![]() Véritable antidote à l'anxiété et aux doutes de notre époque, Ponyo sur la falaise est la fabuleuse histoire d'une mère et de son enfant. Le niveau de la mer s'élève, et les soeurs de Ponyo sont transformées en vagues gigantesques qui montent jusqu'à la maison de Sosuke sur la falaise, et engloutissent le village. Mais avant de prendre la fuite, elle répand l'élixir magique de Fujimoto, l'Eau de la Vie, dans l'océan. Bien décidée à devenir humaine, Ponyo s'échappe pour retrouver Sosuke. ![]() Le petit garçon lui promet de la protéger et de s'occuper d'elle, mais le père de Ponyo, Fujimoto - un sorcier autrefois humain qui vit tout au fond de la mer - la force à revenir avec lui dans les profondeurs. Ponyo est aussi fascinée par Sosuke que ce dernier l'est par elle. Sosuke la sauve, et décide de la garder avec lui dans un seau. Un beau matin, alors qu'il joue sur la plage en contrebas, il découvre une petite fille poisson rouge nommée Ponyo, piégée dans un pot de confiture. Finding no means of preserving the collection as a whole, he cut clippings from the films (usually two to three frames each) and carefully organized them to preserve in fragments what.Le petit Sosuke, cinq ans, habite un village construit au sommet d'une falaise qui surplombe la Mer Intérieure. Upon inspecting the collection in the 1960s, Turconi found many of the prints to be in advanced stages of deterioration. The Joye material was assembled by the Swiss abbe Josef Joye in the early 1900s and originally comprised an estimated 1,540 international films produced primarily between 19, many of which contained remarkable examples of early film coloring, in particular, stenciling, hand coloring, tinting, and toning. In the 1970s, he culled a massive collection of 23,491 frame clippings from the unique and influential Joye Collection of early cinema. In 1982, Turconi cofounded the Giornate del Cinema Muto, a silent film festival held annually in Pordenone, and he served as director for over twenty years. Born in Pavia, Italy, Turconi was a revered historian, credited with writing seminal works of film history, with a particular devotion to silent Italian cinema. The Turconi Project centers on the work of Italian film historian Davide Turconi (1911-2005). In many ways, the work on the collection can also be construed as a research project within the domain of the digital humanities, as it means to complement, supplement, and facilitate through digital technology the traditional work of film history and archiving. As she becomes entangled with an enigmatic killer whose attraction to her goes way beyond cat and. When Moody, the man who was like a father to her and taught her everything she needs to know about trust and survival, is brutally killed, Anna vows revenge. The history of the collection usefully calls attention to the transformation of archival practices over the past century. Rescued as a child by the legendary assassin Moody and trained in the family business, Anna is the world’s most skilled contract killer. We raise these issues by no means as a polemic for or against digital cinema but rather as a historiographic lens through which to consider one specific archival project, the Davide Turconi Nitrate Frame Collection. But without filmstock and laboratories, restoration's future will be almost exclusively digital within a few years, as celluloid's ecosystem collapses. Alexandra Daddario as Annabeth Chase needs role-specific image Douglas Smith as Tyson needs role-specific image Brandon T. In ideal circumstances, our film prints can last in cold-storage vaults for well over a century-unlike digital copies, whose codecs and hard drives are optimistically measured in increments of three to five years and thus must be constantly migrated at great expense. Celluloid's future as an archival medium is at best uncertain. With the expansion of digital imaging, projection, and distribution, with the ensuing bankruptcy of Kodak, and with the threatened demise of 35mm filmstock and of still and moving image equipment and laboratories now before us, film as a celluloid medium may be in its last days, at least at the industrial level. Indeed, the seismic effects have been felt for well over a decade, but now the casualties are apparent. Today we are confronting a technical revolution in film form, archiving, and historiography brought about by digital media. In every new technical revolution the political tendency is transformed, as if by its own volition, from a concealed element of art into a manifest one. The technical revolutions are the fracture points of artistic development it is there that the different political tendencies may be said to come to the surface.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |