#gmc30

Le Giornate del Cinema Muto / Pordenone Silent Film Festival
30th Edition (1–8 October 2011)

Tweets by @RetoKromer during the festival

  • Many of my former students are here in Pordenone! Give me a sign… and we’ll have a drink together.
  • Today’s programme starts with the race to the Pole… and the weather forecast says 29 oC in the afternoon!
  • «… e la serpe si destò, tremenda, dal suo terpore.» ~ Francesca Bertini plays La serpe’s role. Film by Roberto Roberti, Italy 1920.
  • Green tinting is used for envy in Il veleno delle parole, an Italian 1913 film by Baldassarre Negroni with Francesca Bertini.
  • Nice restoration of Roald Amundsens Sydpolsferd (1910–1912), included in Unesco’s Memory of the World Register:
    www.unesco.org/new/en/communication-and-information/flagship-project-activities/memory-of-the-world/register/full-list-of-registered-heritage/registered-heritage-page-7/roald-amundsens-south-pole-expedition-1910-1912/
  • Fascinating again and again! The Corrick Collection from Australia. Today some films showing the Engadine valley in Switzerland.
  • The Swiss images coming form (France via) Australia:
    reto.ch/cgi-bin/filmo.pl?what=voyage%20en%20suisse&where=title
    reto.ch/cgi-bin/filmo.pl?what=concours%20de%20skis&where=title
    reto.ch/cgi-bin/filmo.pl?what=tobogan&where=title
    #antipodes
  • The database of the «Progetto Turconi Project» has been presented today at noon and is now available on-line:
    www.progettoturconi.it
  • The analogue frame’s edge is a little undefined; the digital frame’s edge is sharp cut. How does this affect the perception?
  • Had a very interesting talk at breakfast with Touve Ratovondrahety about «restoration» of silent film music scores.
  • Working with a digital intermediate on historic tinted and/or toned films needs a special adapted LUT to match the colours properly.
  • If the digitalisation has been done with 16 bit linear, don’t make the digital restoration assuming the files are 10 bit logarithmic…
  • Had lunch with Juan Vrijs, head of preservation at Haghefilm, after the Collegium session about the state of the art in restoration.
  • Maud Nelissen had the inspiring opportunity to re-evaluate and revise her 2003 score for Shinel (The Overcoat). Well done indeed!
  • An exceptional discover for me yesterday: Oblomok imperii (A Fragment on an Empire) by Fridrikh Ermler (Soviet Union, 1929).
  • This morning the 2nd programme of The Corrick Collection. Ohé! Ohé! Rémouleur (Pathé 1906) with a lovely black and white image!
  • In order to take action film registries should contain the list of all existing elements with their locations and condition reports.
  • The original iron toning of Excursion aux Chutes du Niagara (Pathé, FR 1906) has been brightly reproduced in the new access copy!
  • Have you noticed the «handsome» stigmata left by the early contact printer used for San Francisco (Biograph, US 1906)?
    #laboratory
  • Strange camera movement in San Francisco Disaster (Edison, US 1906): right-left stops briefly for an intermission down-up-down.
  • Sorry, this morning I was in Gemona with a distinguished party. Visiting the new vaults and the office of the Cineteca del Friuli.
  • A living way to present Sven A:son Berglund’s optical sound recordings (at 22 fps). Thanks Svenska Filminstutet for this!
    www.filmsoundsweden.se/backspegel/berglund_a.html
  • Thank you silent film fans @filmpres @sergiomaistrello @silenttoronto @veilletteTO and @eltubaro for RT at #gcm30 #FF ~ Most appreciated!
  • Yesterday at dinner with Jon Wengström we talked also about Berglund’s optical sound recordings. Sorry, I’m a tech freak:
    reto.ch/training/2012/201201.html
  • Hint for my (former) students: Take a look at Verdi’s last balcony! It’s really a terrific terrifying example of lacking security.
  • Gorgeous use of tinting and/or toning in Cenere (IT 1917) and Maddalena Ferat (IT 1921) by Febo Mari. E.g. red for danger.
  • Please, don’t unwind sticky films! First you must dry and unblock the reel. After you can unwind without damaging the emulsion.
  • Wonderful music accompaniment for the mysterious Borderline:
    reto.ch/cgi-bin/filmo.pl?what=borderline&where=title
    Film needs additional research (Roland Cosandey).
  • Glad to have seen the preserved part of The White Shadow «by» Alfred Hitchcock. Hoping the missing half will also be found soon.
  • This afternoon 3rd part of «The Race to the Pole» with the impressive South… and a temperature more in conformity with the plot.
  • Re-seen South, and in my opinion the scenes showing the Endurance slowly being crushed by the ice are the most impressive ever.
  • Thanks @eltubaro for the daily galleries of pictures from #gcm30
    www.flickr.com/photos/giornatecinemamuto/
    (with a special thought @Posespops ;-)
  • Alas, it’s over: «Corse il tempo. […]» is an intertitle I read in Cenere on Friday. See you all again next year here in Pordenone!
  • I guess this is the 1st and «better» end: Letty kills also Lige, thinking it’s again Roddy coming – and she disappears in The Wind.
  • I’m afraid, in my opinion the music for The Wind was in general to bombastic, the storm really overdone and especially too loud.
  • GRAZIE ~ Many thanks to the organisers, staff & volunteers! Many thanks to the pianists & musicians! Many thank to the audience!
  • This isn’t a #FF but a #FollowAllYear ~ Thank you @eltubaro @PordenoneSilent @silenttoronto (= afraid not meeting you IRL) for RT at #gcm30

Additional tweets by @retoch after the festival


2016–12–11