<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" > <channel> <title> Comments for Film Legacy </title> <atom:link href="https://www.filmlegacy.net/blog/comments/feed/" rel="self" type="application/rss+xml" /> <link>https://www.filmlegacy.net/blog</link> <description>Are movies better than ever?</description> <lastBuildDate>Fri, 24 Jan 2014 20:56:06 +0000</lastBuildDate> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <generator>https://wordpress.org/?v=6.6.2</generator> <item> <title> Comment on Wong Kar Wai on Using Film for The Grandmaster by Film Deadlines Approach - Film Legacy - </title> <link>https://www.filmlegacy.net/blog/2013/08/21/wong-kar-wai-on-using-film-for-the-grandmaster/#comment-336</link> <dc:creator><![CDATA[Film Deadlines Approach - Film Legacy -]]></dc:creator> <pubDate>Fri, 24 Jan 2014 20:56:06 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=141#comment-336</guid> <description><![CDATA[[...] Skip to content Home « Wong Kar Wai on Using Film for The Grandmaster [...]]]></description> <content:encoded><![CDATA[<p>[…] Skip to content Home « Wong Kar Wai on Using Film for The Grandmaster […]</p> ]]></content:encoded> </item> <item> <title> Comment on Wong Kar Wai on Using Film for The Grandmaster by 2013 in Review: Whose Film Is It, Anyway? | Northwest Chicago Film Society </title> <link>https://www.filmlegacy.net/blog/2013/08/21/wong-kar-wai-on-using-film-for-the-grandmaster/#comment-334</link> <dc:creator><![CDATA[2013 in Review: Whose Film Is It, Anyway? | Northwest Chicago Film Society]]></dc:creator> <pubDate>Fri, 10 Jan 2014 21:47:25 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=141#comment-334</guid> <description><![CDATA[[...] it’s beyond sad that Wong Kar-Wai (!) had to wait until this screening to see his own film in his preferred format. Does a 35mm screening now require clearance from no less than Harvey Weinstein himself? (The same [...]]]></description> <content:encoded><![CDATA[<p>[…] it’s beyond sad that Wong Kar-Wai (!) had to wait until this screening to see his own film in his preferred format. Does a 35mm screening now require clearance from no less than Harvey Weinstein himself? (The same […]</p> ]]></content:encoded> </item> <item> <title> Comment on Accidentally Preserved: Ben Model Helps Save Rare Films by Accidentally Preserved: Ben Model Helps Save Ra... </title> <link>https://www.filmlegacy.net/blog/2013/04/18/accidentally-preserved-ben-model-helps-save-rare-films/#comment-239</link> <dc:creator><![CDATA[Accidentally Preserved: Ben Model Helps Save Ra...]]></dc:creator> <pubDate>Thu, 18 Apr 2013 20:04:01 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=92#comment-239</guid> <description><![CDATA[[...] Pianist Ben Model has been accompanying silent films for almost thirty years, including a few of my National Film Registry screenings.  [...]]]></description> <content:encoded><![CDATA[<p>[…] Pianist Ben Model has been accompanying silent films for almost thirty years, including a few of my National Film Registry screenings. […]</p> ]]></content:encoded> </item> <item> <title> Comment on Tracking the Decline of Film by SHOOTING ON FILM: THE FATE OF SUPER 16mm | alexcoxfilms </title> <link>https://www.filmlegacy.net/blog/2012/11/24/tracking-the-decline-of-film/#comment-236</link> <dc:creator><![CDATA[SHOOTING ON FILM: THE FATE OF SUPER 16mm | alexcoxfilms]]></dc:creator> <pubDate>Fri, 15 Mar 2013 19:29:56 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=72#comment-236</guid> <description><![CDATA[[...] these are dire days for film is no secret. The last manufacturer of black and white 35mm film is bankrupt. Kodak still makes [...]]]></description> <content:encoded><![CDATA[<p>[…] these are dire days for film is no secret. The last manufacturer of black and white 35mm film is bankrupt. Kodak still makes […]</p> ]]></content:encoded> </item> <item> <title> Comment on National Film Registry 2012 Selections by Angela Aleiss, Ph.D. </title> <link>https://www.filmlegacy.net/blog/2012/12/19/national-film-registry-2012-selections/#comment-235</link> <dc:creator><![CDATA[Angela Aleiss, Ph.D.]]