’episodio vede il<br />
nostro che fa da sensale di matrimoni per la figlia di un locandiere che<br />
si dà alla rissa con uno dei molti pretendenti <strong>del</strong>la figlia e si guadagna<br />
la rabbia degli altri. Moving Picture World definì Broncho Billy’s Adventure<br />
“un film western di prim’ordine”, in cui Broncho Billy salva più di una<br />
vita giocando a fare Cupido. La fonte per questa copia è stato il<br />
negativo originale al nitrato, da poco scoperto nei sotterranei <strong>del</strong>la<br />
George Eastman House.– PAT DOYEN<br />
Broncho Billy’s Adventure can be considered a new addition to the list of<br />
surviving Broncho Billy titles.This installment in the series finds Broncho Billy<br />
playing matchmaker to an innkeeper’s daughter.The innkeeper gets into a<br />
scuffle with one of his daughter’s many suitors, and earns the anger of the<br />
rest. Moving Picture World called Broncho Billy’s Adventure “a first class<br />
Western cowboy picture”, in which Broncho Billy saves more than one life<br />
while playing Cupid. The source material for this print was the original<br />
nitrate camera negative, recently discovered in the George Eastman House<br />
vaults. – PAT DOYEN<br />
[THE BOTTOM OF THE SEA] (Lubin, US 1914)<br />
Regia/dir: ?; 35mm, 36 ft., 1’30” (16 fps), George Eastman House,<br />
Rochester, NY. Conservazione e stampa/Preserved and printed <strong>2006</strong>.<br />
Didascalie in inglese / English intertitles.<br />
<strong>Le</strong> avventure animate di un sottomarino sono disegnate con linee<br />
bianche su sfondo nero, in contrasto con le solite linee nere su sfondo<br />
bianco. Si ritiene che questo frammento sia una copia di un film <strong>del</strong>la<br />
Lubin a 35mm lungo in origine 600 piedi. Purtroppo questa breve<br />
visione è tutto quel che resta <strong>del</strong>la divertente storia di un esotico<br />
mondo sottomarino. – PAT DOYEN<br />
The animated adventures of a submarine are drawn with white lines on a<br />
black background, as opposed to the usual black lines on a white<br />
background.This fragment is believed to be a copy of a 35mm Lubin film<br />
which was originally 600 ft. long. Unfortunately, this short glimpse is all that<br />
remains of this amusing tale of an exotic undersea world. – PAT DOYEN