Friday, December 28, 2012

AMIA 2012

This was my 4th year at the Association of Moving Image Archivists Conference, and it was one of my favorites. I think I found my groove in the AMIA organization, despite not working in the field right now and feeling incredibly awkward when everyone asks, "So, what do you do?" In my heart I am a film lover and preservationist, and I want so badly to work with it again. My thesis took me in a different direction, and connected me with a network of art house theaters. I love that I get to talk to them on a daily basis and have a small hand in their programming and community outreach, but I needed AMIA to remind me how much I love to touch film, project it, talk about it, examine its physical properties and learn about its future, and the future of cinema without it. This year I was elected Chair of the Projection and Technical Presentation Committee, which I've been really active on for the last few years. I've spearheaded projects that are taking on a new life beyond me, and I've found that there are many in the field with interests similar to mine.

Over the past few years there has been some conflict over the film vs. digital debate. Mostly, I think, from people who are shortsighted enough to think of it as a debate. Digital Cinema is the mainstream film distribution format now and for the foreseeable future, so there are many ready to abandon 35mm film (the primary format used since the birth of movies) and focus on the future. It makes sense, except that archivists' primary job is to preserve moving image heritage -- its past! -- and that includes its original format. There are also current working filmmakers who prefer that their work be shot on film, and a whole world -- past and present -- of avant garde, experimental and art films made on smaller film formats. The debate is complex and the issues many, but it's very clear to me that both film and digital should be given the same amount of thought and interest in the community, and both should be made accessible for different purposes (I have to stop myself now or I will write a book). The point is, people feel strongly about these and other issues, and the debates seemed to be going nowhere but into the ground. I found last year's conference in Austin to be especially unfriendly. It seemed that there were tensions bubbling just beneath the surface of the organization, and the year following Austin proved that to be true.

Thankfully, this year's conference seemed much more productive. I guess everyone got it out of their systems or stepped out of the way to let people with ideas and focus step up. There were two DCP (digital cinema) panels that covered the pragmatic issues of DCP preservation and, to a lesser extent, exhibition. I learned a lot from them and enjoyed them much more than I thought I would. There was also much more of a film presence. I really enjoyed a chemistry-centered nitrate film panel, and plenty of discussion in which I didn't feel scared to say that I am a film enthusiast. It made for a fun conference, lots of connections made and a good learning environment.

The conference took place in Seattle this year, during the "Festival of the Archives." Having so many opportunities to watch rare films from archives and beautifully restored feature films gave this conference a different vibe than in years past. It didn't feel bogged down or stuffy, and the attendees seemed to skew younger. There was a huge MIAP (my NYU grad program) alumni presence at the conference and on the panels/committee meetings/events, which was really cool. This year I worked on Archival Screening Night, everyone's favorite part of AMIA. Typically ASN is a screening of all the best work preserved or discovered in archives that year. Archivists get six minutes to play a clip of their film and talk about it, and the content is all over the map. This year the ASN Committee put together a "best of" featuring favorites from past years, and it was so much fun! We also had a separate screening for 16mm films, because some of the best submissions are 16mm but it doesn't really work when projected in a large theater. I prepped and rewound the films for that screening and remembered how much I miss having a physical aspect to my job, and that I need to keep pushing for a career that allows me to work with film.

If there was any downside to the conference, it was personal. I had to keep reminding myself to not feel like the kid not invited to the slumber party. I didn't have much to talk about, except in very specific circles, and it made me sad to hear about all of the work and excitement happening in New York that I'm no longer a part of. By the last day I had gotten over myself a bit and found places where I could be useful and involved. I also took some time to catch up with people as friends, take my head out of the "conference" part of it for awhile and just connect with people. That approach always works better for me on every level, and after that things really changed for me. I came home with a renewed sense of focus, a couple projects and a plan, which is what I was hoping for. Seattle itself was great, but I'll talk more about that in another post.
 Old footage of UVA (for Sam), fire trucks outside after the nitrate panel on its flammable properties and safety issues (unrelated but hilarious), and the Seattle Cinerama!
 Some of my favorite ASN moments: color footage of kittens from 1928, a Beau Brummell comedy act that looks brand new and Bobcat-a-gogo, a commercial from the 60s that I'm obsessed with.
 Earrings made by former MIAPer Crystal from U-matic tapes (a format I came to know intimately that summer I was in Hawaii).
 View from the rewind bench at the 16mm ASN.
28mm panel and a shot of 100 year old 28mm film being projected.

Wednesday, December 26, 2012

SOR Charity Show at House of Blues

B's new British Invasion band at School of Rock played a charity show at House of Blues early this month. He only played drums on one song, since it was a collaboration of all the SOR schools, about 500 kids. It was a fun show, and good opportunity for B to work through his stage fright. The house was PACKED. 

The big final show for British Invasion is a month from now, and B is working on five songs for it. 

Monday, December 17, 2012

away for a bit

There are a few things I've been meaning to share: the wedding pictures, the rest of the Paris trip, and my thoughts and photos from a weeklong conference in Seattle, but I'm not up to it yet. I came back from Seattle sick, and the events of Friday took a lot out of me. That's what it is, really. I'm quite sad and discouraged, but I'm working through it. Here's a picture I was going to delete because it didn't come out, but I realized it's special to me because that day was special. My heart is completely with the families who won't be together for Christmas this year. That's all I know how to say.

Monday, December 3, 2012

Cinema in Paris

Our first day in Paris we stumbled upon a shop selling relics from the earliest day of cinema. This is stuff I saw in museums in New York, and here it was crammed into a tiny shop, stacked haphazardly and priced for negotiation (although still out of my price range, unfortunately). I could have spent an entire day in there.

Visiting the Cinémathèque Française was the highlight of the trip for me (and I think for Taso as well). We saw Godard's Le Petit Soldat, which was super fun, despite our ineptitude at French and the lack of English subtitles, but the thrill was really in the way Parisians experience cinema. It was like a beautiful, most welcome step back in time. The house was packed and everyone read their newspapers quietly before the show. Newspaper reading has become romantic nostalgia to me -- like slow dancing and having deep discussions face to face with friends. It just doesn't really happen anymore in the world I'm used to, yet it made me feel comforted and at home. The presentation was pristine, from the perfectly letterboxed screen, to the gradient dimmed lighting, the sound and picture quality, and the silent, engaged crowd. After the film an academic spoke for 45 mins straight and NOT. A SOUL. MOVED. Everyone sat silently and respectfully through his entire lecture and, at the end, asked questions that seemed to be insightful and well-received. I have literally never seen this happen in an American cinema, not even Film Forum. It was beautiful and we ate it up despite, again, having a very limited knowledge of French. I wish I could see every film there for the rest of my life, or at least that I could have that experience here.

The room we were in is named after Henri Langlois, arguably the father of film archiving and preservation. You should learn about him, if you're interested in cinema. He's no Ernest Lindgren, but he's incredibly important and had an exciting life! Taso spent a lot of time and money at the Librarie -- the bookstore. Cinema book collecting is his thing, and he was in heaven. I can't say enough about what a perfect space the Cinémathèque is. There is so much American theaters could learn from it.

We also stopped by the Paris Home Movie Day. It was exactly like what I'm sure every Home Movie Day in the world is like. Even the archivists looked the same as the ones in Brooklyn. The films were much more interesting, and there seemed to be much more support and involvement from the community. Must be nice! Pictures of the somewhat unorthodox Home Movie Day in Southampton that I took part in a couple years ago can be found here.