></dc:creator> <pubDate>Fri, 22 Feb 2013 14:19:33 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=81#comment-235</guid> <description><![CDATA[Daniel, I teach Native American Film at UCLA and authored the book, Making the White Man's Indian (2005). I recently noticed your entry for White Fawn's Devotion and its director, James Young Deer. He does not appear on the Winnebago tribal rolls and two tribal historians have said Young Deer was never a member of the Winnebago tribe. Young Deer comes from Washington, DC and his background is a mixture of mulatto and possibly Indian, although from a tribe that is not federally recognized. The info on him through the LOC was incorrect (I suggested they drop the Winnebago affiliation) although one may argue that he could have a Native American background. His case is very problematic--unlike Iron Eyes Cody who was Italian with no Indian heritage (I broke that story for the Times-Picayune in 1996). Young Deer grew up in Washington, entered the military, and adopted the Winnebago name after he married Lillian (who was Winnabago) in 1906. When the couple separated in 1915, he dropped the Winnabago affiliation and thereafter was referred to as "and Indian actor" or director. When he died, the military identified him as African American. Hope this helps.]]></description> <content:encoded><![CDATA[<p>Daniel,</p> <p>I teach Native American Film at UCLA and authored the book, Making the White Man’s Indian (2005).</p> <p>I recently noticed your entry for White Fawn’s Devotion and its director, James Young Deer. He does not appear on the Winnebago tribal rolls and two tribal historians have said Young Deer was never a member of the Winnebago tribe. Young Deer comes from Washington, DC and his background is a mixture of mulatto and possibly Indian, although from a tribe that is not federally recognized. The info on him through the LOC was incorrect (I suggested they drop the Winnebago affiliation) although one may argue that he could have a Native American background. His case is very problematic–unlike Iron Eyes Cody who was Italian with no Indian heritage (I broke that story for the Times-Picayune in 1996). Young Deer grew up in Washington, entered the military, and adopted the Winnebago name after he married Lillian (who was Winnabago) in 1906. When the couple separated in 1915, he dropped the Winnabago affiliation and thereafter was referred to as “and Indian actor” or director. When he died, the military identified him as African American. </p> <p>Hope this helps.</p> ]]></content:encoded> </item> <item> <title> Comment on Tracking the Decline of Film by David Rees </title> <link>https://www.filmlegacy.net/blog/2012/11/24/tracking-the-decline-of-film/#comment-197</link> <dc:creator><![CDATA[David Rees]]></dc:creator> <pubDate>Wed, 19 Dec 2012 14:29:45 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=72#comment-197</guid> <description><![CDATA[In reply to <a href="https://www.filmlegacy.net/blog/2012/11/24/tracking-the-decline-of-film/#comment-7">Stanley Krute</a>. Stanley, I agree in principle with you 'solution'. I, personally would be willing to assist/subsidize small venue conversion. Fact is, a local theater in Boston area is running a campaign to assist in paying for digital upgrade. On the other hand, from Daniel's article, if the switch to digital is quickly followed with migration to laser, I would fear that the larger entities would "ask" for a similar surcharge to assist their upgrade/conversion. Going off the rails, I appreciate digital technology, but I tire of movies where someone involved with digital effects suffers from the "Nigel Tufnel" syndrome..... 'These go to eleven'.... When you see a beautifully crafted FILM, you see the work of a master with technique and skill..... End of Rant...]]></description> <content:encoded><![CDATA[<p>In reply to <a href="https://www.filmlegacy.net/blog/2012/11/24/tracking-the-decline-of-film/#comment-7">Stanley Krute</a>.</p> <p>Stanley,<br /> I agree in principle with you ‘solution’. I, personally would be willing to assist/subsidize small venue conversion. Fact is, a local theater in Boston area is running a campaign to assist in paying for digital upgrade.<br /> On the other hand, from Daniel’s article, if the switch to digital is quickly followed with migration to laser, I would fear that the larger entities would “ask” for a similar surcharge to assist their upgrade/conversion.</p> <p>Going off the rails, I appreciate digital technology, but I tire of movies where someone involved with digital effects suffers from the “Nigel Tufnel” syndrome….. ‘These go to eleven’…. When you see a beautifully crafted FILM, you see the work of a master with technique and skill….. End of Rant…</p> ]]></content:encoded> </item> <item> <title> Comment on Tracking the Decline of Film by Gabe </title> <link>https://www.filmlegacy.net/blog/2012/11/24/tracking-the-decline-of-film/#comment-10</link> <dc:creator><![CDATA[Gabe]]></dc:creator> <pubDate>Mon, 26 Nov 2012 01:12:58 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=72#comment-10</guid> <description><![CDATA[Hi Mr. Eagan, I saw your article in the Atlantic. I'm very worried as well over the digital transition for films, where only one digital master is used over and over again, especially in regards to color timing. I'm finishing up an analysis of the Superman Blu-Ray remasters, and as you can see, the emphasis on teal and orange means that the colors on the digital "prints" are way off, even to the point of something as basic as Superman's blue tunic being off. Here's a link to the youtube comparison: http://www.youtube.com/playlist?list=PLFBEB6343A8AA0935]]></description> <content:encoded><![CDATA[<p>Hi Mr. Eagan, I saw your article in the Atlantic. I’m very worried as well over the digital transition for films, where only one digital master is used over and over again, especially in regards to color timing. I’m finishing up an analysis of the Superman Blu-Ray remasters, and as you can see, the emphasis on teal and orange means that the colors on the digital “prints” are way off, even to the point of something as basic as Superman’s blue tunic being off. Here’s a link to the youtube comparison: <a href="http://www.youtube.com/playlist?list=PLFBEB6343A8AA0935" rel="nofollow ugc">http://www.youtube.com/playlist?list=PLFBEB6343A8AA0935</a></p> ]]></content:encoded> </item> <item> <title> Comment on Tracking the Decline of Film by Stanley Krute </title> <link>https://www.filmlegacy.net/blog/2012/11/24/tracking-the-decline-of-film/#comment-7</link> <dc:creator><![CDATA[Stanley Krute]]></dc:creator> <pubDate>Sun, 25 Nov 2012 16:15:50 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=72#comment-7</guid> <description><![CDATA[Thanks for your articles and blogging on this issue. One of the saddest parts of the transition: many small-town movie theaters will be going out of business. In my own area, the theater is a downtown twin. Two digital projectors would cost $200,000 or so, and the owner just cannot afford that. So the doors are closing. This is being repeated in many places. A nice solution would be to have the film industry provide digital equipment, then collect a $1 or so ticket add-on charge for 10 years, then call it good. Of course, the odds of that are extremely low.]]></description> <content:encoded><![CDATA[<p>Thanks for your articles and blogging on this issue. </p> <p>One of the saddest parts of the transition: many small-town movie theaters will be going out of business. In my own area, the theater is a downtown twin. Two digital projectors would cost $200,000 or so, and the owner just cannot afford that. So the doors are closing. This is being repeated in many places. </p> <p>A nice solution would be to have the film industry provide digital equipment, then collect a $1 or so ticket add-on charge for 10 years, then call it good. Of course, the odds of that are extremely low.</p> ]]></content:encoded> </item> <item> <title> Comment on Tracking the Decline of Film by Tom Davenport </title> <link>https://www.filmlegacy.net/blog/2012/11/24/tracking-the-decline-of-film/#comment-2</link> <dc:creator><![CDATA[Tom Davenport]]></dc:creator> <pubDate>Sat, 24 Nov 2012 18:57:44 +0000</pubDate> <guid isPermaLink="false">http://www.filmlegacy.net/blog/?p=72#comment-2</guid> <description><![CDATA[Its maddening, trying to keep up with the digital realm. We have gone thru 4 different streaming formats in ten years, having to re digitize every title. Most of my early documentaries were made in 16mm. We try to archive the old 16mm films in our collection at the University of North Carolina in Chapel Hill. We do our restoration work at Colorlab in Rockville, MD. We also produced a site called "Video Aids to Film Preservation" to show how the old machines and procedures work. Julia Nicholl's is show there. http://www.folkstreams.net/vafp/index.php]]></description> <content:encoded><![CDATA[<p>Its maddening, trying to keep up with the digital realm. We have gone thru 4 different streaming formats in ten years, having to re digitize every title. </p> <p> Most of my early documentaries were made in 16mm. We try to archive the old 16mm films in our collection at the University of North Carolina in Chapel Hill. We do our restoration work at Colorlab in Rockville, MD. We also produced a site called “Video Aids to Film Preservation” to show how the old machines and procedures work. Julia Nicholl’s is show there. <a href="http://www.folkstreams.net/vafp/index.php" rel="nofollow ugc">http://www.folkstreams.net/vafp/index.php</a></p> ]]></content:encoded> </item> </channel> </rss>